Hold Your Ideas Lightly

This is a simple metaphor to understand. When you are exploring the validity of an idea, hold your idea lightly – do not clutch it tightly to your chest. We often explore if an idea is valid in the company of others and so we need to present our thinking with this mindset as lots of good things flow from it. It is an important mindset we adjust to in our design thinking workshops we run with teachers.

Instead of having to pry open our fingers to get to the idea to offer advice, when it is held lightly and openly in our open hands others can access it.

Offer an invitation to your ideas not a barrier to hurdle.

When we hold on to our ideas lightly we are being more careful in terms of what we have committed to that idea. There is no tension in our grasp of the idea because we have invested lots of time and energy into developing it. It is probably early on in terms of our thinking and we are open to what others say.

If our grasp is light it might be swept along by a strong breeze from others. Who knows if we are open to other people contributing and building on our idea it might be taken in a direction that we might not have seen.

It is all about communicating your idea as early as you can, but matching that action with a relatively low commitment in energy, time and resources.

In the workshops I have led over the last four years I have asked hundreds of people to communicate an idea they have only just created to someone else. The constraint comes from the time they have to communicate the idea or concept and the resource they have to do it with. A single Post it note. What else!

They are thrust into a situation where they are already non-committal about an idea and are encouraged to “Hold their ideas lightly”, pitching the idea to someone else quickly. All of these things create a scenario that is often alien within education – sharing something so early. I always like to follow this sort of task up by asking “What does it feel like to have to share an idea so early on in the process?”

Invariably there is a mixed reaction. From the “nerve wracking” and “scary”, to “liberating” and “exciting”. The anxious responses normally speak of a habitual culture of getting it “just so”, or working on something heavily before sharing widely. The more positive responses, which is the majority, recognise how this mindset, named up front, and the process that activates it, creates a refreshing sense of openness about our creative work.

Hold your ideas lightly – don’t clutch them tightly to your chest.

Finding the edges of your page

lego

Not to be confused with restraint which is much more about self-control, constraint is about finding the edges of the page before you begin, it is about knowing what limits you have in terms of resources. It is about must haves and must nots. And to be honest not something I previously worried too much about, but now I see constraint in lots of work that I do and inevitably seek them out if they are not so explicit.

In many ways the 28 Days of Writing project is built around the concept of healthy constraint, about creating an edge where often there isn’t one. A rule to stick to and enjoy the creative challenge. 28 days of writing with a time constraint on how long you can spend every day.

Twitter was such an interesting medium to write through. The constraint of writing within a specific character limit is just second nature now – I always try not to abbreviate or shorten words unnecessarily too. Back when the education community didn’t know it’s tweet from it’s blog it was a fascinating challenge to share your thoughts with such brevity. In many ways this is the most enduring feature of the Twitter platform and certainly something I still enjoy.

Another time when I observed the impact of constraint in a rather unexpected place was a Year 3 classroom in London. The class were all set to build some versions or prototypes of their new house/dwelling ideas they had been intricately designing on paper. Detailed diagrams and rough drafts overlapped on the tables as the class clamoured to discover what was next for their ideas. LEGO makes a similar introduction when used in most classroom, eyes light up and ideas roll over in the mind. However something unexpected happened once construction of the next prototypes commenced. Constraint.

Boys and girls grabbed LEGO baseboards to build on and suddenly fell into a steady rhythm of stacking bricks around the edges, the cuboid house once again asserted it’s dominance. It was a fascinating thing to reflect upon for Meshendia (the classteacher) and I once all was said and done. The LEGO had in fact imposed its own constraint to the process and those baseboards even more so. What were dreamy, intricate designs on paper soon became cookie-cutter boxes in LEGO.

I think this happens a great deal once we are up to our armpits in the making process, the standard classroom doesn’t quite cater for the resources our ideas truly need. Why would they? After all if we are not given enough signals of the constraints in the early stages of a process when we are encouraging new ideas, those ideas will grow and expand without an edge to them.

I was with a school in Perth last week and the very same thinking task for one group of 3 teachers produced completely different results compared with another. The reason. Simply the size of the paper they chose to work on. One group had a large sheet of flipchart paper and their ideas were more numerous, sprawling and often tangential. The other had an A4 piece of paper, the group’s ideas were fewer, focused, more potent. Same task, just a different piece of paper. For one the edges were tighter, closer and more constrained – for the other much more open and freer. The constraint, or lack of, impacted on the type of thinking the group achieved.

A Prototyping Disposition

I bump into different views of what “prototyping” is, should be or could be quite regularly. It is interesting to try and help people, especially educators, change the way they perceive a word and begin to use it, even understand it, in new ways. After all language is such a decisive factor in our willingness to understand and so to change.

