263 posts categorized "Digital Media & Change Management"

January 10, 2015

The Devil's Advocate... or how to kill creativity

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I do love my weekend dose of Hunting English, and this week's post was an interesting look at the role of Devil's Advocate in decision-making, and in learning:

In an election year, a time of miracle cures and vested interests pushing their cargo cults, we should pay heed to the Devil’s Advocate’s role in “suggest[ing] natural explanations for alleged miracles, and even to bring forward human and selfish motives for deeds that have been accounted heroic virtues”. When we are presented with the latest miracle cure for all our educational ills – be it teaching ‘character’; possessing a ‘growth mindset’; the latest technological wizardry; the latest research evidence; a new school structure or savior school leader; or even a newly ordained Secretary of State for Education – we should seek out natural explanations and ask challenging questions.

I left a comment on the post, with a caveat on the way the role of devil's advocate is taken, that I've learned over the past 8 years working in both education and in creative product teams:

I've had a mixed relationship with the devil's advocate role (and even the film ;-). I've found it useful before, when I've been it, but always wondered why I was irked when someone started with the phrase "just to be the devil's advocate...". It was reading Stanford creativity researcher, James Adams' Conceptual Blockbusting and then Tom Kelley's Ten Faces of Innovation that I discovered why that particular blanket role is not as helpful as approaching it with a specific goal in mind. Kelley's suggestion is that it can be approached from one of these ten creative team roles, roles I recognise in the creative industry teams I've worked in. I've talked about the effort in avoiding a black and white, yes and no "devil's advocate" type role in my new book, How To Come Up With Great Ideas.

One of the key reasons for doing this, is that when most (unskilled) devil's advocates adopt that role, the put the onus of proving or disproving a state on the person making the suggestion, meaning that, over time, there is more chance that people resist making potentially risky or alternative suggestions to the status quo.

In short: it can kill creativity and innovation. When people play the devil's advocate well, they are often the ones presenting the evidence that might suggest an alternative viewpoint, and opening an opportunity for learning. When they just state the opposite, based on gut feel or personal opinion, it can be the most demoralising blow to people trying to advance their own knowledge, their team or the field.

Pic CC by Shallom

January 02, 2015

Inspiration is everywhere. Even in Galena, Kansas...

I love this tweet from a couple of years back by animation firm, Pixar:

Pixar inspiration

Inspiration is everywhere: A lonely old tow truck in Galena, Kansas caught our eye. You know the rest...

What were they talking about?

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Now, I don't think I know anyone from Galena, Kansas, but I'm pretty sure that those kids in Spring Grove School don't believe, hand on heart, that inspiration is everywhere, as they set off into their new year, examinations, tests and keeping up with each other's Facebook boasts. That, after all, is what January in 2015 will mean for so many: an attempt to look forward to a positive future, but a reality check, around January 5th, that actually life will carry on as it always has done, always will do. 

Life-changing, world-changing or neighbourhood-changing inspiration is everywhere, though, and no more so than in places where things are not working.

On p.43 of my book I talk about the attitude real innovators have: they don't blog that "things in the system don't work, it's all broken!", and they don't ask facile questions such as "what does 21st century education look like?" and then not bother answering them. Instead, they spot the small details that get in the way and go about removing them, altering them or rebuilding them:

Most successful innovators in and outside education spend their time always seeking out what doesn't quite work, what doesn't satisfy the needs of the people it should do, what could be made incrementally better. They are not negative people; far from it, in fact, as they seek not to moan but make the world a better place, one incremental change at a time. Doing this means that they spend time – small snippets and extended periods, depending on what time they have available – looking at the world around them with a critical eye and an endless run of questions about why things are the way they are. They are not satisfied to leave an under-par situation – they want to make it better as soon as possible. 

  • What are things really like at the moment?
  • If we were to take a snapshot in time, where is our school, where are our learners?
  • What are people trying to achieve at the moment, and are they managing it?
  • What are the areas where people find they're held back, or encouraged to take their learning further?
  • How do we engage with parents, the school board, the wider community?
  • How do we know they're happy with it?
  • Where are the people who are happy with what we do?
  • Where are the people who we don't know are either satisfied or not?
  • What about the people who are not, at the moment, part of our school community? Why are they not?
  • What are they doing instead?

