NATAGE H003

TOOLS OFTHE TRADE

pH meter

John Schofield with his pH meter.

Name: John Schofield.Job: Quality assurance manager.Where: Jalna.Why is it important?We make a natural yoghurt that’sfree from additives, so the qualityof the finished product reliesheavily on effective fermentationand lactic acid production. We haveto measure the pH levels in everybatch that we do. If a productusually sets in about seven hours,I’ll check the pH after about sixhours, because if it’s too acidic,it can spoil the flavour.

I use one of two pH meters to dothe monitoring. I take the handheldone into the incubators to checkwhile we’re fermenting, but there’sa benchtop version too.

There’s a simple calibration wedo on the meter every day, so weare confident in the readings weare getting.What do your colleagues think?We taste as a team: the owner,sales guys and everyone in theoffice does it, so we get everyone’sopinion and use the time to tastethe previous day’s product. It’s aritual that happens at 10.30amevery day. I’ve been here 11 years,but that ritual has been going formuch longer than that. You’ll soonknow if the pH meter is workingproperly.Unusual moment?It’s always good to have a fewlaughs in the workplace. On morethan one occasion, I have set upthe panel of tasters, particularlywhen trialling a new product, byputting two of the same batch outin different containers andwatching people intenselydiscussing the difference in flavour,texture and body, before eventuallyletting them in on the fact thatthey are exactly the same product.It keeps them on their toes.How much does it cost?A pH meter costs about $500 to$1000. It’s important to buy a goodone. SUE WHITE

Widening the creative mixCi is the new line onsparking innovativeleadership, writesSam Quinlan.

Ci lady: Tania De Jong, soprano, social entrepreneur, business woman and motivational speaker. Photo: Sam Quinlan

FEATURE

T ania De Jong promises torevolutionise the waycorporations, policy-makers

and individuals approach innovationthrough creative engagement acrosssectors. Her experience as the headof multiple businesses and charities,along with her creative acclaim as arenowned operatic soprano and leadin a group of her own creation, Pot-Pourri, reveal her entrepreneurialskill and deep engagement withcreative pursuits.

A self-styled ‘‘creativity andinnovation catalyst’’, De Jong hasplenty of experience in the corporatesector working with top teams indisparate industries, helping thembuild capabilities in creativity andinnovation.

She says this work seeks to sculpta new breed of creative leadershipthat is equipped to deal with thewicked problems of the modernworld.

Her Creative Innovations (or Ci)conference is an extension of thiswork, bringing together globalleaders in industry, academia andfuturism in an environment thatseeks to engage audience andspeaker in inventive ways.

Running from November 27 to 29,this year’s fourth annual conferenceis at the Sofitel on Collins inMelbourne – attracting more than40 presenters, speakers andperformers from around the globe –making it the largest gathering ofinternational speakers at anyconference in the country.

‘‘I’d always known about the Tedtalks and things, but I wanted tocreate a conference that was likeno other conference globally,’’De Jong says.

‘‘I wanted to create a conferencethat was across sectors . . . you know,we all go to our medical oraccounting or industry-specificconference, I wanted to create aconference that broke down silosand create what I call positivehuman collisions, to bring togetherglobal innovators and leaders fromacross all sectors.’’

More than just bringing togetherparticipants from unrelated

professions, her methodology hopesto engage them in unique andcreative ways.

‘‘The idea was really to connectwith people not just on the left sideof their brain, which is how mostconferences work; you go you hear alot of speaking, usually a lot of powerpoints . . . often there’s not a lot ofchances to interact,’’ De Jong says.

‘‘Our conference is veryinteractive, we use a lot oftechnology and hotspotconversations and ways to breakdown barriers between speakersand audience, reinforcing the idea ofpeople having positive humancollisions.’’

This creative bent to thecorporate conference dynamic hasproven hugely successful, with pastparticipants heaping effusive praiseon this artistic, creative method.

Scott Anthony, Singapore-basedauthor and managing partner of USconsulting firm Innosight says theconference offers somethingdynamic.

‘‘The thing that struck me was the

value of the collisions betweenacademics, thought leaders,advisers, artists, entrepreneurs,business people and governmentofficials,’’ he says.

‘‘The unusually eclectic mix led tosome fascinating discussions anddeep insights.

‘‘It was an unusual conference, ina very positive way.’’

This is what De Jong means bybreaking down silos betweencorporate, academic andgovernment sectors – creating aspace conducive to collaboration insolving problems and learningtransferable skills about innovationfrom other sectors.

For your average corporate orgovernment employee, thisapproach promises to activate asense of intrepreneurship, oran ability to engage, invent and actfrom within existing powerstructures.

De Jong’s focus on diversity intackling the problems of modernindustry and society seems to stemfrom her extensive charity work.

She has headed two successfulcharities focused on creativity andartistic expression. The Song Roomand Creativity Australia runprograms of social inclusion andartistic participation throughschool music and arts programsand choir groups.

The Song Room earned her aMembership of the Order ofAustralia.

This pioneering creative andsocially aware philosophy hasunderpinned her corporate guidanceand inspirational speaking. It alsoundoubtedly informed the planningand executing of Ci conferences.

The large number of volunteersinvolved Ci and the 10 scholarshipsoffered to emerging innovationleaders reflect this overarching senseof inclusion and diversity.

De Jong’s focus on creativeeducation has broader aims andimplications.

‘‘If we’re not educating our youngpeople to think creatively, we’renot educating them for the future,’’she says.

3November 16, 2013 THE SATURDAY AGE

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