Although not a designer by trade I know that prototyping is about making versions of something, creating various attempts and that these attempts have a trajectory. A direction they are heading towards. An outcome their production is seeking. I get that this is an iterative approach, resting on the knowledge that we will gradually get better through advice and comment from others.

Ultimately though a prototype’s success lies in the mindset or disposition that they are created with. Or to say it more clearly, when we make stuff if we are iterative in our approach we are more likely to succeed. But there is a lot going on if we begin to consider prototyping as not just about making something, but a disposition too.

It is not just about junk modelling or computer aided design or 3D printing or physical building – a disposition towards prototyping means we:

  • Are committed to the expertise and ideas we might gain from others and don’t just simply rely on our own perspective.
  • Believe in the value of feedback and how critique can move our ideas forward.
  • Engineer as many opportunities for feedback as we can, as early as we can.
  • Are willing to share what we create when it is extremely, painfully incomplete.

Learning, and often learning within a school, can be such a creative process, I know that teaching is one of the most creative of professions I know. The prototyping disposition is a stance we need to consider for our learners and for ourselves.

All too often our design of the creative tasks we ask our students to embark upon do not signpost these perspectives. Constraint is rare and we open the doors for our students to emotionally commit to a project, a creation, whether prose or painting it is much the same.

Simply stating the traits of an iterative or prototyping approach is far from enough – we need to consider how we can design them into scaffolded or modelled tasks. For example increasing the constraint of resourcing and time when we get started.

“You have 5 minutes to write the first 2 sentences and yes you can only use a post-it note. Ready go!”

What comes next is easy to understand – feedback and feedforward. Next steps and critique. So much has been written about the high impact on student outcomes of high quality feedback that I do not have to restate it. What perhaps does need pointing out is how woven it is into the fabric of an iterative creative process. So let us look again at how we might model this approach in all of our work and consider ways to engineer multiple versions followed up with as many feedback opportunities.

Prototyping is not just about physical modelling, it is an iterative mindset towards anything that we, or our students, create.

Uncertainties, mysteries and how to nurture your negative capability

The quote from John Keats that inspires this post is from a letter he wrote to his brothers George and Tom in December 1817. He was commenting about the ideal literary state of mind, one in which someone exhibits “negative capability”.

A sense of calm assurance and innovatory endeavour in the inevitable “uncertainties, mysteries and doubt” that defines the ups and downs of striving for something original.

I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason

Keats, John (1899). The Complete Poetical Works and Letters of John Keats, Cambridge Edition. Houghton, Mifflin and Company. p. 277

Most of the time it is what we don’t do in any given creative inquiry that helps us the most. This is especially true for when we are working on an issue with our teams that requires us to generate some new thinking or ideas.

It is also true when we are exploring a new line of inquiry with learners. In both of these situations, we are consciously choosing to step into a state of flux, a situation that can often be defined by what is not known rather than what knowledge we share.

Human nature does, in some way, dictate that we prefer the habits, rituals and the agreeable comforts of processes we know. We draw a degree of situational steadiness from the fact and reason we can rely on. We see this type of reaction in others as we work with them to move on to new practices or technologies.

The comfort in the known is often too tempting to make the leap and embrace something new. The physical reality of technology is even more challenging as it is harder to ignore and move off of your desk than an ideological concept. 

Letting these go and embracing the state of change and the unknown that surrounds us is counter-intuitive and it takes practice to fully accept. Here are some ideas to help.

Accept the mess

The learning process seems to be defined by these moments of flux we experience, sometimes they are fleeting, but often they are protracted. Uncertainty, doubt and mystery is part of our process of learning.

Accepting that we will experience the uncertainty of such times is a great first step for us personally and within our teams, whether learners or leaders. After all, “If we knew what we were doing, it would not be called research, would it?” as Einstein once suggested.

Reflect on how uncertainty makes you feel

Secondly, we must be emotionally aware of this uncertainty. What I mean by this is to use our emotional state to help prepare for future experiences that will be similar.

When you are navigating an organisational inquiry it not only puts you in a state of cognitive flux but one of mild emotional turmoil as your intuition presses you to seek steady ground and the reassurance of decisions. We are torn between seeking originality and the comfort of tried and tested ideas. 

We should be mindful of how this uncertainty feels, how we react to it and how our emotions change. When we have the energy to record our own emotional experience of such moments we are far more likely to recall them in future times and use these emotional schemata to respond more appropriately.

As an aside I think that meta-emotion is an area we must help learners understand much better. On a simple level to be able to help them manage their own learning more effectively by having a better understanding of their own emotional topography.

