TwitterPicture was quite a feat for a young artist: Aberdeen-based artist Johanna Basford made £15,000
(about $892,000 ;-) in the space of 48 hours of twittering, by inviting
normal untalented folk like me to suggest what they wanted drawn by her
famous black pen.
The lovely Damien, Suzy and co at the wonderfully cool, hip and talented ISO Design thrust a stocking filler under my arm this evening. And I'm now the proud owner of Twitter's first piece of crowdsourced art, made by Aberdeen-based artist Johanna earlier this year.
In theory, at least, I've also helped make this masterpiece, as mine was one of 230 tweets that fed the end-result - an A3 line-art collage, of the distinctive style that will make Johanna a Turner-winner one of these days (I hope). It now takes pride of place in the living room, where I am reminded of contributions made by quite a few of my twitter buddies.
At the end of Day One, the Central Station arts platform, on which I've been working with ISO, joined the push to get as many people as possible to promote the project and chip in with their own ideas for inclusion. The result is fascinating and beautiful, with "any dinosaur in casual attire" resting next to my own "a baby's first laugh". You can see all 230 suggestions on the artists' certificate of authentication, and come around to mine for a cup of tea to find them all.
It's a beautiful living room piece, and the first original artwork I've ever owned. But it strikes me that this could be an almost weekly occurrence in art and design classrooms around the world - it's Twitter storytelling for artists.
After a tip from Twitter buddy @dav_hamill at Edinburgh Coffee Morning today I discovered some of the pitfalls of "related items" type searches on, say Amazon. On the German Amazon site a search for "aluminium baseball bat" turns up some unexpected results, show that even muggers, bandits and thugs seek out good deals on their kit:
British education and technology agency Becta has emulated The Cabinet Office's style for accessing the best ideas our citizens have to offer, by opening a national competition for ideas on how we can best help people access information on informal learning opportunities, with TeachUsALesson:
You might have a vision of an amazing design for a learning portal
website, or a concept of an awesome live data feed which other sites
and services could use. Or, maybe, you could help design a Facebook
widget, or an iPhone app which could make finding learning
opportunities a doddle.
There are £25,000 packages of dosh available for the best ideas to come forward, presenting a timely and enviable opportunity for those with visions of how simple uses of existing technologies could be harnessed to help 'regular' learners outside the schooling system discover the learning moments on their doorstep.
It's great to such an innovative approach to seeking ideas. I only hope the Great British Learning Public can come up with ideas to match.
Through my work as Digital Commissioner with Channel 4's 4iP I've gone through a Himalayan-like learning curve in assessing the hundreds of ideas we receive each quarter. Throughout the year I've been blogging much of these learnings over on the digital media industry community I founded at 38minutes. Here are some of the main posts which will hopefully be of some use in stimulating creative ideas (and knocking on the head those puppies that might be worth killing):
A key point about knowing Where Good Ideas Come From is realising that they don't come from some kind of change management programme, especially in a world where technology has helped change happen quicker than most of us can react to let alone predict. As George Church put it:
"In a changing world, inaction can be the radical 'action'" (cited by Tim O'Reilly)
For most people at any level in an organisation, especially in times where we might all be worried about keeping our jobs, taking time out to not be busy, to not be "doing things" and "fulfilling tasks", might feel counter-intuitive, but arguably it's a key tactic in making things around us slow down long enough to spot the great opportunity, the creative gap that can be filled.
Are we simply diagnosing problems, or..?
Without fail, each day I will see ideas that fulfill needs I didn't know anyone had. Incredibly clever people with huge skill in taking some lines of code and turning them into a product have managed to find a problem that needs solved. Except, unfortunately, it's a problem that most people don't have. Sure, in this Long Tail era we need only to find the 0.01% of the masses who really do need this idea to make it a resounding success, but the reality of the net is that, unless you know where to find these people and how to get your idea across to them, your idea is the equivalent of the tree falling down in the forest that no-one has seen: it doesn't exist. All too often, the engineers have diagnosed a problem that does not exist because they have not taken the trouble to go and speak to the people who they think might want it.
One of the reasons I read so many fewer educational blogs now than I did, say, two years ago is not because I'm less interested in learning and formal, schools-based education, but because so many educators' blogs are overwhelmingly samey. The reason: they're concentrating on tools of social media: "Transformative tools", "new tools", "21st century tools".... They then let me know how these tools are the solution to a problem that has only been waiting for this tool to show up and solve.
