The Futures and Follies of the Full-Stack Habitat

I’m delighted to be back at IED in Barcelona again this summer leading the Innovation and Future Thinking summer course. We’re bringing together the usual gang of inspirational lecturers and local innovators to explore a theme across the two weeks, starting on July 16th. More details on that soon, but in a change to the regular approach, we’re sharing the course theme up front this year (because, well, reasons… which will become clearer if you attend). Apply now if you’d like a place, or send it on to someone you think might…

UPDATE: We’ve finalised the core course teaching staff for next month in Barcelona, and I could not be more excited to explore ‘The Future of Space’ with a set of folks whose ideas and methods regularly excite and inspire me. We may yet add some more special guests too, keep an eye out for those. And come and join us in July in Barcelona.

Scott Smith

Scott is best — and worst — described as futurist, taking a distinctly non-traditional approach to the job. He is also a writer, critic and educator. As founder and managing partner of Changeist since 2007, he points the way for the team’s research, and manages partnerships and strategic direction for the group.

Scott’s work covers 25 years looking for and describing the “So what?” of change across technology, society, economics and politics. His time is spent between gathering new signals in the world, making sense of them at a quiet table or crowded whiteboard, giving them narrative form on sketch paper, in a text editor, or on camera. He has lived in three countries and worked in over 20, and managed strategy and research teams in New York, Washington and London before launching Changeist.

Scott heads the Designing the Future programme for Dubai Future Academy, and lectures in the Innovation & Future Thinking programme at IED Barcelona, which he helped create. He has written for The Atlantic, Quartz, The Next Web, WIRED UK, How We Get to Next, Medium, The Long View, and HOLO 2, and spoken at major events as diverse as The Next Web, Lift, Helsinki’s Flow Festival, South Australia’s Open State, EPIC, SxSW, Sibos, FutureEverything, and NEXT14 and 15.

Dan Hill

Dan Hill is a Visiting Professor at IIPP (UCL Institute for Innovation and Public Purpose), as well as an Associate Director at Arup, and Head of Arup Digital Studio, a multidisciplinary design team based in London. He is also one of the Mayor Of London’s Design Advocates.

A designer and urbanist, Dan’s previous leadership positions have produced innovative, influential projects and organisations. They range across built environment (Arup in Australia, Future Cities Catapult in UK), education and research (Fabrica in Italy), government and social innovation (SITRA in Finland), and media (BBC and Monocle in UK), each one transformed positively via digital technology and a holistic approach to design.

He has lived and worked in UK, Australia, Finland and Italy. He started his career working on the urban regeneration of Manchester, and has subsequently worked on city strategy and urban development projects worldwide.

Last year he was the Sir Banister Fletcher visiting professor at The Bartlett School of Architecture, with Joseph Grima, and he is also an adjunct professor at RMIT University in Melbourne and UTS in Sydney.

He is the author of “Dark Matter & Trojan Horses: A Strategic Design Vocabulary” (Strelka Press, 2012), as well as numerous pieces for other books, journals, magazines and websites.

Christina Bifano

Christina Bifano is a design and trends researcher, educator, textile designer and fashion historian with a passion for combining all interests into one.

Christina has been coordinating and teaching trends investigation courses at IED Barcelona for the past 7 years. Her latest research projects include: Design Thinking for the EU Erasmus Commission, The Book of Everyone, Hotel Brummel, GNT Group, Cahier Studio (Double G Prints), Protein (London) and Stylus (London) and she has participated in producing trends-based editorials for: PSFK (NYC) and La Entropia (Barcelona).

Her backgound is in textile/surface design and she has worked for large brands and small design studios alike including: JB Martin, Co. Inc., Nautica Int’l. Inc., Milkprint Studios (NYC), Colette&Blue (PA), Cahier and Coloroom/Double G (BCN). She is proud editor of Roadtrip to Innovation and Digital Natives/Get Ready! both by Delia Dumitrescu. She holds degrees in Textile/Surface Design from FIT in New York and Accademia Italiana Moda in Florence, Italy.

