Are you ready to rise to the challenge of increasing the metabolic rate and success of your business? The Other End Of The Telescope is a high speed gallop through the absurdities and challenges of getting things done in large companies, and the inherent contradictions in leadership and organisational behaviours that prevent businesses from realising their potential and achieving greater success.

In this collection of thought provoking essays, Ian Russell draws on more than 25 years’ experience of leading and working in large organisations around the world to distil the key themes and challenges confronting big business today. The book tackles key topics such as organisational cholesterol, the loneliness of leadership, human capital strategy failures, performance destroying ‘head offices’ and the ‘myths’ of talent scarcity and the socalled Fourth Industrial Revolution, among others. Each essay pairs a deep understanding of the real world and lessons learned the hard way, with powerful and pragmatic insights on how big business can change the way in which it does things.

Contributions from other notable thought leaders Valter Adão, Richard Mulholland, Happy Ntshingila and Rapelang Rabana add unique voices and insights to Ian’s vibrant and straightforward views. Together they are exactly what is needed to jolt businesses and their leaders into doing things more successfully and thoughtfully. The lightness of Ian’s style makes this a highly readable book, but it does not dilute the impact of his incisive observations and insights.

Passionate, irreverent and challenging, The Other End Of The Telescope will make you think deeply about your business and your career – and your role in both.

Leadership is not a destination. Leadership is an odyssey. A voyage of discovery, marked by changes of fortune and circumstances, informed by successes and failures. Defined by how you behaved and who you have become.

The Upside of Being Myself and Other Leadership Stories is a unique opportunity to catch a breath, step back, and take a long, hard, reflective look at who you are as a leader and where your odyssey will take you. Powered by experience, informed by the reality of operating in today’s harsh realities, and leveraging the insights gained from many leadership victories and defeats, each essay creates an opportunity for reflection, introspection and personal growth.

The book spans almost every aspect of leadership, including the journey towards that mythical corner office, the agility and flexibility of styles required for sustained success, the art of crisp, concise communication and the need for an internal compass to guide you on your journey. Ian Russell draws on his 30 years of leadership experience from around the world, using his irreverent, light-hearted but thought-provoking prose to land key leadership messages. Further diverse and powerful leadership insights come from a number of contributing writers on politics, large corporate life and entrepreneurial start-ups.

The Upside of Being Myself and Other Leadership Stories is an investment of your time into your leadership odyssey. This is not an opportunity you can pass by. So pick up a copy, settle down and enjoy.

Set in the neon heat of a Taipei summer, Ian Russell-Hsieh’s I’M NEW HERE explores themes of split racial identity, relationships across cultural lines, self-sabotage, and self-determination, all in prose that is whittled to the bone, that is wry, direct and undeniably fresh. Told by a character in existential freefall, this novel propels you through its pages with a propulsive flair and a confidence that are truly exciting. Fired from his job and dumped by his girlfriend, Taiwanese-British photographer Sean flies to Taipei to find oblivion. But instead of escape in his parents’ homeland, all he finds is alienation. He spends his first days sleeping feverishly in an anonymous hotel bedroom and his nights chugging cheap coffee and munching on crappy doughnuts at a strip-lit doughnut bar. A chance encounter with a mysterious older man draws him into a friendship whose terms of engagement are quickly blurred, and into a world whose underpinnings seem to be shaking loose. At the same time, Sean embarks on an affair with a local girl, all the while dreaming fretfully of his ex. For every step towards connection, it seems there is a loosening elsewhere in Sean’s sense of self, as the demands of the past and the present begin to take their toll. As Sean’s reality comes ever more unstuck, it’s clear that something’s got to give.  

