The Redundancy of a Knowledge Deficit Model

stirling

I have been thinking about the presence of a knowledge deficit disposition or approach to learning for many years now. I often talk about the experience I had on a project a few years back supporting some heritage sites in their design of learning. During some immersion into the experience of learning we stepped into a guided tour around the castle we were in. The painful experience I had was more to do with the learning process than any ancient torture device or prison chamber.

There had a been a specific blindness to any knowledge that was present within the group to begin with. There was an assumption that we had none and that we were there to laud over the expertise shared by our guide. So transfixed by the woven tales of scripted knowledge we would drift along enlightened by every stopping point. Hopefully our brains would not spill this knowledge into the moat as we crossed the drawbridge on the way home. To ensure this expert knowledge was secured for the younglings there might be some paper rubbings with some crayons or charcoal.

We got a puppy before Christmas and have just started to go to some dog training classes. The instructor soon lapsed into the same type of disposition, assuming we knew nothing. Sure we have less experience, but knowledge is freely accessible nowadays and the time of the expert is shrinking. Endless research and reading has put us in a stronger position as we have knowledge, well at least access to it. In fact when it comes to looking after a dog there is all sorts of conflicting knowledge. Being able to use that knowledge expertly is a different matter.

Deeply understanding how the knowledge set is connected requires something very different, a level of expertise in the knowledge that doesn’t work to a script or to a guided tour.

Back at the castle. If students, visitors, families and the general public coming to experience those ancient stones were seen as bringing different ideas and relevant knowledge it becomes a completely different starting point. A start that might lead in lots of learning directions.

 

A Late November Day

I can still remember the excitement and noise behind me to this day. I was collecting my class of 32 Year 5 and 6 children from a morning break time during a rather charcoal-streaked-sky day in November. English Novembers are full of Autumnal colours and damp weather, this day was turning into just that, typical of that time of the year.

Perhaps the clamouring and excited voices were about the engaging lesson I had planned? Perhaps they were simply excited about learning with me? Maybe just pleased to see me? In all honesty I didn’t ask any of these questions, because I knew straight away what it was.

The morning had been great so far, I always decided to take each session as it comes but the day had started well. There was even some sunshine casting strained shadows across the car park as I arrived. The morning’s literacy session had been fun and we were enjoying the Shaun Tan work we had been exploring. Assembly, tick. Then break.

Those strained lengths of light that welcomed me to school had gone. Replaced with that charcoal sky. Something else I noticed was how wind had picked up, swirling in amongst the school buildings. The usual twisting leaf and crisp packet flurry buffeted against the Year 2 classrooms as the children went outside. I knew what was in store. I had seen this before and I knew my class.

A quick change of ends and resources prep for the next session, punctuated with a slurp of terrible coffee and I was ready to kick off again. Walking up the slope towards the waiting lines in the top playground I realised my predictions were happening as I suspected. The wind had changed everything and my class were completely different from when i had last seen them.

The calm start to the day had been replaced with exuberance and hyper-excited voices behind me as I led my class back towards the buildings. My mind began whirring as I knew that whatever I had planned needed changing, adapting. I always marvelled at how a change of weather could have such an effect on your class, something I learned the hard way back in my first year of teaching at university. Before everyone had a chance to wipe their feet I was set.

Adjust the sails and press on.

Learning Provocations (ideas, how they affect us and why we should use them)

Provocation robot.001

During a design thinking inquiry process we use provocation as an engaging starting point or an opportunity to inject momentum in thinking and student engagement. They can come in many different forms:

Questions, Images (and text), Statements, Film, Data visualisations, Change a setting, Artefacts, Quotes, Maps, Proverbs, Role Play, Stories, Music and audio, Animation

I remember discovering this wonderful post from Cristina Milos a few years ago that captured so many wonderful ideas about how to plan for provocation. I highly recommend taking a look and digging deeper into the examples she shares.

For a long time now I have considered how learning provocations have an impact after all we have to plan for this reaction if we include provocation in our learning sessions. I think that provocation produces different reactions in us all, challenging is in different ways:

  • Emotionally (This is challenging how I feel or what I have previously felt)
  • Understanding (This is challenging what I think I know and my assumptions)
  • Perception (This is challenging my point of view)
  • Ethically (This is challenging our shared beliefs)
  • Morally (This is challenging my own principles)
  • Action (This is challenging me to take action, to change or make a difference)

We have to give adequate thought and preparation to the follow up activities – not just planning for provocation, but planning for the reaction to it as well.  If we have carefully crafted a provocation we should expect a reaction, considering the impact it is having on those we are working with and how to structure the learning that flow from it.

I believe that used in the correct way, at the the correct moment, the right type of provocation creates momentum in our thinking or those around us. When we are looking at the impact on Understanding for example, provocation can often create a new boundary or edge of what is known. What follows is an attempt to plot a course into that new territory – our curiosity as our guide.

How does the question in the image above challenge you? In which domains (outlined above) does it have the strongest impact on you? What learning structure would be most effective to follow it up?

“Stop One. Stop Them All” a Powerful Provocation from the World Wildlife Fund

Stop One. Stop Them All - 3
Stop One. Stop Them All  – WWF

This is a great example of a powerful provocation for World Wildlife Fund’s (WWF) campaign against poaching from last year. The series of print images were created by the agency Leo Burnett of Sydney – who describe their work as follows: “We needed to highlight the depth, complexity and fragility of the illegal animal trade networks, and empower the viewer to feel that a little bit of help from them could bring down entire illegal organisations.”

Provocations are such powerful devices to use in our design of learning, often used to great effect at the beginning of a period of project (or Immersion). They are jarring and force a response, which can come in many different ways – often creating lasting momentum throughout a period of learning. The imagery used here is a fine example of that, shocking and yet bearing a simple message. Something we can act upon.

 

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