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Using Kolb's experiential learning cycle to assess a creative workshop I gave in 2012 as part of the long gone, though brilliant module 'Creativity, Innovation and Change'

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Edited by Jonathan Vernon, Sunday, 4 May 2014, 09:17

 

Fig. 1. Kolb’s ‘Experiential Learning Cycle’ reversioned.

I did something …

This is my take on Kolb’s ‘Experiential Learning Cycle’ which I will use to explore what I ‘did’. I ran a creative problem solving workshop. The motivation for attendees was to pick up some creative problem solving techniques, to solve a problem we had with using social media and to do some team building. The objective for me was to crack this problem and to introduce a more creative and collaborative approach to problem solving.

Fig. 2. Coach to Olympians running a workshop - part class, part ‘pool side’

I couldn’t help but draw on experience as a Club Swimming Coach planning programmes of swimming for a squad swimmers and as the ‘workforce development’ running training programmes for our club’s teachers and coaches. Planning and preparation when you are putting athletes in the pool several times a week over months is vital. On a smaller scale this workshop required a schedule, to the minute, with some contingency, allowing you to build in flexibility for both content and timings.

 

Fig. 3. Planned to the minute - my creative problem solving workshop

The plan was for five to six creative problem solving techniques to be used, top and tailed by, using terms from swimming, a ‘warm up’ and a ‘warm down’. The modus operandi of the Residential School had been to introduce, experience and play with as many creative problem solving techniques as possible.

Fig. 4. As a prop, food and aid memoir a bunch of bananas has multiple uses

‘Bunch of Bananas’ is a creative problem solving technique that suggests that you include in the group a ‘plant’ - a person over whom other’s will slip, like the proverbial banana. My take on this was to introduce two outsiders - a Russian academic who would bring a different take on things and the a mathematician and senior programmer.

Fig. 5. ‘Mother-in-law, Samurai, Tiger’ is a great warm up.

We did a warm up called  ‘Mother-in-law, Samurai, Tiger’. This is the team equivalent of ‘Paper, Scissors, Stone’ where two teams face each other and on the count of three, having agreed what their response would as a team, they either 'Tut-tut’ and wag their finger like a mother-in-law, 'growl' and get their claws out like a Tiger, or shout 'ha!' while posing like a Samurai warrior brandishing his sword. This is the ‘warm down’ to stick with the swimming coaching metaphor was to have participants get into the ‘streamlined’ position that swimmers adopt - essentially a stretching exercise.

Fig. 6. Human Sculpture and Timeline are useful ways to have people look at and feel a problem in a different way and from a different angle.

In between we did a mixture of physical and mental activities, including Human Sculpture where one person becomes the sculptor and uses everyone else to form a tableau or sculpture that expresses their talk on the problem. Another was timeline where you imagine looking at the problem from the perspective of the past and future.

Now, stand back  …

Standing back I’d say that running a workshop for colleagues has advantages and disadvantages. How would a director or line manager feel about their views being exposed like this. On the other hand if well managed it becomes a team building exercise too.

The challenge is to know what risks to take and how to build in flexibility, not just in timing, but in the kind of activities. This requires that despite the plan you are alert to signals that suggest an activity should be developed or dropped. Workshops and seminars I take have a common element - there is ‘hands on’ activity.The goal is that at the end of the session people feel confident that they could do these things themselves. I’m less comfortable about teaching where the communication is one way - me talking and them taking notes. I value encouraging self-discover and people being on their feet, interacting and having fun.

The workshop was experiential

It was collaborative and iterative, it was problem-based learning that used communication skills.

How did you feel about that ?  

Fig. 7. How we like to be ‘in the flow’ rather either bored or stressed from being too challenged. Mihaly Csikszentmihalyi (1975) Mental state in terms of challenge level and skill level.

I felt ‘in the flow’ for most of the time, suitably challenged and never bored. Though anxious and surprised when a colleague gave me a drubbing the day after feeling that they had been tricked into attending. This came as a surprise, the other surprise was how away from their desk and computers the apparently introverted could become so animated and responsive.

I felt like a party planner. I was hosting an event. The atmosphere of controlled enthusiasm would be down to me. I would be, to use a French expression, the ‘animateur’ or ‘realisateur’ - the one who would make this happen and bring it to life.

