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It’s possible to get closer and closer by experiencing it yourself: eating the food you’re offering them or the beverage you’ve designed, using their mental model rather than your own. But if the entrepreneur can understand the customer’s mental model, it’s possible to simulate what that experience might feel like - feel what they feel. Only the customer has this experiential knowledge, only they can feel it.
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And then there’s experiential knowledge - what an experience felt like to them. There’s factual knowledge about them, as well as factual knowledge about their consumption or usage (e.g., location, frequency, any reports, or ratings they’ve provided). It’s a process of filling different buckets of knowledge about your customer. Since empathy is knowledge-based, it can be learned, developed, and trained. It’s not the case that some people are more capable of empathy than others. We can first ask them questions (“How do you think about your current situation?” “What do you do when the car you drive gets to 50,000 miles on the odometer?”) and then run hypotheses or ideas through the model that emerges (“How do you like this?”, “How does this make you feel?”, “Would you buy this product?”) Empathy is knowledge-based, and therefore can be practiced by any entrepreneur.
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It’s quite possible to describe someone else’s mental model. A mental model is a way of thinking about real situations or about the real world. But mental models can also be shared and aligned. We all see the world through mental models rather than directly, and each of us has our own, unique mental model. Guided tours are given daily 10 am to 1 pm.Key Takeaways and Actionable Insights Entrepreneurs can’t directly access the customer’s mental model, but they can apply empathy to run simulations.Įntrepreneurial empathy is the ability to see the world through the mental model of the customer. One early show, in 1902, was a temporary exhibition devoted to art celebrating the genius of Beethoven Klimt's Beethoven Frieze was painted for the occasion, and the fragments that survived can be admired in the basement. The plain white interior was also revolutionary its most unusual feature was movable walls, allowing the galleries to be reshaped and redesigned for every show. Above the entrance motto sits the building's most famous feature, the gilded openwork dome that the Viennese were quick to christen "the golden cabbage" (Olbrich wanted it to be seen as a dome of laurel, a subtle classical reference meant to celebrate the triumph of art). The lower story, crowned by the entrance motto Der Zeit Ihre Kunst, Der Kunst Ihre Freiheit ("To Every Age Its Art, To Art Its Freedom"), is classic Jugendstil: the restrained but assured decoration (by Koloman Moser) complements the facade's pristine flat expanses of cream-color wall. The Secession building, designed by the architect Joseph Olbrich and completed in 1898, was the movement's exhibition hall. The movement promoted the radically new kind of art known as Jugendstil, which found its inspiration in both the organic, fluid designs of Art Nouveau and the related but more geometric designs of the English Arts and Crafts movement. The Secession began in 1897, when 20 dissatisfied Viennese artists, headed by Gustav Klimt, "seceded" from the Künstlerhausgenossenschaft, the conservative artists' society associated with the Academy of Fine Arts. The movement promoted the radically new kind of art known as Jugendstil, which found its inspiration in both the organic, fluid designs of Art Nouveau and the related but more geometric designs of the English Arts. In its heyday, it was a riveting trumpet-blast of a building and is today considered by many to be Europe's first example of full-blown 20th-century architecture. Rather than looking to the architecture of the past, like the revivalist Ringstrasse, it looked to a new antihistoricist future. If the Academy of Fine Arts represents the conservative attitude toward the arts in the late 1800s, then its antithesis can be found in the building immediately behind it to the southeast: the Secession Pavilion, one of Vienna's preeminent symbols of artistic rebellion.