This is a non-exhaustive list of questions that might be of interest to any innovator, and to answer any or all of these questions would take a long time, but that active immersion into the way things are needs to happen all the time.

Immersion is just as it sounds: long, deep and sometimes painful. The swimming pool analogy isn't bad for explaining it:

If you were immersed in a swimming pool you'd have the water over your head. You would, over time, become short of breath. A real immersive experience would push that feeling just a little beyond what feels comfortable before, finally, at the last possible moment, coming up for breath. And, with every time you get immersed in the water, the longer you can bear it before coming up for breath. With more practice, you can swim while holding your breath, travelling while building resistance to the pressure. In a school, this is the equivalent of the Head Teacher and other leaders being capable of not only managing business-as-usual, but also having the mental bandwidth, the practice of longitudinal immersion, to see potential for ‘new innovation’ as it arises. In short, it's about taking time to reflect, not regularly but constantly, on how things might be made better.

This is, if you like, a manifesto for problem-finding in the way we manage, lead and create innovation in our schools, in the same way as I started pleading for problem-finding over and above problem-solving five years ago to this week. Problem-finding is what really shifts the school's thinking from 'stand and deliver' teacher centricity, and so, too, it can move innovation from the board room (far from the point where the innovation will make a difference) to the classroom and community:

So, instead of lofty resolutions for 2015, that we will all break by January 5th, in our hearts and minds at least, why not start seeking big innovation in the little details, by problem-finding, not idea-creating?

Reference:
How To Come Up With Great Ideas and Actually Make Them Happen, available from NoTosh Publishing. Kindle and standard paperback due Summer 2015.

September 19, 2014

Google Teacher Academy with NoTosh: a heck of an opportunity

 

Teachers take the seemingly impossible and make it happen. Every day. Teachers are the moonshot profession. We want to work with as many of you as possible in London and Amsterdam this year, at our GTA design thinking workshops.

When NoTosh took the Google Teacher Academy (GTA), we wanted to move it beyond simply exploring 'tech tools' and see if we couldn't harness the talents of educators, a sprinkling of technology, and a foundation of inspiration and moonshot thinking to really change the world of education.

Well, Google let us do it.

This weekend is the time to get your application in for London or Amsterdam's GTAs this autumn. Applying is the first step in opening up an amazing year ahead:

  • two weeks to put forward the education challenges you face on your doorstep or in your classroom;
  • two days intensive design thinking / technology professional development and action with the NoTosh crew, Googlers and selected Google Mentors
  • six months support from the Mentor team to put your prototype ideas into practice and continue to transform learning in your school.

If you're a school leader, please apply yourself, or encourage your teams to do so. If you're an innovator teacher, jump in and share your dreams for learning. If you're an educator in FE, HE or early years, consider representing your sector with an application, and add something different to the mix.

The Google Teacher Academy has been redesigned to help teachers gain understanding of the latest technologies while working in collaborative teams to solve chunky challenges that they've identified. Participants will be coached in harnessing the design thinking process to select and frame the chunkiest challenges in education, locally and globally, before working over two intensive days to prototype solutions alongside Googlers and selected expert coaches. 

Design thinking is an innovation process used by some of the world's most successful organisations to find and solve the greatest challenges on the planet. It is a simple process that can be harnessed back in your classroom, putting your students in the driving seat of their learning.

Selected expert mentors and Googlers will introduce new technologies with the potential to transform learning, as well as revisiting more familiar tools with a lens of student-centred learning in mind. 

Participants will learn by doing, working in teams of fellow educators to trial their ideas there and then, before being supported for six months by a mentoring team as they try out new methodologies and technologies in their classroom.

NoTosh, your facilitators for this journey, are global experts in innovation, creativity and learning, with offices in Edinburgh, Melbourne and San Francisco. The entire team plus a group of selected educators from the UK and Netherlands, will be on hand to support you as you put your ideas into practice.

You can apply for GTA London and GTA Amsterdam until September 22nd. 