Notwithstanding the fact that where I come from a 'tool' is a form of insult ("See you, aye, you, see you, you're a pure tool, soyar!" (and 'Bing' is a slag heap), the tools are not, and have never been, the issue for the pent up frustration of educators the world over.
"It's that 'they' don't get the things that these tools can offer", is the cry. Well, no, it's not really. Because what those tools 'allow' teachers to do has been possible for much longer than that, namely collaboration, shared responsibility for learning, access to resources beyond the one classroom textbook and teacher's brain.
It's just that formal education has struggled for hundreds of years to do things any other way than the first way Scottish priests and Ministers did it back in the 12th Century and that the misunderstanding is therefore not to do with what tool someone could be using for purpose x, y or z, but rather to do with a lack of pedagogical independence and a form of professional arthritis.
Where our starting point is not tools or code, but people, the creative results are often different. Instead of solving problems (that may or may not exist) we instead turn our minds to creating beautiful things that people don't need but want to have. The world's full of them: the iPod (more beautiful, but not really improving on existing MP3 players at the time); BakerTweet (useful for a tiny community of people around a bakery in the North East of London, but beautiful enough an idea to make thousands more laugh on seeing it):
I'd much rather be designing solutions that are fun, engaging, delighting than trying to find problems in our past ways of working that need "improved". The latter is what any "Government Initiative" is about: the previous bunch got it horribly wrong, so we're going to improve it. It's a way of looking at the world that is negative, obsessed with the ills of our world instead of looking for the opportunity that we've been missing thus far. I'd much rather be seeing the gaps between the good-enough solutions others have found, than trying to bulldoze their efforts. Creating more tools is not always the best means of doing this. Creating opportunities (training, conversations, blog posts, and, just sometimes, new tools) that help others also find this positive creative path of designing solutions is much more up my alley. The creator of the tool or Big Idea mustn't have all the fun - the user, participant, learner using the idea must have just as much fun using it, if not more. If you need an example where this is not the case, think of how much fun the cast of a theatre production have putting it together, and then think of the audience that have to endure it.
When it comes to designing tools, therefore, or even just appraising them for educational use, it would be interesting to think in terms of how they fit into the existing infrastructure. This is made easy by my current employer, whose vision is encapsulated in seven words: Do It First, Inspire Change, Make Trouble. As I look through hundreds of ideas I'll often be taken with a few quite quickly, before seeing if I can comfortably distinguish them from anything else that has gone before. I use this phrase to try and hone that decision down to facts:
[My thing here] is the only [thing of its genre] that allows [these folk] in [this geographical or online place] to [achieve this great experience] at a time when [people seek x, y or z]
This means of making decisions is not about a commercial company wanting to be the first in order to make tons more dosh than anyone else. It's about designing solutions between the gaps, rather than trying to bash the competition (bashing the competition or past initiatives is also excruciatingly hard work, and not very pleasant in the process). It's no suprise, perhaps, that this self-questioning approach originates from one of the most creative minds in the advertising industry, Marty Neumeier. Here's how he uses it to describe some great, creative companies that are about designing solutions instead of seeking out problems:
Harley Davidson is the only motorcycle manufacturer that makes big, loud motorcycles for macho guys (and macho wannabees) most in the United States who want to join a gang of cowboys in an era of decreasing personal freedom
or
The White Strips are the only pop music duo that records crude yet hip rocks songs for young urbanites in the US and other first-world countries who long for authenticity in an era of overproduced, me-too music
This should be the goal of any educational institution as much as any company. Pointing out the weak points in a system and then designing a "solution" to them is often the number one priority of any (normally annual) plan or curriculum, at the total expense of undertaking any gap-filling designing. Gap-filling is therefore seen as an additional thing for educators to do, rather than part and parcel of the job. That's one of the reasons for the professional arthritis of schooling and education.
I'd now dare educational leaders to take the jump that commercial operators have done for some time: forget trying to bash the competition (or, in SchoolsLand, trying to improve constantly on the way we did things last year), and instead come up with a gap-filling-only attitude. Doing so shows that you have confidence in the core product you're offering (sound teaching) and are keen to innovate truly in the untouched territory of your professional life, rather than mucking about around the edges of something that works OK. Who knows, you might become the next educational version of the iPhone, iPod or, if you're really luck, the BakerTweet.
