Author: Oliver Broadbent

  • Coventry Cathederal

    Coventry Cathederal

    After a recent seminar in Coventry I had an hour to spare and so headed over to the famous cathederal. This sketch doesn’t come close to catching the finesse of the columns on this bold modern design but it serves to remind me of the textiures and feel of the place.

  • Notes from IStructE Academics’ Conference 2018

    There was great energy at today’s IStructE Academics’ Conference, the theme of which was Creativity and Conceptual Design.
    If you are visiting this site for the first time, it may have been thanks to Chris Wise’s kind recommendation in his keynote presentation – thanks so much Chris.
    I presented a session on how to have ideas. Usually when I’m billed with this title, I run a workshop on idea generation, but I thought for once, I would stand up and say what I think about the subject. I’m glad I did because it seemed warmly received. It was also a chance to talk through themes that will be included in the chapter I am writing in a book on scheme design – more details to follow.

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  • Secretly teaching design – notes from our curriculum planning day at Imperial

    Secretly teaching design – notes from our curriculum planning day at Imperial

    I am just back from taking part in a Design Thread workshop at Imperial College, the aim of which was to co-ordinate activity between the various design-relevant courses on the undergraduate civil engineering course at Imperial. Here are some reflective notes as I whiz home, during the writing of which I came up with the notion of ‘secretly teaching design‘. (more…)

  • Aristotle, Seneca and Emotional Intelligence – conceptual design training notes

    Aristotle, Seneca and Emotional Intelligence – conceptual design training notes

    This post is intended as a reminder for the people participants in last week’s conceptual design workshop. It may also pique the interest of anyone else interested in learning or teaching creativity for engineers.

    The workshop was the fifth of five workshops for this cohort of engineers. At the start I asked attendees to list any challenges they face in doing conceptual design that they would like to focus on in the final session. I asked attendees to name the challenge and what kind of progress they would realistically like to make today towards overcoming that challenge. I summarised the challenges everyone shared, and asked participants to prioritise the topics for discussion. The following topics and talking points follow from that prioritised list. (more…)

  • Notes from ISEE 2018, UCL London

    Notes from ISEE 2018, UCL London

    A very interesting couple of days at the 7th International Symposium of Engineering Education down at UCL. Here’s something I found interesting which I am sharing with colleagues and collaborators.

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  • We are engineers, what are we doing?

    We are engineers, what are we doing?

    Irrigation reservoirs/ocean plastic cleanup robot/fingerprint recognition keyfinder/light-up bicycle/anti-drinkdrive steering/air-conditioned tie/plant-based academic gradebooster… a maelstrom technology, ideas and solutions proposed by school children who made the final of the Primary Engineerand Secondary Engineer Leaders Award.

    In this competition, children interview a practising engineer to find out about problem-finding, problem-solving and creativity in engineering. They then go home, find a problem of their own to solve, and create solutions, answering the question, if you were an engineer, what would you do?’ An astonishing 37,000 pupils entered the competition, from as young as recetpion-age. (more…)

  • The perils of false modesty

    The perils of false modesty

    I just read this great paragraph on the debilitating impact of false modesty on judgement.

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  • My neighbours don’t like bees

    My neighbours don’t like bees

    https://youtu.be/ofLmUmiK1Nc

    We planted a hedge of lavender on our estate to revitalise a barren patch of soil near our front door. This sunny morning, the enthusastic lavender stems were bobbing up and down laden with bees. There must have been between 20 and 30. I went to count, as part of the Great British Bee Count. And so it was that I had conversations with several of my neighbours about bees, and I was depressed by what I heard.

    • One complemented me on the lavender, but said the only problem with lavender is that it attracts bees.
    • A second reported hatred for bees, having been repeatedly stung by that very flower bed, before conceding they had been wasps.
    • The third, having been complementary about the flowers, reported a bee had dive bombed from twenty metres above delibrately to sting him and concluded they must be evil.
  • 12 Principles for Problem-based Learning for Engineers

    12 Principles for Problem-based Learning for Engineers

    Over the last 9 months at Think Up I’ve been invovled with an engineering education project that has had a really deep philsophical impact on me. The project is called Enginite, an EruasmusPlus-funded programme of graduate training and placements that aims to give graduating engineers extra skills and experience that will make them more employable.

    My role has been to collaborate with Prof Søren Willert, of the University of Aalborg, to train project partners in how to design courses using a problem-based learning methodology. PBL flips traditional learning on itself, and holds as its fundamental principle that learning is more effective – in terms of retention, recall and motivation – if students drive the learning process themselves. It is one of those statements that we know to be true from experience, but goes directly against how most education is delivered in engineering education. PBL addresses that dissonance by creating a framework for giving students ownership of the problem. (more…)

  • The joys of ferry travel – a postcard from Crete

    You can get from London to Crete by land and sea but it takes about four days each way.

