This is the first of eight posts on the theme of Where Good Ideas Come From. Pic from Evil Erin, who was looking for some good ideas in her roommate's bed.
The creative industries in the UK alone are worth some £70bn each year, about 8% of GDP and growing at about double the rate of the rest of the economy, made up by everything as diverse as television production to game-making, book-writing to advertising, public relations to jewellery. For the past year I've been contributing to this industry, learning the art and science of commissioning new media ideas, turning internet, mobile and gaming ideas from paper dreams to running code realities.
In the workplace, we have a variety of processes, individual talents and skills to ensure that most of these dreams turn into good ideas in the real world, from designing efficient challenging structures through which people pitch their ideas, to the knack of producing a contract that not only makes sense but is fair to all parties. A fair dose of gut instinct and knowing the shifting sands of the vast new media landscape contribute to building, hopefully, more excellent ideas than fairly good ones. The processes hopefully eliminate the really dodgy ones altogether.
But given the aims of the initiative with which I'm working - Channel 4's Innovation for the Public - to change people's lives for the better, to have a lasting impact, to achieve technological and social firsts, and to do so with a trademark slug of trouble, finding and generating good ideas in the first place is something that, if we could define it, would make life a lot easier.
Knowing Where Good Ideas Come From in any walk of life leads not just to a more pleasant experience in life, but a better experience for others and a more profitable life for everyone.
Knowing what makes an idea good is one thing. 95% of ideas get rejected, a large number fairly swiftly and, say, 5-10% after having looked in more detail at the issues involved. Few, if any, seem to appear elsewhere suggesting that either the ideas are too costly to get off the ground, leaving a Government or private investor struggling to see their investment have the desired tangible result, or they are cheap to produce but aren't seen as Good Ideas by the intended users or participants.
Knowing what we could do to improve those conditions of creativity is another goal, perhaps more tangible. These conditions, these physiological, physical and mental places are Where Good Ideas Come From.
What's important to consider, though, is that "being creative" is not, as is often the assumed case, a result of some form of change management. All too often, change management and the overpriced consultancies that help you get from there to here are in the business of selling the change of a more creative company or self. If tapping into creativity is reduced to change management, then we are indeed in for a rocky journey. Only 30% of change management programmes achieve any change at all, let alone the intended one and not necessarily a change towards a more creative one. Creativity is something most of us can unearth in the right circumstances with enough time, effort and stamina to see us through the darker moments of our "crappy ideas" being mocked or left out to dry.
And, of course, some of us (most of us?) tend to come up with fairly crappy ideas most of the time, and that's alright, seeing if they work before moving onto the next one when we realise we were heading down the wrong path. Not just in the world of new media and technology, though, is the potential for heading down too many different paths and tangents at once so ripe. Never have the options opening up been so great, the tools at our creative disposal so varied. Creativity is attempting to go exponential when often our more analogue brains and bodies aren't really in a mood for catching up.
With this, change management, that sudden jolt of inspirational energy (or brush of quasi-guru-like consultant fluff), is even less appropriate a model on which to base an rebirth of creativity in our organisations. As George Church put it:
"In a changing world, inaction can be the radical 'action'" (cited by Tim O'Reilly)
Or, as Euan Semple cribbed it:
"Don't just do something: stand there."
It is no happenstance that our first main areas of investigation of Where Good Ideas Come From are nearly all about time (and the lack of it) and the need for us to stand still, do nothing and drink it in. Someone, I can't remember or Google who it was, once said that they were in the habit of taking a day return flight, at least but no more than four hours long (the time of the laptop battery) in order to get things done without interruptions. Sometimes it's just the practice of regularly, say, every Tuesday morning, of taking a flight at 35,000ft to see the world move by a little slower and take it all in, before joining the land at a seemingly faster speed later. Of course, that's not really how it works. We all fly faster when we're taking in the overall view of things at 35,000ft and that seems slower than when we're on the ground, 'only' going at 10mph at sealevel but things seeming too fast to take in, let alone control.
Nor is creativity some elusive black art available only to the few, while the rest of us trudge on with our lemming-like routine. As Colin Anderson, MD of Denki Games in Dundee, puts it:
Today we run the risk of thinking of creativity in the same way as we once thought of electro-magnetism – magical, unknowable, a black art. Poppycock, I say again! It’s a series of deliberate choices – some serial, some parallel, some conscious, some sub-conscious – made by assessing the values of many variables simultaneously through the filters of knowledge, experience and aesthetic appreciation. More variables than we can currently define and measure perhaps, but that doesn’t make it magic. I subscribe to the school of thought that says “art is a science with more than seven variables”, and from where I’m looking creativity is precisely that. (emphasis added)
There are indeed more than seven variables to creativity and therefore knowing Where Good Ideas Come From. I'm going to make an attempt to understand what some of those variables are and would ask for your help in the comments to fill in the inevitable chasm-like gaps.