Natalie Kane

Natalie D Kane is a curator, writer and researcher based in London, UK. She is Curator of Digital Design at the Victoria and Albert Museum (UK).

Natalie is a co-curator of Haunted Machines with Tobias Revell, a long-term curatorial and research project starting with a mini-conference at FutureEverything 2015, which reflected on the narratives of magic and hauntings pervading our relationship with technology. Haunted Machines were selected to curate the 2017 edition of art, tech and media festival Impakt (NL).

Natalie has talked about magic, art and technology on BBC Click and BBC Radio Four’s Digital Human, been interviewed by Vice’s Motherboard, Uncube Magazine, Spark on CBC Radio, Mindful Cyborgs and The Guardian and had work featured on BBC News, Le Monde Blogs and Mashable. Which is nice.

As an educator, Natalie has guest lectured at London College of Communications and Design Academy Eindhoven, is a Visiting Tutor at the Instituto de Europea Design (Barcelona), previously taught at Royal Institute of Theatre, Cinema and Sound (Brussels), and delivered workshops for the 2017 Malta Presidency of the Council of the European Union for Times Up.

 

The Futures and Follies of the Full-Stack Habitat

Each year on the Innovation and Future Thinking course at IED in Barcelona, we select a theme to work with. This provides students with a lens through which to see the world, a platform to help understand the methods and tools used to critically assess what may unfold, and a language in which to design a response to communicate what they see. Perhaps most importantly of all, given the global diversity of the course and the highly contextual nature of the field, we look for a theme that connects them to the city itself. 

In 2018, we will explore the future of space in Barcelona: Where will people live, where will they work? What will be public, what will be private? Who will be from here, and who will be passing through? Which resources will be finite, and which will be infinite? What will be permanent, what will be temporary? What changes, and what will remain eternal?

In order to unpick the various physical, urban and social interactions which are being transformed by software, we will interrogate the idea of The Full-Stack Habitat.

The first half of this is about kidnapping the ‘full stack’* metaphor from technology development, and wearing its clothes for a while to see what works and what doesn’t. We will look at the city as if it is a stack of interdependent systems, from the light-touch experiences you have on an hourly basis to the heavy infrastructural implications, from the feelings it creates for an individual visitor, to the long-term social effects for whole communities. Where does such a metaphor help us, and where does it fall apart?

The second half is an interrogation of the term ‘habitat’. Is a habitat in the 21st century really only the “various types of places intended for human residence, as opposed to and often in addition to e.g., places of work, study, or entertainment”. As the boundaries between activities blur, do we need to scale the idea of ‘habitat’ back up to the ecological level, and think of it as the city in which we live, work, learn play, relax and more?

Through understanding more about the complex and networked layers that exist around Barcelona, we expose the need for adaptability in both ourselves and the spaces we inhabit. By the end of the course, the students will be able to connect different ideas and elements, and design innovations and interventions to represent potential, viable futures.

Most crucially, we must create a learning experience in which the anticipation of problems is brought the fore. New products and services are emerging in cities which ignorantly or wilfully bypass any thinking on how they will affect the balance of a space. 

Collaborating with partners in the city, each of whom will bring a different perspective and set of priorities to the debate, we will seek to identify where in Barcelona problems are likely to arise, the form they will appear in, and the evidence of how they manifest themselves already. Understanding the follies of The Full-Stack Habitat are as important as understanding the potential futures.

 

Apply now if you’d like a place, or send it on to someone you think might…

 

*  a full-stack developer is “simply someone who is familiar with all layers in computer software development. They aren’t experts at everything… they understand how everything works from top to bottom and can anticipate problems accordingly” – https://codeup.com/what-is-a-full-stack-developer/

The Oliver Twist

Last week, after two days of teaching at the RCA with the Design Products gang, I also took part in a Future of Manufacturing edition of the School of Design’s evening lecture series. This involved three short talks and a panel with Asif Moghal from Autodesk, Gavin Munro from Full Grown and myself. 

The below isn’t the script as such, just a (less sweary) exploration of the main points and some subsequent post-rationalisations. That said, it’s still written in the present tense, as it’s the sort of things that I wish I’d said (and might have said), but, like, said better. Ish.