    I was due there for a four-day meeting and training course, part of the EU Erasmus Plus-funded Enginite project, with partners from Cyprus and Greece. I didn’t have time for the surface journey. In this case I felt the cross-border collaboration benefits outweighed the environmental cost of flying, so I jumped on a plane. But having flown that far, I was determined to have an overland adventure when I got there. I got my chance on the last day.

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  • How to have ideas – guidance for engineers and other humans

    How to have ideas – guidance for engineers and other humans

    When I’m asked, you know, at a cocktail party or some other social setting, ‘what exactly do you do’ I say ‘I train engineers to be more creative’. This is a great statement to use because: it feels good to say; it is reasonably close to the truth; and it is short enough to enable my interlocutors to decide quickly if they want to engage further or keep their distance.

    For the people that stick around the next question is usually, ‘well how do you do that then’, and I explain I run two courses, ‘how to have ideas’ and ‘how to have better ideas’, the first being a pre-requisite to the second.

    This is again only approximatinately true (my course content is usually based on what the learners say they want to cover rather than following a strict syllabus, and the course titles aren’t always as catchy as I’d like) but it keeps the conversation moving.

    After further dialogue, I am asked if I have got this all written down somewhere, and this is when I usually get embarrassed, and have to say, ‘no’, because it is all in my head. But not anymore, because now I can point them to the post you are reading, my first attempt to commit an overview of this material to writing.

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  • Derive #2 City of London – Log book

    Derive #2 City of London – Log book

    • 19/3/18
    • Derive #2
    • Location: City of London
    • Context: preparation for my talk ‘Circling the Square‘

    Moorgate x London Wall

    • 0:00:00 Moorgate and London Wall. Once solid-looking stonewalls are now façades pinned in place by scaffolding while new buildings are constructed behind. In just a few years the streetscape along London Wall has completely changed
    • 0:04:34 London Wall and Copthall Avenue Deep metallic groans sound out from behind these hoardings. I assume the core of the building is being demolished, and the sound is the building complain.

    • 00:09:41 Black Rock The circle leads straight into the offices of Black Rock. I enter the revolving doors and walk through a long dark lobby past whispering clusters of suited men and women. I emerge blinking onto a much quieter street, Tower 42 in the distance.
    • 0:13:31 Copthall Avenue The circle passes straight through the Angel Court building. I attempt to walk through the underground loading bay but I’m turned back by security. There are some places you really aren’t supposed to go.

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  • Circling the square – psychogeography in the City

    Circling the square – psychogeography in the City

    Last night I have a talk at the first ever City of London Showoff called Circling the Square. The event was put on by the City Centre, a fantastic organsiation right at the heart of the City that hosts a fascinatingly detailed 3D model of the City of London.  I had been asked to say something entertaining and interesting about engineering in the City. I thought this was a great opportunity to try out and talk about my new hobby, psychogeography. The folllowing is a transcript of my talk (my full data log see my post Dérive #2 – City of London – Logbook)

    As an engineer I love going on unconventional journeys: using odd means of transport, exploring forgotten paths, seeing the new from different perspectives. In his book, a Road of One’s Own, Robert Macfarlane instructs us to:

    …unfold a street map. Place a glass rim down anywhere on the map and daw round its edge. Pick up  the map, go out into the city and walk the circle, keeping as close you can to the curve. Record the experience as you go, in whatever medium you favour: film, photograph, manuscript, tape. Catch the graffiti, the branded litter, the snatches of conversation…Log the data stream…Be alert to the happenstance of metaphors, watch for visual rhymes, conincidenes, analogies, family resemblances, the changing moods of the street. Complete the circle and the record ends. Walking makes for content; footage for footage.

    Robert Macfarlne – a Road of One’s Own, cited by Merlin Covereley in ‘Psychogeogrpahy’

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  • Alt peer-to-peer feedback

    Alt peer-to-peer feedback

    Pear-to-pear (it was better than the images I got for peer-to-peer).

    As part of my Visiting Professorship at Imperial College I have been asked to think about how peer-to-peer assessment works in group works. Here are my thoughts.

    One of the common features of the group-work-based learning experiences that I have been involved with is the need for the participants to be able to give each other feedback. Often in an undergraduate setting there is an emphasis on giving anonymous feedback. I have seen many colleagues cook up clever ways of gathering this anonymous feedback – I’ve conceived a few such systems myself – and processing this feedback in order to find out what is going on in student groups and to enable the teacher to be the arbiter of fairness. Managing such systems of peer-to-peer feedback can quickly become burdensome, and I am never really sure whether you really know what is going in the group or if the students are rigging the system.