Finding a professional pedagogy
How one achieves this change in attitude is certainly not an answer found in our laptops or in new gadgets and tools appearing all over the workplace. It's in attitudes, and knowing where your attitude is in relation to where you want it to be. Bangalore-based Gaurav Mishra shares this view when working with professional corporate clients and has abandoned any quest to explain (again) what the difference between the uses of blogging, social networking, bookmarking, podcasting and lifestreaming might be. Instead, he's distilled a professional pedagogy, if you will, into four main jargon-free perennial stages of development in our ways of working: The 4 Cs of Social Media. Go read, and see if you can correlate the best example of what you've students capable of doing with the progression of Content, Collaboration, Community and Collective Intelligence.
A pedagogy, scholarly or professional like Gaurav's, provides a vision set around people (the user, the learner or the participant). When we start with people, we end up designing beautiful things as a result of great ideas that come uninvited, that don't fit into our annual or three-year plan but which naturally always seem to fit our people-based (as opposed to results-based) vision. Rather than starting at a blank sheet of paper or computer screen and seeking out problems that don't exist, simply because we have a tool that allows us to do so, we are now crafting towards a known challenge that came to us.
This presents a significant challenge to those who are paid to invent curricula or frameworks or year-long (and occasionally three-year-long) plans. Given that they are no more superhuman than the rest of us how can they be doing anything other than seeking out problems that need 'sorted out'. They're certainly not given the luxury of time to let great creative initiatives come uninvited, at their leisure, based around real participants in the system.
When Michelangelo described sculpture it was as something that had to be sought out, not enforced on the stone:
The best artist has that thought alone Which is contained within the marble shell; The sculptor`s hand can only break the spell To free the figures slumbering in the stone
Michelangelo
The beauty was hidden in that block of stone, needing someone to come along and break that spell, remove the covers of rock that hid the creativity underneath. If we were to take this as our direction it would be at loggerheads with the constraints of curriculum and five-year structures. Curricula, school buildings and "creative processes" have generally been designed on spreadsheets and therefore look like spreadsheets. They have the same unresponsive, inflexible formulae as spreadsheets or, at the very least, require a master's hand to change them (hardly the stuff to inspire the masses in our organisations to take the creative lead and bend those spreadsheet columns).
Creativity is therefore a mixture. On the one hand, it's the ability to stand still and see the overarching line, the challenge that will make us achieve something beautiful while others scurry at ground level achieving tasks and 'doing stuff'. On the other, it's the desire to uncompromisingly seek out the creativity that sits before us in the blunt lumps of stone (and spreadsheets) that the quarrymen of our bureaucracies manage to produce.
The question for a leader, of course, is to work out whether they are a quarryman (or woman), or a Michelangelo. I know which one most leaders' egos would prefer to be, but for many leaders there's a need to spend some time at 35,000 feet working out where they are, and where their colleagues might want them to be.
So, should we be doing this creative leadership thinking in our creative bubble, or aiming to work collaboratively throughout the whole journey? If you're politically correct, you probably think that collaboration and creativity are exclusive bed buddies. As the next post in this series shows, you might be wrong there, too.
This is the first of eight posts on the theme of Where Good Ideas Come From. Pic from Evil Erin, who was looking for some good ideas in her roommate's bed.
The creative industries in the UK alone are worth some £70bn each year, about 8% of GDP and growing at about double the rate of the rest of the economy, made up by everything as diverse as television production to game-making, book-writing to advertising, public relations to jewellery. For the past year I've been contributing to this industry, learning the art and science of commissioning new media ideas, turning internet, mobile and gaming ideas from paper dreams to running code realities.
In the workplace, we have a variety of processes, individual talents and skills to ensure that most of these dreams turn into good ideas in the real world, from designing efficient challenging structures through which people pitch their ideas, to the knack of producing a contract that not only makes sense but is fair to all parties. A fair dose of gut instinct and knowing the shifting sands of the vast new media landscape contribute to building, hopefully, more excellent ideas than fairly good ones. The processes hopefully eliminate the really dodgy ones altogether.
But given the aims of the initiative with which I'm working - Channel 4's Innovation for the Public - to change people's lives for the better, to have a lasting impact, to achieve technological and social firsts, and to do so with a trademark slug of trouble, finding and generating good ideas in the first place is something that, if we could define it, would make life a lot easier.