My thanks go to Hannah Stewart at the RCA for the invitation, and to John Dodds for suggesting the pithy title of the talk…


 

The Oliver Twist

I’d like to talk about a problem in how people think about the things they make for people, and what we all might start doing to change that. I run Smithery, a Strategic Design Unit in London. In our interpretation, Strategic Design bridges disciplines and departments, roles and responsibilities; it is concerned with all of the factors around a thing, be they visible or invisible, and not just the thing itself.

Our practice is rooted in the philosophical stance that Making Things People Want > Making People Want Things. But we’ll come back to that in a bit.

It should be noted that I have a somewhat strange background to be doing this work and talking here at the RCA. I went to university through the clearing system, when doing such a thing didn’t carry the financial disincentives that it does today. I’d originally wanted to study English, and did for a while, but ended up with a degree in Economics. In hindsight, I’m unable to tell you which demands a more applied use of fictional devices.

After university, I landed in market research, and spent a time unknowingly looking at what was the start in the decline of local newspapers. Then it working out how to replace the old paper posters on the underground with as many flashy, whizzy digital ones as possible. Then finally into media innovation for a seven year stretch.

This graph neatly shows my tenure in that area, starting at a time when social media was just a thing you did to get your friends along to see your band’s gigs. Then Friends Reunited was bought by a telly company, Myspace was bought by a newspaper company, and Facebook realised you can’t afford to be bought by anybody if you want to get on with your mission of destroying the fabric of democratic society as we know it connecting everyone on the planet.

The reason I got out was that it’s was really quite boring. As Jeffrey Hammerbacher pointed out back then, all of these great minds and technologies are being honed and pointed at making people click ads.

Maybe Jeff’s quote should now be updated to “the best minds of my generation are thinking about how to make agencies tell their clients that a pixel being on a screen for barely a second is probably enough to justify the expense of buying this shit”.

It’s not as catchy, but is arguably the only business model that Silicon Valley has managed to crack repeatedly, unless you count VC-backed Ponzi schemes pushing market-destroying services at a loss on the run-up to some ridiculous future IPO valuation.

Anyway, 2011 was a good time to get out of that.

Yet funnily enough, a lot of the companies who’ve spent all that time thinking about making people click boxes on tiny screens have started to expand their thinking away from just the screen and into things too.

The data monster needs more to feast on than the meagre scraps of information you’re feeding it now… how can Amazon launch an Alexa Advertising Network based on just knowing everything about some of the things you buy sometimes… it wants to know more

So we’re now seeing the rise not of ‘product-as-a-service’ so much as ‘product-as-a-parasite’.

It comes into your home, or your office, plugged into your dashboard or splattered across your actual face, and (even when you’ve paid money for it) makes a living by sucking the data out of your daily routines and feeding it back to the central nervous system.

For example, take the Snap Spectacles – please, in fact, take them, because there are 300,000 pairs unsold, wasting in a warehouse somewhere. That little lot caused Snap to take a $40m write-down. But hey, that’s fine, it’s someone else’s money, right? That’s what investors are for.

The inherent gamble in products like this is that it might increase the number of users of the greater system (new users who’ve never used the old thing, but are attracted by the new product), or it might increase the amount of data you have from existing users. And if you’re very lucky, it might do both. More likely, it will do neither.

But where as digital product development is equally prone to failure (and perhaps more so), we can more easily bear the cost that this brings, both as the company trying something, and the wider society.

If a new digital thing doesn’t take off, then you’ve lost more human effort than anything else (and even then you could argue that when people are getting paid in the process, there’s some valuable economic activity happening somewhere). There’s no real long-term downside. But that’s not true if you have 300,000 plastic, metal, and rare-earth mineral things in a warehouse.

Another way of thinking about it is with economies of scale. In traditional manufacturing, if you just want to do one of something, it’s really, really expensive. Your cost per unit for the next comes down, and continues to do so for a good while – the next 300,000 after the first 300,000 look really cheap in comparison.