August 29, 2014

Out Now! How To Come Up With Great Ideas and Actually Make The Happen

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Finally! How To Come Up With Great Ideas And Actually Make Them Happen is out, in iBooks, at least. You can buy a copy now in your local store, and get your own ideas to fruition quicker and better, with your community in mind:

USA:

https://itunes.apple.com/us/book/how-to-come-up-great-ideas/id909659149?mt=11

UK:
https://itunes.apple.com/gb/book/how-to-come-up-great-ideas/id909659149?mt=11

AUSTRALIA:
https://itunes.apple.com/au/book/how-to-come-up-great-ideas/id909659149?mt=11

The book is available in every iTunes store globally. The beautiful, full-colour paperback is currently in printing in England, and will be heading out to pre-orders from September 9th, and available for general sale shortly thereafter (http://notosh.myshopify.com/products/how-to-come-up-with-great-ideas).

Thank you to all those who pre-ordered and waited patiently for it. I'm delighted that my first book is finally out there in people's hands, and cannot wait to hear back from readers on how they develop their innovative ideas.

Here's the blurb for those of you who've not yet dived in:

How can students, teachers and school leaders in the education world innovate, share and build on new ideas, taking them out of individual classrooms to have a wider impact? What could schools ever learn from luxury fashion houses, political campaigners, global tech, media and telecommunications companies, and the world's biggest businesses of tomorrow, the startups? 

You can achieve ambitious visions for learning through swift innovation by borrowing from the people who invent, create much from little, and refine their ideas with a swiftness few of those large corporations, Government or schools have seen.

Learn more through practical steps, workshop activities for your own teams in your learning environment, and plenty of real success stories, to help kick-start the innovation for you.

How To Come Up With Great Ideas And Actually Make Them Happen can be purchased on the iTunes store as an iBook, and in paperback on http://www.notosh.com/books

June 11, 2014

Do people really want a struggle, or an easy day of PD?

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Sometimes I wish I just ran flashy blogging workshops for a living. The days would be easy, the money, too. I wouldn't have to think hard, and nor would the attendees. I'd have photos of smiling complacent teachers out for a jolly PD day.

But the satisfaction would be zero on both sides of the fence. As our buddy John Davitt puts it, life is not about finding the right SOFTware, it's about enjoying some STRUGGLEware. NoTosh spends a lot of its time in that struggle space, helping people really operate in that zone of proximal development and, on days like Monday, maybe even just a wee bit beyond that.

This week the English Head Teachers with whom I was working and I both had a well-deserved pint after a real struggle of a day, working through how their loosely joined trust could increase its positive influence, without necessarily losing that mutual feeling of trust that has evolved over a few years. Basically: control without being controlling, was the order of the day.

That's a notoriously hard balance to strike. In January, we had explored the reality of the here and now was deciphered and some potentially strong platforms on which this group of Heads could build in the future. This week's session tackled the most difficult element - how do you set out some pragmatic action that takes the group from the status quo to their ambitious future, and not just that, but do it without diktat from on high?

We got there. Just. Between my first signs of the season's hayfever (atchoum!), the heat of the day, the heat of the discussion and the complexity of the relationships that make this group of Heads special, we got there. Pragmatic next steps that will begin to take them to a more powerful, influential place, ready to make students' learning better, together.

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If you want to struggle with me on some of the most challenging leadership and innovation tasks that a learning organisation might go through, you can work through some of the exercises and activities in my soon-to-be-released book, How To Come Up With Great Ideas And Actually Make Them Happen. It's available for pre-order now.

Or you can just look at other people having a struggle instead ;-):

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https://twitter.com/trees2066/status/476482287320977408

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March 21, 2014

Lessons from Disney Pixar on how creativity leads to more summative success

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Pixar, since it was purchased by Disney, gives off an air of resilient creative and commercial success, but the journey is rarely that smooth. In fact, the more creative the output, the more commercially successful it is, for Pixar at least, and the processes used by the teams is remarkably close to what we see in highly effective classrooms.