Knowing Where Good Ideas Come From in any walk of life leads not just to a more pleasant experience in life, but a better experience for others and a more profitable life for everyone.
Knowing what makes an idea good is one thing. 95% of ideas get rejected, a large number fairly swiftly and, say, 5-10% after having looked in more detail at the issues involved. Few, if any, seem to appear elsewhere suggesting that either the ideas are too costly to get off the ground, leaving a Government or private investor struggling to see their investment have the desired tangible result, or they are cheap to produce but aren't seen as Good Ideas by the intended users or participants.
Knowing what we could do to improve those conditions of creativity is another goal, perhaps more tangible. These conditions, these physiological, physical and mental places are Where Good Ideas Come From.
What's important to consider, though, is that "being creative" is not, as is often the assumed case, a result of some form of change management. All too often, change management and the overpriced consultancies that help you get from there to here are in the business of selling the change of a more creative company or self. If tapping into creativity is reduced to change management, then we are indeed in for a rocky journey. Only 30% of change management programmes achieve any change at all, let alone the intended one and not necessarily a change towards a more creative one. Creativity is something most of us can unearth in the right circumstances with enough time, effort and stamina to see us through the darker moments of our "crappy ideas" being mocked or left out to dry.
And, of course, some of us (most of us?) tend to come up with fairly crappy ideas most of the time, and that's alright, seeing if they work before moving onto the next one when we realise we were heading down the wrong path. Not just in the world of new media and technology, though, is the potential for heading down too many different paths and tangents at once so ripe. Never have the options opening up been so great, the tools at our creative disposal so varied. Creativity is attempting to go exponential when often our more analogue brains and bodies aren't really in a mood for catching up.
With this, change management, that sudden jolt of inspirational energy (or brush of quasi-guru-like consultant fluff), is even less appropriate a model on which to base an rebirth of creativity in our organisations. As George Church put it:
"In a changing world, inaction can be the radical 'action'" (cited by Tim O'Reilly)
It is no happenstance that our first main areas of investigation of Where Good Ideas Come From are nearly all about time (and the lack of it) and the need for us to stand still, do nothing and drink it in. Someone, I can't remember or Google who it was, once said that they were in the habit of taking a day return flight, at least but no more than four hours long (the time of the laptop battery) in order to get things done without interruptions. Sometimes it's just the practice of regularly, say, every Tuesday morning, of taking a flight at 35,000ft to see the world move by a little slower and take it all in, before joining the land at a seemingly faster speed later. Of course, that's not really how it works. We all fly faster when we're taking in the overall view of things at 35,000ft and that seems slower than when we're on the ground, 'only' going at 10mph at sealevel but things seeming too fast to take in, let alone control.
Nor is creativity some elusive black art available only to the few, while the rest of us trudge on with our lemming-like routine. As Colin Anderson, MD of Denki Games in Dundee, puts it:
Today we run the risk of thinking of creativity in the same way as we
once thought of electro-magnetism – magical, unknowable, a black art.
Poppycock, I say again! It’s a series of deliberate choices – some
serial, some parallel, some conscious, some sub-conscious – made by
assessing the values of many variables simultaneously through the
filters of knowledge, experience and aesthetic appreciation. More
variables than we can currently define and measure perhaps, but that
doesn’t make it magic. I subscribe to the school of thought that says
“art is a science with more than seven variables”, and from where I’m
looking creativity is precisely that. (emphasis added)
There are indeed more than seven variables to creativity and therefore knowing Where Good Ideas Come From. I'm going to make an attempt to understand what some of those variables are and would ask for your help in the comments to fill in the inevitable chasm-like gaps.
If we all knew the idea we'd not be writing blog posts like this, reading them or doing workshops on the matter. We'd be busy pulling that limitless supply of creativity out of its hole to see the light of day and bring us riches, joy, learning and new friends.