If you’re more used to scaling digital businesses, the curve you operate on might look a lot different. You can build something for the first ten users in a weekend with a friend, on computers you already own. Over time, you can increase design, functionality, hosting, and grow the user base as you go. If it gets bigger still, you rent some office space, grow the team, move on to better servers, redo the brand… the cost per user keeps going up, but only after you’re making enough money to pay that off and keep investing more of your money (or more likely your investors money) into feeling user growth.

Perhaps the problems start when a digitally-trained business are offered a cost curve like that of a traditional manufacturing business – at the point where things usually get more expensive per user, the manufactured items are getting cheaper! Cheaper, you say?! Let’s but an extra 300,000, I’m sure we’ll sell them.

The more shit products created by companies who haven’t really though this through, but just feel that it’s a useful route to growing their user base, then the more warehouses and dumps full of redundant waste future generations are going to have to deal with.

Designers are complicit in this. It’s the age of click-bait design, where, if you’re really lucky, you’ll get the lovely photo of the product you’ve designed for that start-up into Dezeen, and you can send it in an email to your Mum and say ‘look Mum, I designed that‘.

And then banner adverts for isometric chairs will follow your Mum around the internet for weeks afterwards, and she’ll wonder why.

But as a designer, you’ve got to own all of your product shots, not just the one you send to your parents.

Let’s take an example from this piece by Benjamin Haas in the Guardian recently. Here’s your standard product shot, well done you:

But then you should really send your Mum this one too, where the thing you designed didn’t really fit into the existing systems people were already using, and it go a bit inconvenient. That’s on you.

Then there’s this one, where the people who were using the thing you made started abandoning it in the middle of towns and cities because… well, it wasn’t obvious or easy where they went, or there was no incentive, and then someone else had done it, so… yeah, that’s your product shot too.

Then there’s this doozy. That’s a repair man in Beijing wondering where he’s going to start repairing all of the bikes which have something wrong with them to get them back on the streets. He’d tell you that this is your product shot too.

Then, finally, comes the best product shot of all, because they had to use a drone to take it. That’s a sharing bike graveyard in Xiamen in China, where the whole ‘bike-sharing start-up’ craze has reached the point where you have 1.5m sharing bikes in Shanghai, which is three times bigger than London which manages with 11,000 Santander bikes.

In short, if companies continue to make physical products with a start-up. digital first mentality, then we will drown in this stuff.

What we need to do is find a way of persuading people to want not more, but less. Making Things People Want, yes, but where the ‘thing’ in that idea is a concept of responsible sustainable existence, rather than simply the accumulation of MOAR THINGZ.

I’ve been thinking about the term leastmodernism since a talk I gave at dConstruct in 2015 – how do we fuse together than spirit of modernism, the wide-scale, far-reaching transformation of the world, but centred around the idea that it’s about what you’ve not done, what you’ve chosen to leave out, the repairs you enable… what are the repeatable patterns and expectations we can build into a wide variety or products, services and systems so that the expectation of less becomes a habit?

And this, of course, is The Oliver Twist.

“Please sir, I want some less…”

How does #thechairgame work?

We’ve had a good sign-up rate for The Chair Game tomorrow, Friday 22nd April, at the V&A Performance Festival.

We gather at 1:45pm for a 2-4pm game, after which we’ll repair to a local pub. Come along if you can, and sign-up here so we have a sense of numbers.

But how does it work many people have asked. So here’s a quick ruleset:

  1. Everyone sits in a chair, randomly distributed in the space.
  2. One player is “chair zombie” – they vacate their seat, walk to the other side of the space
  3. The chair zombie can only walk, at a steady pace
  4. They must try and sit in the empty seat.
  5. It’s everyone else’s job to stop that happening, not by blocking them, but by occupying the empty seat
  6. Which means vacating the one you’re in, so the zombie heads for that one
  7. Everyone else can move as fast as they like – e.g. they can run between seats.
  8. Once you’re up, you can’t sit back down in the same seat
  9. The round ends when the zombie sits in an empty chair
  10. Repeat, ad infinitum

What happens as a result of multiple plays, as people learn the game, is the interesting part. We’ve trialling out two specific (non-playing) roles tomorrow to help this part of the game along…

The Whatcher – the person who, at the end of every round, asks what went wrong, and what the group’s next strategy should be

Waits & Measures – The timekeeper, who tells the group how long they succeeded for, and what interesting things happened (and when)

See you there if you can make it.