    As I become more and more involved in problem-based learning, I realise that this approach – anonymity and delegation of confrontation to the teacher – misses the point. If students feel that their peers aren’t pulling their weight in a teaching scenario, then they should be trained in how to confront these issues in themselves. And taking a more positive spin, students should also learn how to give positive feedback too.

    I think it should be possible to give students the tools to handle these sorts of interactions themselves, and then for the teaching staff to coach students through the process where difficult situations arise. These are tools that my collaborator Nick Zienau uses in his ‘Leading and Influencing‘ course. The following is how I envisage this could work:

    How it would work

    The context is an extended student group design session in which a group of six to ten students spend a number of weeks collaborating to deliver a shared group output.

    Skills development day: trust, confrontation and non-judgemental feedback.

    I envisage a day-long training day for student groups. This would involve a series of group work exercises punctuated with whole-class briefing and feedback sessions.

    Contracting – this is the process by which students agree with each other what they can each contribute to the team, what they want from the others, and how through their own actions they might jeopardise the group’s success. Students develop contracts for themselves, present them to one-another, and then agree a contract for the group.

    The creation of contracts is a trust-building activity, and it creates a visible set of expectations by which the students can hold each-other to account.

    Confrontation – in this session we provide a quick formula for confronting challenges. It involves naming a behaviour that they have seen and saying how it contravenes their individual or group contract. The reference to the contracts makes the terms of engagement very clear. Practising a formula for engagement makes the process something that people are familiar with.

    Non-judgemental feedback – we walk students through process where they give each non-judgemental feedback, much of which comes down to language. We show students how to stick to facts, like ‘I have seen you do this’ or ‘when you do that it makes me feel like this’, rather than ‘what you have done is bad, or wrong’.

    At the end of the training day, students have contracts for themselves and the group, a language for direct, open and kind confrontation and a mechanism for giving non-judgemental feedback.

    Self-regulation during group work

    After the initial training day students get on with their group work as normal. They are asked to have a quick daily group feedback session, where they appreciate each other’s efforts and identify any emerging issues. They are also expected to have a weekly structured feedback session, where they tell each other where they are contributing most to the group, and how they could contribute more.

    Through the group work, it is expected that the contracts remain in view. They are intended to be a visual reminder to individuals of what they should be doing themselves, and also a way for people to understand other people’s behaviour.

    Instructor Intervention

    The course instructor makes themselves available say once a week to deal with any issues that students feel they can’t deal with in their own groups. The consultation happens with the whole group and the instructor will ask to see evidence that the teams have been meeting to review their contracts regularly and have been giving each other constructive feedback along the way.

    Overall, I believe this approach would empower the students, give them useful life skills and improve the quality of their learning.

    My thanks to Nick Zienau and Søren Willert who have significantly advanced my thinking on this topic.

    ‘Pear‘ by Augustus Binu, licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

  • Working notes: building a questionnaire to characterise design

    Working notes: building a questionnaire to characterise design

    I struggled to find an image to go with this post. When I typed design into my image database, this came up. It is rather fine, isn’t it?

    Today at Think Up I am writing a set of questions that can be used as a diagnostic tool to characterise different stages in the design process. The questions will go into an online questionnaire through which we will be trying to establish a link between different types of design problem, the design process they require and techniques and tools that designers use. The aim is to help students understnad what might be suitable approaches to use in response to different design problems.

    I am fortunate to be working with my colleague Bengt Counsins-Jenvey who knows a huge amount about design thinking in a range of different contexts. He is working on the other part of the questionnaire that is characterising the design problems.

    Here’s some reflections and notes from today’s working:

    • Reducing long-form answer questions on questionnaires. They are easier to write but I’ve learn the hard way on other projects recently that long-form answer questions take so long to analyse it is really worth taking the time to come up with good numeric-scale or mutltiple-choice questions. Having done an initial round of interviews is helping me determine the right language to use.
    • How succint can I get the questions? I am trying to weigh up writing questions that everyone can understand and keeping the questions short. Again, having done some initial interviews helps me know what language people are likely to use.
    • I’ve realised my design world view was initially shaped by ‘blank-piece-of-paper’ designers. My interviews on this project have shown me how few design contexts require blank paper. I hope this process gives me greater understanding of design contexts where the operating context is much more complex.
    • What number scale to use? I’ve gone for 1-4. I don’t want people to think about their answers for too long and I don’t want them to sit on the fence. It will be interesting to see the impact of this choice.
    • I have been daunted by putting this questionnaire together, so last night I just set myself a simple target of writing three questions for each of the main stages in the design process. This much less daunting task was easy to do – the questions almost wrote themselves – and then I was easily able to supplement them. Later Greg Downing explained to me that this process is what he calls skeltoning: you quickly put in place the outline and everything else follows.