Trust the process

A third area that contributes to a better creative approach to inquiry is the understanding that we have a process. When you take this knowledge away or it is not shared amongst a group, we are introducing another mystery: where is this all heading?

We have all experienced those meetings or projects which never went anywhere, great energy and contribution but no follow up or shared understanding of the direction it was heading.

All too often inquiry can feel like we are researching forever, as much as we want to embrace not knowing, and Einstein’s suggestion from earlier, our process needs to signpost the way through this.

I believe that when we are able to recognise “uncertainties, mysteries and doubt” as a natural part of learning; when we share a process and if we have awareness of our emotional reaction, we are engineering the best possible conditions for creative inquiry and hopefully new ideas to flourish.


Photo by Tomas Sobek

Moving Back and Forth Between Fantasy and Reality

During my keynote at Edutech a few weeks back I outlined some of the false pedagogic dichotomies that are present in education. In addition to these supposed tensions there are natural forces and tendencies at play such as moving between fantasy and reality. In this post I will share some of my thinking on the importance of that creative thinking.

Previously I have outlined the importance of saying “I don’t know” to students, encouraging them to discover for longer – not just to start discovering, questioning and digging deeper, but to do it for longer. To stay in the question. Saying “I don’t know” opens learning up to students:

  • to take responsibility
  • to ask more questions and explore further
  • to remain in the state if the unknown for longer
  • to continually ask more complex questions

For youngsters they cannot readily explain their world away with existing knowledge and in fact they remain in the unknown for a long period of time. That world is surely a mysterious one, filled with sights and smells that make no sense. Colours and lights casting images on a young mind, a nurturing world filled with odd sounds and language that is not yet understood.

 

However that young learner does not attribute the same meaning to the world as we naturally do and so is free of such a burden. As a young adult we certainly go through a time when we think we know everything and the remnants of this mindset are still evident into our adult life. We see the world around us as Known. But it is not that simple.

For one thing as we grow older we are continuously learning, however that illusion of knowledge can descend and we are comforted by just enough information to get by, things become normalised, we begin to believe in the “illusion of the known”. A state that can breed assumption and potentially masks our natural instincts for curiosity.

Secondly the extreme of the Unknown is not so extreme after all. That colourless canvas is rich with ideas and connections. Because while we were choosing kidney beans, our little learners are devising an imaginary world along the Canned Fruit and Vegetables Aisle. Whilst we are watching out for traffic, our little learners are dodging spaceships. Whilst we are helping them to understand the concrete, known world around them, our little learners are dancing in the world of the abstract – splattering the canvas with rich imaginative explanations of their own.

This can often be an imaginary world we don’t see. We have all been there, quite possibly some of you are there now! We all have had our ticket stamped to this place and we must continue to remember that we work with children who are continually exploring this world. It is a world where we need to leave the illusion of knowledge at the door because almost anything is possible.

In this next clip, which I would hope you would have seen, a father who is a special effects technician for films has, in a way, begun to imagine what his own son’s view of the world would be like.

It would seem that the boy’s father deals with the imaginary world pretty regularly himself don’t you think? I love how he depicts what must be happening as his son imagines those scenes unfolding before him. I especially like the bubbling lava in the lounge amongst the sofas I remember leaping from sofa to sofa myself – “it’s crocodiles infested waters, now it’s lava!”

It is not as simple as saying learners are in a known state or in an unknown state when they are young, because they are rapidly moving from one world to the next, building and collapsing them as they go – inviting their friends into them and playing together – exploring and building again, refining and then abandoning them as quickly as they grew. Also they need little if anything at all to help them do this, stories, worlds, scenarios, predicaments and challenges can spring from them effortlessly – just spend some time watching children playing together freely.

Children use their imagination to explore both the things they know and the things they don’t.

Maurice Sendak – the author and illustrator of Where the Wild Things Are left an indelible mark on me as a youngster with his depiction of Max, in his wolf onesie and his imaginary world. We read the book when I was young and then for many years it drifted into my distant memory, returning with a significant bump when I became a teacher and I discovered the book in a class library whilst on teaching practice. I think it was the faces of the monsters that I remember the most, their beady eyes watching Max.

Sendak’s work perfectly captures how our young learners weave the tendrils of their imagination into and between the concrete world around them, not only shifting effortlessly between these worlds but blurring it too.

Edutech2014.001

 

With Sendak’s words I will leave you and encourage you to see the world through the eyes of our youngsters. But also to continually consider how we can design conditions for learning that embrace these natural imaginative tendencies and present opportunities for children’s ideas and “What if’s” to have the impact on the world that they deserve.