During a keynote en français in Québec, I wondered why learning today sometimes felt less personalised than 30 years ago when personal computers first hit my primary school. Inspiration came to me from my daughters, Catriona and Anna, as for the nth time they sang along to the karaoké version of Disney's Frozen title track, Let It Go:

I was fascinated by the obvious success of this film in hooking my kids, and wondered if I might be able to make some links between what we know works, from the research of Dylan Wiliam, Hattie and the like, and what we see works in the creative industries with films like this. Much of the insight comes from a new book by Pixar’s President, Ed Catmull, which is released this April: Creativity, Inc.. Excerpts from the book can be read in this month’s Fast Company.

1. We all start out ugly

“After the original leaders of animation left Disney in the 1990s, the new people running things were from production. And they brought their values, which were to keep the production people busy and productive with one movie after another. So story development was organized in the same way they organized production. As a consequence of this "feed the beast" mentality, a balance was lost at Disney.

“The cost of that becomes clear when you think of how a movie starts out. It's a baby. It's like the foetus of a movie star; we all start out ugly. Every one of Pixar's stories starts out that way. A new thing is hard to define; it's not attractive, and it requires protection. When I was a researcher at DARPA, I had protection for what was ill-defined. Every new idea in any field needs protection. Pixar is set up to protect our director's ugly baby.”

This process is markedly not just a creative one - it involves critical thinking, too. But the point at which critical analysis is introduced is, well, critical. Too early, you kill your baby before it has a chance to grow fully. We do this all the time when we survey progress too early, or don't know what the purpose of an immersion period is.


2. We’ve been through the process ourselves. We share the language and steps

“People who take on complicated creative projects become lost at some point in the process. It is the nature of things--in order to create, you must internalize and almost become the project for a while, and that near-fusing with the project is an essential part of its emergence. But it is also confusing. Where once a movie's writer/director had perspective, he or she loses it. Where once he or she could see a forest, now there are only trees.”

Key to making sure that the balance is struck, and struck at the right time, is having a process on which you can depend, and which everyone in the team can trust. Most creatives we know at NoTosh use design thinking, or some version of it. The language between each team is different, but the language within each team is shared and common.

They all recognise that in the initial period of immersion it is too early to make the call as to the worthiness of any given problem or challenge. By synthesis they know that there is an opportunity to critique, to make sure that we’re headed on the right path. By the time you enter the ideation, prototyping and feedback loop, you are constantly starting and stopping, but each idea is small enough, light enough and on strong enough foundations of the immersion, to cope with tweaks, both major and minor. New ideas can get ditched easily, with a fresh crop of better ones emerging from the dust of the feedback.


3. Decide on your rules

“Earlier, before the screening, Pete had described what they'd come up with so far. "What's inside the mind?" he asked his colleagues. "Your emotions--and we've worked really hard to make these characters look the way those emotions feel. We have our main character, an emotion called Joy, who is effervescent. She literally glows when she's excited. Then we have Fear. He thinks of himself as confident and suave, but he's a little raw nerve and tends to freak out. The other characters are Anger, Sadness--her shape is inspired by teardrops--and Disgust, who basically turns up her nose at everything. And all these guys work at what we call Headquarters."

“That got a laugh, as did many scenes in the 10-minute preview that followed. Everyone agreed that the movie had the potential to be, like Pete's previous film Up, among our most original and affecting. But there seemed to be a consensus that one key scene--an argument between two characters about why certain memories fade while others burn bright forever--was too minor to sufficiently connect audiences to the film's profound ideas.

“Midway down the table, Brad Bird shifted in his chair. Brad joined Pixar in 2000, after having written and directed The Iron Giant at Warner Bros. His first movie for us was The Incredibles, which opened in 2004. Brad is a born rebel who fights against creative conformity in any guise. So it was no surprise that he was among the first to articulate his worries. "I understand that you want to keep this simple and relatable," he told Pete, "but I think we need something that your audience can get a little more invested in."

“Andrew Stanton spoke next. Andrew is fond of saying that people need to be wrong as fast as they can. In a battle, if you're faced with two hills and you're unsure which one to attack, he says, the right course of action is to hurry up and choose. If you find out it's the wrong hill, turn around and attack the other one. Now he seemed to be suggesting that Pete and his team had stormed the wrong hill. "I think you need to spend more time settling on the rules of your imagined world," he said.

“Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the Toy Story films, for example, are never audible to humans. The rats in Ratatouille walk on four paws, like normal vermin, except for Remy, our star, whose upright posture sets him apart. In Pete's film, one of the rules--at least at this point--was that memories (depicted as glowing glass globes) were stored in the brain by traveling through a maze of chutes into a kind of archive. When retrieved or remembered, they'd roll back down another tangle of chutes, like bowling balls being returned to bowlers at the alley.

“That construct was elegant and effective, but Andrew suggested that another rule needed to be clarified: how memories and emotions change over time, as the brain gets older. This was the moment in the film, Andrew said, to establish some key themes.”

If it takes a long time for Catmull to describe the formation of rules that guide the creation of a film, it takes an equally long time to make them clear in a learning situation. Taking Dylan Wiliam’s five key areas that teachers and schools might develop, one might feel that there are ready-made rules about “the way we should teach and learn”, ready to take off the shelf:

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But schools need to have internal discussions amongst staff about how to internalise these into the story they are trying to tell, with their clientèle in their locale, work out what the rules of their game are. Then teachers have to have the same conversations with their students, taking time out to think about thinking, to learn how to think - those learnings become the rules of engagement for the class, keeping learning on the straight and narrow, even when a project is complex, even when the project team is only seeing trees and no forest.

 

4. Know how to take feedback, and find a producer to help you through it

“An important corollary to the assertion that the Braintrust must be candid is that filmmakers must be ready to hear the truth; candor is only valuable if the person on the receiving end is open to it and willing, if necessary, to let go of things that don't work. Jonas Rivera, the producer of Pete's film, tries to make that painful process easier by "headlining" the main points of a Braintrust session--distilling the many observations down to a digestible takeaway. Once this meeting wrapped up, this is what he did for Pete, ticking off the areas that seemed the most problematic, reminding him of the scenes that resonated most. "So what do we blow up?" Jonas asked. "And what do you love? Is what you loved about the film different now than it was when we started?””

Getting critiqued is never pleasant, even if you’re used to feedback and feed forward from your peers. Despite the feeling that we give good feedback to students, teachers are, in a decade of seeing their feedback on conferences, less strong at giving feedback on their own learning. It takes work, effort, energy and sometimes a little painful learning to get feedback that is, in the words of Ron Berger, Kind, Specific and Useful. In the film industry, the Producer’s job in these “brain trust” advisories is to capture that feedback, headline it and begin to make it as useful as possible for the Director, who’s just had his worked critiqued, and might feel a bunch of things, not all positive.

In a classroom setting, when we are giving and receiving feedback, who is the third person playing the role of Producer?

 

5. The Pupils' View

During my talk, I asked a group of seven students to act as my own braintrust during the talk, providing me with the actions they as students might undertake to make a vision of a more shared learning journey come true, and to highlight which elements of this (new and slightly too hot-off-the-press talk) I should emphasise in the future. Here's what Marianne, Laurie, Marie-Pier, Roxanne, Mathieu, Éloïse and Joana from l'Ecole des Sentiers put to me via Twitter, and what I read out as my conclusions for the talk:

  • As students, we must also get involved! When teachers offer ideas using technology, they are easily discouraged, but students also have their long journey to undertake, too.
  • We must show them that we are interested and we are ready to encourage. Teachers feed the enthusiasm of their students.
  • We should be encouraged to be creative, to risk failure to rise, dust ourselves down and be better next time. Do not prioritize performance above all else.
  • As students we should create a school forum where everyone would be comfortable giving their ideas and asking questions.
  • Don’t be afraid to ask questions and to assert your ideas, as the opinion of the students is also important. We have a head on our shoulders.
  • And sometimes we can see things from another side :)
  • Our idealistic idea: find a way to finance the purchase of tablets for each pupil. There’d be no more need for a heavy textbook, manual or notebook. And we could connect with interactive whiteboards, with communication between student and teacher encouraged. There’s also an ecological advantage.
  • Students want to be involved in the course. No more lectures. Students could also talk in front of the class, expose other ideas, what we have understood. Help us not to have to depend on teachers so much.
  • Students would be able to give their ideas, eg for course topics or written work ... All ideas are welcome.
  • Suggesting an idea is the best demonstration of intelligence.
  • Do not aim solely at the acquisition of specific skills encourage overall development.
  • We must be able to define our own rules :)