I'll be offline for the next couple of weeks recharging the inbuilt, solid-state batteries. In the meantime, I've closed comments on posts over a month old to limit those who choose to pummel me with cold meat. See you soon, and while you're here, play nicely without me...;-)
So, the kind of censorship we've been hearing about most this past few weeks has been of the Iranian type. However, while it may be fashionable to carry your green Twitter avatar in support of free speech halfway around the world, we are all too quick to forget that on our own doorsteps public sector internet service providers regularly block free speech and tools that make this possible with their firewall policies. It's not any cleaner or more reasonable than Iran blocking Facebook or Twitter for their purposes, serving only to control what the public hear about their public services.
Join The Guardian's global challenge to crowdsource internet censorship of all sorts right now, and show how much of Britain's and North America's public sector ISPs are just as unreasonably restrictive of adults' web rights as Mr Ahmadinejad's Government.
Pic: Censorship
When social networks were still finding their feet among their key demographic a few years ago, I was a keen advocate of formal learning institutions and their staff keeping out of those spaces, certainly not using them as social learning environments. danah's research backed this up and the concept of teachers creating "creepy treehouses" was enough to knock that desire of some on the head.
Seeing how the US Army has harnessed Facebook for a mix of both informal communication and leadership is opening up the question again in my mind, as the demographic using Facebook rises well into the 30s and Twitter's growth started with an older demographic and is only now appearing to edge southwards to early 20 year olds and teens (thanks to my wholly unscientific research - danah, if you're not busy this summer...).
It's particularly pertinent as Local Authorities charged with improving the prospects of their learners and staff in an increasingly technological age do not cease to become ever more Machiavellian in their desire to clamp down on any communication about the realities of being a teacher or learner in their patches.
On the Facebook blog this morning says Lieutenant Colonel Kevin Arata (link to his FB page):
From an institution that in 2000 wouldn't allow unfettered access to email (and before that whose "Full Metal Jacket" reputation preceded it), one of the most traditional public institutions with the most apparently valid potential for killing communication to those back home has come a long way. And it also shows how far schools and teen learners working within them have to go before their life cycles start matching the real world.
What is it that Facebook brings the military? It allows family to keep in touch with minimal effort through a great deal of the deep ambient intimacy of the status update:
Facebook is also giving a platform for sharing of skills and advice between recruits:
It also allows senior members of staff in the military to, quickly and easily, without disrupting the flow of their day, update via cellphone or laptop on what (non-secret) operations they are undertaking. What exactly does an army Colonel do? Well, now you can 'follow' them and find out. It will almost certainly make a few more people aspire to doing something different or improving their act not just in seeing what superiors and, above all, seeing what peers are up to.
While intranets and VLEs provide a structured learning environment for teacher-defined groups of learners, they do not provide very well (or at all) for friends-of-a-friend (FOAF) communication, happenstance connections and temporary windows in on what FOAFs are up to. They are designed for preset activity with preset groups, despite the admirable efforts of talented creative individuals to shoehorn them into other more enticing uses. It's hard to argue that, in terms of how kids connect within the school environment with school-like material and contacts, things have really moved on since the likes of my students blogging and podcasting from their French trip in 2003 (the 2004, 2005 and Auschwitz blog remain). The fun serendipitous connections are happening very much outside the school boundaries, and the school institution itself remains largely blind to this. The knock-on effect is that school and what it should stand for - learning - are also blind to learners outside the schooling complex.
Now, at Channel 4 the Education department has worked with great skill over the past two years to create learning opportunities in the social networks and spaces where young people hang out (think Battlefront, YearDot, Routes.... There has been little attempt to make these interactions fit into schooling per se. At 4iP, where many of our products and services involve learning of some description, we continue this 'non-school' of thought.
I wonder: is there mileage for schools in looking at what the Army is achieving here and for what purposes, and seeing if there are unmet needs in the schooling environment which could be supported by social networking services and platforms which are increasingly better embedded in society? Or is this something in which only others outside the formal schooling environment are prepared to invest?
Pic: Full Metal Jacket