(previous post on what this is all about…)

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The Chair Game – Live at the V&A

This is the year of The Chair Game“, I said to Rob, over a pint after an evening’s play in London Bridge. He’d just spent two hours running the game for all of us who were new to it, save for Clarisa.

It was her fault, apparently. She’d been in a workshop Rob was doing where he’d used The Chair Game as an exercise. “If you run a workshop that’s just The Chair Game for hours, I’d come to that” she told him. Hence London Bridge. True to her word, Clarisa flew over from France especially for it.

The Chair Game is pretty simple. Everyone has a chair. They’re randomly distributed around a space. One person gets up, and walks to the side; they’re the chair zombie. They have to amble towards the empty chair. It’s everyone else’s job to stop them by sitting in the empty one. They can’t block them, but they can run as fast as they like. But once they’re up, they’re up – they can’t sit back on the same chair.

Chaos ensues…

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The first round is always really quick. Like, six seconds as an average. Then you ask the players what went wrong? And what their strategy next time should be. And you go again. And again. And again.

It’s a game that is about strategy as much as you want it to be. You can stop, analyse, plot and plan, instruct and act. Or you can just play. It is compelling to watch, and addictive to play. Since learning about the game, I’ve been building it into various strategy workshops as part of the narrative, and prototyping workshops as part of the fun. We started calling it Karaisu, for fun – like karaoke; Japanese* for “Empty Chair”…

Karaisu

Another thing happened after the night Rob showed us the game.

James was there, and James works at the V&A in London. We joked on email that we should play it on all the very expensive chairs at the V&A. Ho ho ho. Wouldn’t that be a lark?

Two weeks later, James emails again. We’re on. Not on the expensive chairs. But at the V&A. As part of the Performance Festival. Look, we’re even listed on the site.

We’re playing next week, on Friday 22nd April, 1:45 meet-up for a 2pm start. We’ll be in the John Madejski at the V&A in South Kensington. We finish at 4pm, and then head to a pub to unpack what goes on.

And we need some more players.

If you are around, and fancy it, then please sign-up here. We need around 30-40 players. Send this on to anyone else who might fancy it too, and we’ll send confirmations out next week.

So sign up, and come down and play.

Because this is the year of The Chair Game.

 

*I checked with a Japanese friend – it kinda doesn’t mean this, but also kinda does.

 

 

 

Delaminating Reality – a week at IED Barcelona

I spent last week teaching on the first week of the Innovation & Future Thinking summer course at the IED in Barcelona with Scott Smith.

You can listen to us talking about what transpired here on a little podcast we made there…

…and I thought I’d just throw up a few photos on here too, to give to you a flavour of it (the whole album is here on flickr).

Never have the Artefact Field Kits been so rigorously put through their paces… good luck to all the students and Scott in the final week as they prepare their projects to present.

We might well be doing another one in the winter now too, but if not, well, come to Barcelona to dance round the streets and find the future in the fragments of the present.

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Folksy Summer School

The folks at Folksy have just put up a lovely wee video which takes me back to all the brilliant people I met and things we talked about when I was up there…

This was the Folksy Summer School 2013 from Folksy on Vimeo.

Just the tonic as summer gives way to the falling leaves and dropping tempeatures of autumn.  Here’s my talk that I gave here too, on ‘A Certain Tone Of Action”.  I hope they have another Summer School next year, because it was one of the highlights of my year so far.

John V Willshire at Folksy Summer School from Folksy on Vimeo.

Cohort: Our Oxford Project

We spent last week at the University of Oxford’s Saïd Business School, taking over their innovation space, creating exploratory workshops and experiments with the folks there, and subsequent event with some alumni of the prestigious Oxford Strategic Leadership Programme (OSLP).  I mentioned it in a previous post.

