The VRU’s strategy is described as a “public health” approach to preventing violence. This refers to a whole school of thought that suggests that beyond the obvious health problems that result from violence – the psychological trauma and physical injuries – the violent behaviour itself is an epidemic that spreads from person to person.
One of the primary indicators that someone will carry out an act of violence is first being the victim of one. The idea that violence spreads between people, reproducing itself and shifting group norms, explains why one locality might see more stabbings or shootings than another area with many of the same social problems.
“Despite the fact that violence has always been present, the world does not have to accept it as an inevitable part of the human condition,” says the WHO guidance on violence prevention.
Bringing together people who disagree isn’t always easy but it leads to a deeper understanding of seemingly conflicting conclusions. As a team, the researchers weaved their different theories into a cohesive story that makes more sense and accounts for complexity. “It’s rarely the case that one person is wrong and the other is right,” says Scerri. “Insights from different models can help to shed light on the answers we look for…Perhaps we can say that nothing is really entirely new in science, it’s all about incremental steps and changing perspectives.”
A critical mass is coming to light in Design Thinking’s influence on global change.
The micro-investment banking revolution will come in due course. And who knows, maybe one day even ordinary bankers will understand the nature of the money they so confidently claim to control. They’re behind the curve though. It’s the monetary mystics who are on the cusp of a wave.
Conrad is not simply celebrated as a lone eccentric genius, but for his lifetime contributions to community, and to education. So many of his works involved setting something up and letting it go, with no clear beginning or end. In contrast to the tight compositional control wielded by many of his contemporaries, Conrad pushed his own ego away from the center, inviting the viewer—and the natural world—to help create his art with him.