When I received Chris’s comment, my first response was that I should delete my post or at least the incorrect part of it. It’s embarrassing to have your incorrect understandings available for public view. But I decided to leave the post as is but put in a disclaimer so that others would not be misled by my misunderstandings.
This experience reminded me that learning makes us vulnerable. Admitting that you don’t know something is hard and being corrected is even harder. Chris was incredibly gentle in his correction. It makes me think about how I respond to my students’ work. Am I as gentle with their work as Chris was to mine? Could I be more gentle? How often have I graded my students’ work and only focused on what they did wrong? Or forgotten that feeling of vulnerability when you don’t know something, when you put your work out for others to judge? This experience has also reminded me that it’s important that we as teachers regularly put ourselves into situations in which we authentically grapple with not knowing something. We should regularly share our less than fully formed understandings with others for feedback. It helps us remember that even confident learners can struggle with being vulnerable. And we need to keep in mind that many of our students are not confident learners. ❧
I’m reminded here of the broad idea that many bloggers write about sooner or later of their website being a “thought space” or place to contemplate out in the open. More often than not, even if they don’t have an audience to interact with, their writings become a way of thinking out loud, clarifying things for themselves, self-evolving, or putting themselves out there for potential public reactions (good, bad, or indifferent).
While writing things out loud to no audience can be helpful and useful on an individual level, it’s often even more helpful to have some sort of productive and constructive feedback. While a handful of likes or positive seeming responses can be useful, I always prefer the ones that make me think more broadly, deeply, or force me to consider other pieces I hadn’t envisioned before. To me this is the real value of these open and often very public thought spaces.
For those interested in the general idea, I’ve been [bookmarking/tagging things around the idea of thought spaces I’ve read on my own website](https://boffosocko.com/tag/thought-spaces/). Hopefully this collection helps others better understand the spectrum of these ideas for themselves.
With respect to the vulnerability piece, I’m reminded of an episode of The Human CurrentI listened to a few weeks back. There was an excellent section that touched on building up trust with students or even a class when it comes to providing feedback and criticism. Having a bank of trust makes it easier to give feedback as well as to receive it. Here’s a link to the audio portion and a copy of the relevant text.
Listening to the students talk about feeling unsure and vulnerable when they first encountered open educational practices made me think about my own learning. As a mid-career academic who has changed jobs and even disciplines, I am a confident learner. I have received lots of praise and other kinds of positive reinforcement for my ability to learn new things. If you have read previous posts on my blog, you might know that I am really interested in developments in the IndieWeb movement and am trying to write about some of my experiences with using IndieWeb tools to build my own web site. I’ve been building my own sites for years and so I have a lot of confidence in my ability there as well. Working on the IndieWeb stuff has been challenging because there’s a lot of new language and new concepts as well as some aspects of web development that I have not engaged with before. I often feel vulnerable when I write my posts about the IndieWeb because my understanding of how everything works is emerging. In other words, I don’t get it all yet but I’m still writing publicly about my work.
But it is easy to think we are in agreement, when we really are not. Modeling our thoughts on heuristics and graphics may be convenient for quick travel down the road, but we are liable to miss our turnoff at the first mile. The danger is in mistaking convenient conceptualizations for what is actually there.
A functor is like a conductor of mathematical truth.
The answer is that when we formalize our ideas, our understanding is clarified.
Creativity demands clarity of thinking, and to think clearly about a subject requires an organized understanding of how its pieces fit together. Organization and clarity also lead to better communication with others. Academics often say they are paid to think and understand, but that is not the whole truth. They are paid to think, understand, and communicate their findings.
This book is built on a simple premise: Most companies don't know what creativity really is, so they can't benefit from it. They lack creative clarity.
Creative clarity requires you to do four things:
1. Choreograph a creative strategy, describing a clear future even among the blurry business landscape.
2. Grow teams that include those creative, unpredictable outcasts; give them the space to produce amazing work; and build a unique form of trust in your company culture.
3. Institutionalize an iterative process of critique, conflict, and ideation.
4. Embrace chaos but manage creative spin and stagnation.
This book is primarily for people in charge of driving strategic change through an organization. If you are a line manager responsible for exploring a horizon of opportunity, the book will help you establish a culture of creative product development in which your teams can predictably deliver creative results. You'll learn methods to drive trust among your team members to enable you to critique and improve their work. And as an organizational leader, you'll complement your traditional business strategies with the new language and understanding you need to implement creativity in a strategic manner across your company.
In a creative environment, chaos is the backdrop for hidden wonderment and success. In this book, you'll gain clarity in the face of that chaos, so you can build great products, great teams, and a high-performing creative organization.
How does chaos influence creativity? How can “flow states” help teams manage feedback and achieve creativity?In this episode, Haley interviews designer, educator and author, Jon Kolko. Kolko shares details from his new book Creative Clarity: A Practical Guide for Bringing Creative Thinking into Your Company, which he wrote to help leaders and creative thinkers manage the complexity and chaos of the creative process. During his interview, he explains how elements of complex systems science, including emergence, constraints, feedback and framing, influence the creative process. He also provides many helpful tips for how to foster a culture of creativity within an organization.