Here’s just a quick video of what we made last week… a fuller explanation will follow soon.

 

‘We’ in this case being a team of Chris Thorpe on 3D printing and code wrangling, Thomas Forsyth on Making Molten Brass Do Things, and in his last Smithery endeavour before heading back to Loughborough Design School to finish his Industrial Design Degree, Fraser Hamilton on general problem solving.

A better team for talent, temperament and wit you could not wish for.  Thank you, gents.

Oxford Residency with the Saïd Business School

I’m off this week to work with the Saïd Business School, part of the University of Oxford.  I have been furously packing all the bits and bobs I think I’ll need as part of the week, but there’s always a nagging feeling that there’s something left behind.  Ah well, we’ll find out soon enough.

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We’ve set up a project Tumblr here that you can follow us on – we’ve just put up  project outline for which will give you as good an idea as any what we’re up to…

 

THE KEY TO LEADERSHIP
ECHO EVENT: AN EXPERIMENT

SPACE FOR NEW PERSPECTIVES
The Oxford Strategic Leadership Programme has never tried to teach leaders all the answers. Instead, it’s been about creating a space within which leaders can learn together to ask relevant, transformational questions of themselves, their organisations and of the world. We know that it is in these spaces between people, in the dialogue and interplay of ideas and perspectives, that our alumni have found the life-changing experiences they’ve walked away with.

A COMMON PATH
Technology presents new opportunities to create spaces where people can learn and walk a common path together; sharing history & experience from the past, to ideas for innovation & change in the future. We would like to walk this path together with our alumni, asking questions about how people learn about leadership and the implications for how they will lead their organisations in the future.

AN EXPERIMENT
As well as our alumni, a group that we value so much – we are inviting some friends to help us on this journey that will begin this weekend with an experiment. Prior to the weekend we will spend some time designing different types of spaces – both digital and actual – that can be used for learning. We will also be imagining versions of future OSLP experiences that would make the most of them. Confused?!

SATURDAY 28 SEPTEMBER 2013, EGROVE PARK, SAID BUSINESS SCHOOL.  FOR REGISTRATION, PLEASE EMAIL US

The OSLP team will be joined by the following friends:

Some of our more local alumni will join us on Saturday 28 September for a madrigal experiment with Paul Hedley and Musica Beata (many of you will remember them).

Then we will gather around a campfire at Egrove to tell stories, to create a virtual object network and to smelt brass to make unique keys that will unlock this new leadership learning space.

CHRIS THORPE is a technological pioneer, a former research scientist who played with really big computers, who had a hand in building everything from the Guardian’s Open Data Platform to the Moshi Monsters site. He’s also recently launched The Flexiscale Company, a model for the manufacturing industry we’ll be all too familiar with in twenty years’ time.  Chris will be with us for two days before the echo event creating versions of the ‘object network’ or platform so that alums can capture and share the visceral learning experiences of being on the OSLP in a network that exists beyond their time in Oxford.

THOMAS FORSYTH is an artist, designer and ‘maker of strange things’. A graduate of the University of Brighton’s famous Wood, Metal, Ceramics and Plastics course, he will be the blacksmith of our experiment. He transforms objects through the alchemy of melting and smelting.  Thomas, alongside our alumni, will be hand-making a set of sand cast brass keys that will access this new platform. This will not be a symbolic act (we hope!) – through the use of 3D printed fiducial marks, each key will have a reciprocal digital location where Saturday’s alumni will put their thoughts, inspirations, questions and reflections on the state of leadership. As with much of the OSLP, this is new and experimental. We are hoping it will work but we know we will learn a good deal in the process.

JOHN V WILLSHIRE runs Smithery, a product and marketing innovation studio. His work includes understanding more about the nature of media, how it can be used in new ways for transferring knowledge between people and groups, how it connects communities, and is increasingly hybrid, working between the physical and digital worlds.  John will spend the whole run- up week with us, working on ways in which we can capture and share the experiences of the course with the world, further broadening the cohort of the OSLP to ensure we remain at the forefront of what leadership means in such a transformational age.

On learning – “Consider everything an experiment.”