Recent archaeological theory has shown that images of the past have carried a particularly strong resonance within modern social groups. This volume explores the immeasurable impact that the phenomenon of archaeology has had on the representation of the past in the modern world. Modern society's 'archaeological imagination' has conceived of archaeology as a producer of images of the past which become representations of modern group identities. If archaeology is utilized by public groups to construct and represent identities, then what are archaeologists to do with that public? The very fact that the public is interested in the past and in archaeological research is an opportunity for archaeology to engage that public. Participation in the public's modern interest in archaeology, however, puts archaeology at risk. The growing role of archaeology and heritage within the economics of tourism, has led to a commodification of archaeological knowledge and experience for consumption. in a world dominated by modern trends of mass production, mass replication and representation of cultural forms and mass consumption of images of the past. The contributors explore to what extent we are experiencing a crisis of representation of the past due to contemporary consumption of mass-produced replicas, simulations, images and experiences of the past. To work through this crisis, the contributors in this volume are exploring opportunities for development within archaeological thought and practice. Their arguments illustrate a move towards active, participatory and poetic archaeological thought and practice. Rather than focusing on what is produced through process (artifacts, monuments, interpretive centers, etc.), they are concerned with what they are doing, about taking part, about participating reflexively in the tradition of understanding and expressing understanding of the past. This volume does not conjure up romantic beliefs about the project of archaeology, but rather, it signals a fundamental revision of archaeology - not what it is, but what it can do.

This important book addresses critical themes in the development of archaeology as a reflexive, self-critical discipline in the modern world. It explores the ethical, political and cultural tensions and responsibilities which need to be addressed by archaeologists when working within networks of global ecologies and communities, examining how authoritarian traditions can exacerbate the divide between expert and public knowledge. Moreover, it analyses how localized acts of archaeology relate to changing conceptions of risk, heritage, culture, identity, and conflict. Bringing insights from Alain Schnapp, Michael Shanks, Isabelle Stengers, Bruno Latour, Ulrich Beck, John Urry and others to cross-disciplinary discussions of these themes, Unquiet Pasts shows how archaeological discourse can contribute towards engaging and understanding current dilemmas. It also shows how archaeology, as a localized and responsibly exercised practice, can play a part in building our commonly shared and experienced world.

This important book addresses critical themes in the development of archaeology as a reflexive, self-critical discipline in the modern world. It explores the ethical, political and cultural tensions and responsibilities which need to be addressed by archaeologists when working within networks of global ecologies and communities, examining how authoritarian traditions can exacerbate the divide between expert and public knowledge. Moreover, it analyses how localized acts of archaeology relate to changing conceptions of risk, heritage, culture, identity, and conflict. Bringing insights from Alain Schnapp, Michael Shanks, Isabelle Stengers, Bruno Latour, Ulrich Beck, John Urry and others to cross-disciplinary discussions of these themes, Unquiet Pasts shows how archaeological discourse can contribute towards engaging and understanding current dilemmas. It also shows how archaeology, as a localized and responsibly exercised practice, can play a part in building our commonly shared and experienced world.

Recent archaeological theory has show that images of the past have carried a particularly strong resonance within modern social groups. This volume explores the immeasurable impact that the phenomenon of archaeology has had on the representation of the past in the modern world. Modern society s archaeological imagination conceives of archaeology as a producer of images of the past which become representations of modern group identities. If archaeology is utilized by public groups to construct and represent identities, then what are archaeologists to do with that public? The very fact that the public is interested in the past and in archaeological research is an opportunity for archaeology to engage that public.

Participation in the public s modern interest in archaeology, however, puts archaeology at risk. The growing role of archaeology and heritage within the economics of tourism, has led to a commodification of archaeological knowledge and experience for consumption. This volume begins a discourse on the implications of performing archaeology in a world dominated by modern trends of mass production, mass replication and representation of cultural forms and mass consumption of images of the past. The contributors explore to what extent we are experiencing a crisis of representation of the past due to contemporary consumption of mass-produced replicas, simulations, images and experiences of the past.

To work through this crisis the contributors in this volume are exploring opportunities for development within archaeological thought and practice. Their arguments illustrate a move towards active, participatory and poetic archaeological thought and practice. Rather than focusing on what is produced through process (artifacts, monuments, interpretive centers, etc.), they are concerned with what they are doing, about taking part, about participating reflexively in the tradition of understanding and expressing understanding of the past. This volume does not conjure up romantic beliefs about the project of archaeology, but rather, it signals a fundamental revision of archaeology - not what it is, but what it can do.

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