En tant qu'élèves, on doit aussi s'impliquer! Quand les enseignants proposent des idées en utilisant les technologies, ils se decouragent facilement. Donc les élèves on aussi leur bout de chemin à faire.
Il faut leur montrer qu'on est intéressé et qu'on est prêt à les encourager. Les professeurs se nourrissent de l'enthousiasme de leurs élèves
On devrait être encouragé à la créativité, le risque, à tomber pour se relever meilleur. À ne pas prioritiser les performances.
En tant qu'élèves nous devrions créer un forum école où tout le monde serait bien à l'aise de donner leurs idées et poser leurs questions
Pas avoir peur de poser des questions et de s'affirmer, car l'opinion des élèves est aussi important. On a une tête sur les épaules
Et on voit parfois les choses d'un autre côté :)
Idée idéaliste: trouver un moyen de financer l'achat de tablettes propres à chaque éleve. Plus besoin de manuels ni cahier de notes,
Et connecter avec les tableaux interactifs, la communication élève-prof est favorisée. Avantage écologique également
Les élèves veulent être impliqué dans les cours. Plus de cours magistraux, les élèves pourraient aussi parler en avant de la classe, exposer
Aux autres leurs idées, ce qu'ils comprennent. S'aider entre nous et ne pas dépendre des enseignants
Les élèves aimeraient pouvoir donner leurs idées, par exemple pour les sujets de cours ou de productions écrites… Toute les idées sont bonnes
Une idées c'est la plus belle demonstration de l'intelligence
Se developer en tant que personne a l'école. Ne pas viser l'acquisition de compétence trop spécifique et encourager le développement global.
Il faut pouvoir définir nos propres règles :)

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November 29, 2013

There's no such thing as The Strategy. Only strategies, plural, for people

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Originally posted on the wonderful NoTosh Facebook page.

During my tour of Sweden, I worked with groups of senior education leaders - district directors, politicians, parent and union reps, principals - and sometimes it might even have been the first time that these distinct groups of leaders had sat together in the same room to talk about how their strategies for better learning might actually be put into place.

All the discussions and processes we used unearthed fascinating insights, interesting as much as anything for the potential that, until now, had been locked up in their different perspectives of what great learning actually entailed. One such fascinating discussion was with a wide range of education leaders at a 90 minute workshop in Tidaholm, a beautiful city a couple of hours out of Gothenburg.

We undertook an exercise that is quick to explain, and leaves ample time for people to share the hopes, fears and expectations of the future, in a structured way that leaves no innovative stone unturned.

Part of the process, nicknamed the Dilemma Dance, involves each mixed team (principal, district person, teacher) coming up with what they believe to be the core strategy to follow, the key problem to resolve or opportunity to be harnessed. Take a look at how diverse one group's understanding of a "common strategy" is:

// How might we help each student arrive at his or her maximum capacity from the gifts that (s)he has?

// There is always a way for everyone to learn; how might we find that way?

// How might we bring the world into the classroom in order to get every student included in their world?

// How might we give students the chance to participate in their learning through reflection?

// How might we create the kind of environment where joyful learning through participation, creativity and sharing is the norm?

Some are focussed on students' progress, others on equality, others on better formative assessment strategies, others still on a culture of curiosity and creativity. These fives groups came up with five different levels of focus for a "common strategy". And they're not alone - every group I've ever worked with comes up with something similar.

What does it reveal? It shows that there is no such thing as a common strategy. As soon as people are introduced to strategy - something that normally happens AFTER it has been written, incidentally - we suddenly realise that there are STRATEGIES, one for each type of person involved, each strategy giving that group of people a responsibility in delivering their part of the strategy bargain.

If more policy-makers and school leaders started with people at the core of their strategy/-ies, then maybe would see more a-ha! moments of this variety, earlier on in the process. Maybe we could begin to see the emergence of "pod-like" delegated leadership in schools, with people-centred strategy groups looking after every part of the school's community. Surely this is more feasible than one strategy pretending it could ever cater to everyone's needs?