However, given that we're not, over the next month or so (or however long it takes me to splurge out those thoughts) I'll be summarising on this here blog some of the best online and offline reading and viewing that has attempted to answer that question, throwing in my own unresearched but tried and tested notions (and a few that haven't even got that far). This post will change to reflect the updating posts that will take a peek at:
Creative Genius. Man At Work: Arguments for not working as a team
Getting Creativity Done (GCD): How to get productive and clean down the mental decks
Nurturing creativity: Worrying about "Tanya's Bow" or the Dinosaurs: Some arguments for caring about the team, not pissing them off and really understanding what failure is
Finding your tribe
Creating visions, not missions
As they're posted, please leave comments, disagree, add your own links, videos and pictures. I hope that by the end of it we'll have a resource to which we might come back with the stories of how the works, thoughts and attitudes of others have changed the way we operate.
It means that my eye is increasingly heightened on all things design and artistic, and this has just distracted me, Morgane and Catriona for most of the latter's tea-time. It's one reason to let your two-year-old onto that MacBook Air touchpad. Go on. You know you want to.
Over on 38minutes, the creative community I helped create for Scottish and Northern Irish webpreneurs, I've been blogging a lot about what makes online services, communities, apps and APIs attract, retain and turn into some kind of value the interactions of the people out there.
The last post I wrote was a summary of some gems of wisdom in the two Matts (Biddulph and Jones) behind travellers' site Dopplr.com, lifted from the transcript of their talk at last year's dConstruct conference (you can listen along, too). Here are my own highlights that potential 4iP developers and those working on web-based services for young people might bear in mind as they develop their ideas and products:
On a web of data
"Find one bit of catalytic information that you can inject into a bunch of other arenas."
"Flickr is a mainframe. It's a big, giant machine that stores loads of stuff, and by storing lots of stuff in the same place, we get economies of scale out of it.
"And from there, we come to pretty much where we are now, which is having seen the power of combining massive amounts of information from many sources—the enormous, sort of easy group-forming power, the zero-coordination power of things like tagging, and linking, and all these things used properly—is we get to this realization of the original vision of the web, which is the web is not just a sort of teletext or view data system.
"It's a web of data. It was designed as that right from the start. And everyone's dear friend Tom Coates talks in wonderful detail about the way that we are now starting to design not just for our web sites, not just for that little bit you're seeing in your browser, but for the re-use of data, and realizing that data crosses the boundaries of sites. And sites open up access to that data and allow the easy recombination of it with other sites, are themselves benefiting from it.
"And to quote another of our—this is a friend's quote, a talk, by the way—another of our respected friends, Matt Webb. He's been talking recently about movement as a paradigm for the way the web is going.
"So the web, when we started out, the web was a physical thing. You went to a site, you hang out on a forum. We had destinations, and people tried to build portals, places that could be almost physical sort of arcologies—places you could go and put your online life.
"And then we moved from this web page era into the era of web applications—the sort of the power-lifter, the Internet as magnifier of your individual capabilities—gives you superpowers and power-ups, and lets you do things over great distances, access knowledge that you can't immediately access from your physical environment.
"And that's the stuff that's evolving now. But as we are able to move from site to site, we get away from the arcology—the individual approach to sites. We are moving around sites, as is our data. And something that Matt said in a presentation recently, which I think is a really wonderful concept, is that your web service is a finite-state machine that executes on your users."
On distributable media
"A guy called Martin Lindstrom said, "The genius of a coke bottle is when it smashes into a thousand pieces, you still know it's a coke bottle.""
On delighters
"...Delighter is a world that I learnt from a guy who used to run the W Hotels in New York and in San Diego. And he used to say that delighter is a term evolved from the hotel industry or the hospitality industry. Where you put something into somebody's experience or into a room, but you do it in such a way that it creates nothing but absolute joy and delight.
"And the example that he used, which stuck with me for ages, was the rubber duck. If you go into a hotel room and there's a rubber duck already in there. You will go, "Oh, rubber duck. Cool." If you go into the hotel room on your second night there when you had been shopping all day and it's been raining. And you are naked and you really want to bat, and there's a rubber duck. You will be incredibly delighted. At least that's the theory. So we are always trying to find the rubber duck that we can put into the experience where we can.
"And one of the things that I really like about the logo is that, almost entirely dependably, people don't notice that the colors are changing until like two or three months in. And they go, "Oh! The colors are changing. Why are the colors changing?" And you set up all your vanity alerts on Dopplr on surmise and things like that. And they go, "Oh, just nice, the colors are changing" and, "Why are the colors changing?"
"So then we go and talk to them and say, "Hey, this is why the colors are changing. It reflects what you are doing around the world. And these are city colors that are referring to where you are around the world. They go, "Ah, that's really nice. I really like that."