Fig. 8. For all the playful activities, we are still reliant on Post It Notes and flip charts

Now what ?

On this occasion we delivered a couple of distinct responses to the problem. People reflected on the experienced and felt it was both enjoyable and of practical value. The request was not that others would host such an exercise, but that I would do more. I was subsequently booked to run a few more workshops on specific topics with different groups in the faculty. The question that we couldn’t resolve was whether were  a ‘creative organisation’ ? My own conclusion being that we quite palpably were not.

REFERENCE

Ackoff, R.L. (1979) The Art of Problem-Solving, New York: Wiley

Csikszentmihalyi, Mihaly (1975). Beyond Boredom and Anxiety: Experiencing Flow in Work and Play, San Francisco: Jossey-Bass. ISBN 0-87589-261-2

Experiential learning theory. (Available from http://www2.glos.ac.uk/gdn/gibbs/ch2.htm. Accessed 22FEB14)

Gundy, A.B. (1988) Techniques of Structured Problem Solving, 2nd ed, Van Norstrand Reinhold. Te hniques 4.01, 4.06, 4.57

Henry, J and the course team (2006, 2010) 'Creativity, Cognition and Development" Book 1 B822 Creativity, Innovation and Change.

Henry, J (2010) ‘Set Breakers’ Henry (P. 96)

Kolb, D.A. 1984 Experiential Learning: Experience as the Source of Learning and Development, Englewood Cliffs, NJ: Prentice-Hall.

McCaskey, M.B. (1988) ‘The challenge of managing ambiguity’, in Pondy, L.R, Boland, R.J and Thomas, H (eds) Managing Ambiguity and Change, new York, pp 2-11

Henry, J & Martin J (2010) Book 2 Managing Problems Creatively

Schon, A.A. (1983) The Reflective Practioner: How Professionals think in Action, London: Temple Smith

Tassoul, M, & Buijs, J ( 2007, )'Clustering: An Essential Step from Diverging to Converging', Creativity & Innovation Management, 16, 1, pp. 16-26, Business Source Complete, EBSCOhost, viewed 22 February 2014.

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Design Museum

Museums and galleries - what can you recommend?

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Edited by Jonathan Vernon, Monday, 18 Nov 2013, 14:58

Fig.1. Lawrence Lek at the Design Museum, Shad Thames, London.

Seen it once, then again with my 14 year old son - and for a third time with my 16 year old daughter next week. Potentially with other members of our extended family and friends too. I should have bought a season ticket.

The Design Museum is unique - I spent time with EVERY exhibit. I need a couple of hours every day over ten days. That's how much it resonates with me - the stories, the process, the end result.

There are three galleries:

FIRST FLOOR

Fig.2. Jessica Ennis takes the stairs to the first floor seven at a time

Innovation in Sport - design with a bias towards the Olympics and Paralympics, with Formal 1, Le Mans, hand-gliding, surfind and a few other sports too. Sixteen sports people silhouettes on the walls in the stairwell - how do you physically match up to Jessica Ennis, Messi, Phelps or Sharapova?

SECOND FLOOR

Fig. 3. A 3d rendering of a crystal whose shape is formed by your presence and movement (courtesy of a Konex device and a laser)

Digital Memory - a dozen designers, architects and conceptual artists play with Swarovski crystal to express what memory is. Most mind blowing, all beautifully displayed with headsets explaining what is going on in the artist's words and other interactive screens - and 'augmented' content from wif-fi and 3g.

SECOND FLOOR - SECOND GALLERY

Fig. 4. Yuri Suzuki at the Design Museum

Designers in Residence - six young innovators set a brief, there journey of discovery, experiment and creation lovingly recreated with video, artefacts, audio and displays - and a take-away booklet.

With half-term upon us where do you recommend taking children, young adults and their friends? How does this change if you are their grandparent or parent of a friend? Can you cater for them all? What might it cost?

The cost of getting into the Tower of London made my jaw-drop - £23 for an adult? £55 for a family ticket!! I think I'll leave it for another 1000 years.

The Wellcome Foundation 'Super Human' exhibition and other galleries are free (and lunch is great too).

The Design Museum was £11 for an adult, £7 for a student

Where in the world do you go? We all have our favourites.

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