Originally posted on the wonderful NoTosh Facebook page.

Pic of Tidaholm by Pete Hunt (CC)

November 19, 2013

It's in if... Strategies for focus

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Originally posted on NoTosh's fabby Facebook page
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When you're writing a strategy for education, it's vital to delimit what *really* matters, and there's a simple project management tool that can help.

Jamie Arnold is the most rigourous project manager I've ever had the pleasure to work with, during my time at Channel 4. He's the PM on the award-winning new gov.uk website of the Westminster Government in London, and over the months of development has shared much of the agile management setup he and others have been managing, in order to get the site up and out on time, and to budget.

One of my favourite takeaways is the "It's In If..." list for the project, pictured, which sums up in a few pithy phrases what the core activity of his organisation is. It helps when team members are faced with a personal challenge of whether or not to do something, or include a factor in a build. If it's not in, then it's not to be done. If it's not a core value that *only* your group, team or school can offer, leave it out or point people in the right direction, where that offering is better.

Schools and school districts could do with their own "It's in if..." lists to help focus the innovation of everyone in the school community. But if you were a teacher, writing your own "It's in if..." list for, say, resources used in a unit or making a decision to have a teacher-led section of a lesson or not, what would you put?

 

September 10, 2012

Creative confidence and the power to change the world around us

This week I've been working with senior education folk in Brisbane to show, through a set of stories and discussions, how their own creative confidence is so important to bring about a sense of self-efficacy in their teachers and students. Self-efficacy is that feeling that whatever you do can have an impact on the world around you. Creative confidence is not feeling uncomfortable when people start to approach things in ways that rock the status quo.

Self efficacy is pretty much at the core of motivation to learn, the motivation to do anything! After all, we don't tend to undertake tasks that we feel we'll never manage to complete or get good at: learning Arabic, cooking a soufflé... Students in school can have self-efficacy and see how to complete the "game" of doing well at school, while others assume they'll never score highly in that game and just disengage. Some have self-efficacy in spades, and others have little.

The talk above from IDEO and d.school founder David Kelley contains a powerful trio of stories about how self-efficacy has moved on from its origins with Albert Bandura in seeing how phobics can overcome their phobias, to a set of understandings about how humans measure their progress towards goals and decide on their next steps based on those measurements, sentiments and reactions. 

Kelley's bias is on creative confidence and turning the tide on the number of people who, from the moment they're institutionalised in school through to adulthood, decide to tell people "I'm not creative". His belief is that, in the same way snake phobics can be trained to get themselves out of that phobia, creative-phobics can be trained to get themselves out of that hole, too. It all starts with a basic set of assumptions and processes like design thinking that turn that scary creative journey into a familiar well-trodden path:

Much in the same way the snake phobic can see other people are not phobic, and must have found the means within themselves to be that way, we can realise that people we see as creative found a set of processes, steps and attitudes that allow them to think in that way.

June 29, 2012

Five Things I've Learned

PFFiveThings

Yesterday the Pearson Foundation launched its new site, Five Things I've Learned, and I was honoured to be amongst the first educators to contribute five key things I've learned in my career so far about learning, teaching, life and the universe.

I've still got plenty of dues to pay in my career, so it is incredibly flattering to be amongst such august company, from Jeb Bush to Stephen Heppell - it's quite a mix! More Five Things are due to appear in the weeks and months to come.

You can read my five things on the site, in full:

  1. The people making the decisions are no smarter than you are.
  2. The harder I work the luckier I get.
  3. Vision is a process, not an away-day, a statement, or a project.
  4. The world moves faster through projects.
  5. Teaching needs learning, not the other way around.

About Ewan

Ewan McIntosh is the founder of NoTosh, the no-nonsense company that makes accessible the creative process required to innovate: to find meaningful problems and solve them.

Ewan wrote How To Come Up With Great Ideas and Actually Make Them Happen, a manual that does what is says for education leaders, innovators and people who want to be both.

What does Ewan do?

Module Masterclass

School leaders and innovators struggle to make the most of educators' and students' potential. My team at NoTosh cut the time and cost of making significant change in physical spaces, digital and curricular innovation programmes. We work long term to help make that change last, even as educators come and go.

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