"And then apparently another month later they go, "And you did it in the favicon.""
On the language of 'Friends'
"But the thing that's kind of bubbling up in my mind is that soon, we may have to kind of say this: that a lot of the reasons that we are tying up ourselves in knots is because of language. Because so much is tied on to the notion of friendship, the intimacy, the kind of transitiveness of friendship, what you're able to share, and what you wouldn't with certain people. And then how does that move to friends of friends?
"And all of the things that he was talking about—I mean, very fantastic things to be able to do with information. But using that word "friend" just kind of takes it to something in our monkey brain, kind of just goes, "Oh, I need to collect a dollhouse of friends, or I need to be very careful about how I handle this."
"So I'm kind of thinking very carefully about this at the moment. One of the things that we started off at Dopplr—when we started off Dopplr, we tried to keep to it—is that we never use the word "friend." We always talk about the informational relationship. We talk about the kind of switchboard pipe that you're connecting to somebody that you trust.
"And we talk about the information that's going, and we talk about the level of trust, and we talk about what's going to happen, but we don't judge whether that is your friend, your bank manager, your boss, your archenemy, whoever it is. And it just makes life a hell of a lot easier."
Really. Seriously. If you're making any kind of online platform in the coming months go and read/listen to it all. I'll be asking questions later... ;-)
I've spoken at nearly 3000 people, and with hundreds more over the last month of conferences, workshops and socials. I'm off to be a Godfather for a few days having found an antidote to all this conferencing:
Bits of our world need to be seen in a context. The Dubai indoor ski slope is not, as Westerners would say, a crime against global warming. In the context of Dubai water costs more than oil, so creating an expensive indoor area to keep the snow from melting is actually most sensible in the long-term. The context is sometimes frustrating - London Grid for Learning blocks Heppell's website because it concerns 'Criminal Skills' (his boat's called Cracker...). Filtering and blocking, home and abroad, is often a contextual issue, and new disruptive mobile technologies are changing that context.
Today's context is different from a few years ago. Information is free (and those who block it are putting their nation at a disadvantage), but the thing that is becoming scarce is the ability to learn, to exploit this information and knowledge to come up with ingenius ideas, creative offshoots and fill in the gaps in our lives.
We don't watch television so much any more, without also taking part in the online communities around the shows (C4's work in this sector is world-beating).
The inbetweenies So, in the past we used to have me/you, broadcast/viewer, teacher/learner, but all the interesting stuff in 2008 is happening between these space. The people and projects in this space are the "inbetweenies", working outside the hierarchical historical norms in this superb learning space. Clay Shirkyalludes to this, too, when he says that the innovation in organisations often happens in the 'gaps' in the organisation and it is the connectors who bridge these gaps who are often seen as 'creative'.
There's even a technology for this space: nearly now technologies. These are asynchronous technologies, but where we expect an answer in the near future (when I started blogging I'd expect an answer in a week, but now have an expectation that the first comments will appear within minutes. Things have changed. Twitter leaves me wanting almost instant nearly now communication, but where I have the option to come back later if I want.)
Stephen reckons that the new media companies are different in leadership, too, from traditional companies, in that they don't lead users. I think this is a little simplistic, not quite right, although there is a change. But Caterina Fake greeted the first 10,000 Flickrers in person. Every MySpacer's first friend it the company boss. MySpace leads users towards content every day through its homepage. Google Ads lead users into transactions they didn't even know they wanted.
Getting away from the learner's cell All this is going on, the edges are becoming fuzzier the world over, except in most school buildings. They are designed on a spreadsheet, where spreadsheet cells represent the classrooms, cells in themselves in more than one sense.
In the online community work that Stephen and colleagues did at Ultralab, amongst all the things I've heard from him before about being seductive and engaging, 24/7, the term 'mixed age' made me think about how most Glow groups for students may, perhaps, fall into the traditional cell format: age, stage, subject or project. I hope that teachers in schools get together to help create some mixed age groupings, composite Glow classes if you will. I know some parents aren't so happy when their offspring are placed in physical composite classes, but perhaps Glow offers the advantages - potentially - of composite classes that I experienced at school, but in a more intense and long-term basis for all students, not just those in small schools.
Above all, I hope that the students take it on themselves to fuzz up those edges a bit further.
Recent Comments