Quotes from this episode:
“A constraint emerges from the creative exploration itself….these constraints become a freeing way for creative people to start to explore without having rules mandated at them.” - Jon Kolko
“Framing is the way in which the problem is structured and presented and the way that those constraints start to manifest as an opportunity statement.” - Jon Kolko
“The rules around trust need to be articulated.” - Jon Kolko
“Chaos is the backdrop for hidden wonderment and success.” - Jon Kolko
Some interesting thoughts on creativity and management. Definitely worth a second listen.
I’ve seen the sentiment of “thought spaces” several times from bloggers, but this is one of the first times I’ve heard a book author use the idea:
Often when I write, it’s to help me make sense of the world around me.
Syndicated copies to:
Glenn Zucman's Business Cards
Over the weekend, I attended WordCamp Los Angeles and ran into my friend and fellow educator Glenn Zucman. Though I suspect we both know where to find each other (online via our many websites), we traded business cards and chatted about business cards and art for a bit.
Because Glenn is such a creative genius, I wanted to take a moment to share his brilliant business card idea which I loved. Since he does some painting in his work, he’s using variously colored paint chips (choose your favorite color, natch) as business cards over which he’s using a stamp and ink to add on his contact details. What a great mixed-media idea using “found art” for an artists’ business cards.
What I loved even more is that he not only found some nice sized paint chips, which are about twice the size of a typical business card, but he found chips for a paint brand which he actually likes and endorses.
"It is no secret that David Lynch, the writer-director-composer-painter, has an unusual relationship with Bob's Big Boy," begins a 1999 Los Angeles Times article on the auteur of films like Eraserhead and Blue Velvet. "For seven years in the 1980s he ate lunch there every day, ordering cup after cup of over-sweetened coffee and a single chocolate milkshake while scribbling notes on Bob's little square napkins." He took pains, notes reporter Amy Wallace, "to arrive at Bob's at precisely 2:30 p.m. each day. The reason: It increased the odds that he would encounter perfection."
It's a story about the vagaries of the writing process and not about the cycle of life, but then again writing is life...
E.B. White’s backstory
Elwyn Brooks “E. B.” White (July 11, 1899 – October 1, 1985) was an acclaimed American writer who contributed to The New Yorker magazine and co-authored the quintessential English language style guide The Elements of Style, which is commonly known as “Strunk & White” ostensibly making him the writer’s writer.
While re-reading Charlotte’s Web and then watching the movie version of Charlotte’s Web (Paramount, 2006) while thinking about the struggling writer in White (and all of us really), I’ve found a completely different theme in the piece as an adult that I certainly didn’t consider as a child when I viewed it simply as a maudlin, coming-of-age, commentary on the cycle of life.
An Alternate Theme
One can think of the characters Charlotte, the heroine spider, and Templeton, the despicable rat, as the two polar opposite personalities of almost any (good) writer. Charlotte represents the fastidious, creative, thinking, and erudite writer that writers aspire to be–which White espouses in The Elements of Style.
Templeton is a grubbing, greedy, and not-so-discerning writer who takes almost any word to get the story written so he can feast on his next meal of left-over slop.
Wilbur, the runt Spring pig desperately wanting to live to see the first snow, represents the nascent story. It too starts out stunted and scrawny, and it’s not really quite clear that it will live long enough to get published.
And so the struggle begins between the “Templeton” in the writer, and the “Charlotte” that the writer wants to become.
Charlotte represents care, devotion, creation, and even life (she not only desperately tries to creatively save Wilbur’s life, but dies to give birth to hundreds), while Templeton is a scavenger, doing the least he can to get by and generally taking advantage of others. Charlotte is crafting art while Templeton represents the writer churning out dreck in hopes of making a buck.
Alas, once the written work emerges to finally see its first “Spring”, one finds that Charlotte has died the death we knew was coming, while Templeton remains–as selfish and dreadful as before–ready to gorge himself once more.
There’s also the bleak and looming fact that Charlotte is now gone and only the vague hope that one of her few progeny will survive to live up to even a fraction of her good name. (Will my next book be as good as the first??)
The Writer takes on the Editor
The other two voices a writer often hears in her head are those represented by the characters of Fern, the doe-eyed youngster, and John Arable, the pragmatic farmer whose sir name is literally defined as “suitable for farming”, but not too coincidentally similar to parable, but without the ‘p.’ The sensible farmer (editor) says kill the runt pig (read: story) before you fall in love with it, while Fern (the creative writer) advocates to let it live a while longer–naively perhaps–wanting to know what results.
Who will you be?
So as you work on your own writing process, who will you be? Templeton, Charlotte, Fern, or John Arable? Whichever you choose for the moment, remember that all of them are ultimately necessary for the best story seeing the proverbial Spring.
Though your story may not win the “blue ribbon at the fair”, the fact that it has a life that extends the winter is a special prize all on its own to the team that created it.
On Why E.B. White Actually Wrote Charlotte’s Web
Now that I’ve sketched out the argument, I suspect that most writers will now know, as I do, why E.B. White wrote Charlotte’s Web.
I recently ran across this TED talk and felt compelled to share it. It really highlights some of my own personal thoughts on how science should be taught and done in the modern world. It also overlaps much of the reading I’ve been doing lately on innovation and creativity. If these don’t get you to watch, then perhaps mentioning that Alon manages to apply comedy and improvisation techniques to science will.
Uri Alon was already one of my scientific heroes, but this adds a lovely garnish.