I’m a teacher’s son, and I think it’s rubbed off.  It perhaps explains a lot about my presenting style when I get in front of a group of people, and I reckon it’s been useful so far.  What good is it talking about the communication of knowledge if you fail to get it across?  (So, firstly, thanks Mum)

This year I’ve been working on a few interesting projects around education, and I’ve been thinking about two at opposite ends of the career spectrum; the Squared programme, developed by Google, and the Oxford Strategic Leadership Programme, with the team up at the Said Business School.

What’s interesting is how they’re both trying to extend the experience they offer further.

Squared started as a programme for new grads in the advertising industry.  They arrived fresh-faced at agencies on their first day, yet agencies found it hard to rapidly give them the sort of training they needed most, to understand more about the complex digital world.

Squared was born to create a different learning experience for them; the course so far has been taught in intensive six-week bursts in London, and the feedback from both the alumni of the course, and the agencies they’re working at, has been phenomenal.

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And off the back of that success, they’re launching Squared Online, a six month version delivered online which you can read more about and sign up here for if that sounds up your street.

As was highlighted by Sarah Tate, the programme leader of Squared, at The Talent Revolution event last month, it can’t be just an online direct learning course, however; there has to be the right sort of spaces for the students to talk and exchange views  about the subject matter.

I know this sort of learning experience is vital, from previous work with the IPA Excellence Diploma – learning in isolation of others is really hard, because so often it is in the articulation of explaining something you’re trying to understand that you discover what it is you think.

When I think about this style of learning, it now reminds me of something I read on Brainpickings last year – a brilliant list of ‘rules for students and teachers bu Sister Corita Kent, written in the late 1960s (one of which is the title of this post):

corita kent

RULE ONE: Find a place you trust, and then try trusting it for awhile.
RULE TWO: General duties of a student — pull everything out of your teacher; pull everything out of your fellow students.
RULE THREE: General duties of a teacher — pull everything out of your students.
RULE FOUR: Consider everything an experiment.
RULE FIVE: Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make.
RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.
RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes.
RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage)

HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later.

It’s the second one that I find most useful when thinking about the distance learning thing; “pull everything out of your teacher; pull everything out of your fellow students”.  There is an implied need to be around the people you’re learning from, and learning with, in order to get the most out of the experience.

It’ll be exciting and interesting to work with and watch the Squared guys use everything at Google’s disposal to create ways in which we can do that without having to physically be there.

———————

At the other end of the career trajectory, “being there” is a massively important part of the Oxford Strategic Leadership Programme (OSLP) at the Saïd Business School .

It’s a course for the leaders of large organisations who want to learn in a different way from the dry, textbook approach that a lot of business courses can put people through.

 

What I especially love about the course is the way it takes leaders out of the everyday learning approaches they’ll be used to working with, and make them think about themselves in a completely different way; for instance, this quick overview presents the way in which people on the course are taught about the physicality of what it is they do:

 

We’re working together on a project to open up the OSLP to a wider audience.  It’s been running for thirty years, and it’s a highly successful programme, but perhaps too much so; intra-company recommendation is so high that every course will be full of the same sorts of people and same organisations.

As the world is changing so quickly, in terms of new companies, industries and emergent economies, it’s vital that the mix of people on the OSLP represents the world as it transforms into whatever comes next.

What we’re doing is something much more akin to “The Workmanship of Risk” than “The Workmanship of Certainty” as David Pye put it in The Nature of Art and Workmanship, working with brilliant people at Saïd, and an awesome crack team on our side.  It’s also arguably the Smithery analogy writ-large, so I honestly can’t wait to share more about it.

That project begins today – you can follow it on the Tumblr here, and I’ll post regular updates on here too.

 

 

Noam Chomsky from #lwf12 – what is the purpose of education?

I was at Learning Without Frontiers for two days last week, a thoroughly brilliant gathering with a phenomenal lineup of speakers.

All the videos are going up gradually now, and I’ll share the best ones as they do.

But the first one is well worth sitting back for – Noam Chomsky on the biggest question we have to ask ourselves, what is the purpose of education…