    For more info on this piece of research see this post on the Think Up website.

  • No dairy diary (I had un oeuf of eggs too)

    No dairy diary (I had un oeuf of eggs too)

    In Janaury 2018 I decided I would try veganism. I have been vegetarian all my life but in recent years I have found it harder to reconcile concern about the meat industry with eating dairy produce and eggs. In recent years we have eaten very little dairy at home, so this year I decided to try going the full hog and committing myself to a no-dairy no-eggs diet.

    Understandably people ask ‘what do you eat?’ Here’s the answer:

    7/3/18

    • Toast with marmite
    • Lunch: humous and veg sandwiches from platter
    • Cake time – Vegan banana and coconut bread (Southbank)
    • Dinner – Turkish mezze at Taz

    6/3/18

    • Leon porridge with blueberries
    • Elevenses: toast
    • Lunch: Pure vegan wraps (from platter)
    • Tea: more toast with humous
    • 1st dinner: Kale and pumpkin one-pot pasta (Anna Jones)
    • 2nd dinner: Roast spiced brassicas with split pea purée (Hugh Fearnley-Whittingstall)

    5/3/18

    • Breakfast: porridge
    • Lunch: Pret a Manger Spiced chickpea and spinach sandwich
    • Dinner: Kale and pumpkin one-pot pasta (Anna Jones)
    • General grazing in the kitchen

    4/3/18

    • Blueberry pancakes
    • Lunch?
    • Crisps
    • Sweetcorn fritters with roasted potatoes

    3/3/18

    2/3/18

    • Breakfast: Indian breakfast kheer (a sort of rice pudding with cashews and safron) (Anna Jones – The Modern Cook’s year)
    • Elevenses: toast
    • Lunch: Borscht with hidden tofu
    • Apple cake
    • Pasta with putinseca sauce (olives, capers etc)

    1/3/18

    28/2/18

    • Breakfast: Museli with soy milk
    • Lunch: leek and potatos soup with toast
    • Motivational snack: toast
    • Dinner: Toasted quinoa, roasted brassicas and spiced green herb smash (Anna Jones – The Modern Cook’s year)

    27/2/18

  • Problem-based learning – action learning from around Europe

    Problem-based learning – action learning from around Europe

    Today I have been reviewing the action learning diaries that half a dozen people have sent me from Greece and Cyprus. They are getting ready for training in problem-based learning that I will be co-leading here in London at Think Up with Prof Søren Willert from the University of Aalborg (see picture) as part of the EU ErasmusPlus-funded Enginite programme, and we have set them some problem-based learning of their own to do before they arrive.

    The idea behind problem-based learning is that the student should own the problem and own the process of finding the solution. This approach is diamertrically opposed to the traditional direction of travel for learning. The aim of our approach is to get the participants to experience this problem-based approach for themselves before they start designing such experiences for their students.

    The first set of reflective diaries that I have read reveal very different ways of working in our cohort. Some are applying problem-based learning with their students; others, who don’t teach, are adopting this approach with colleagues in their companies, and it is this latter group which is perhaps the most fascinating – because is in fact the sort of environment for which we are eventually preparing students.

    At the moment problem-based learning feels like very rich territory to be farming in. The approach itself is a powerful philisophy that has many daily applications, and coaching other people in its use is gives me the chance to witness the daily strategies for sucess that other people use.

    One of things that I really enjoy about this project is that is it is open – you can join in yourself if you follow the instructions below – and everyone is learning as they go. For my part I am learning what other people understand problem-based learning to be and become ever more aware of its applications. It is also terrific to be working with Søren, I feel like I learn so much from each of our interactions. Today it has been really interesting to see how he characterises the different types of PBL as described in the reflective diaries. To his words, it is enabling me to notice ‘exemplarities’ that I can look for in other people’s work.

    To find out more about this project and get involved visit ‘Getting Started with Problem-based learning‘ on the Think Up website.

  • My VR training epiphany

    My VR training epiphany

    Last week I was down at Bridgwater and Taunton College to check out the tools Stefan Cecchini and his colleagues are going to be using to deliver a revolutionary new engineering degree curriculum that aims to be entirely inquiry-led. There for the first time I tried out a virtual reality (VR) training environment. I put on the VR headset and gloves, and this is what happened (that’s Stefan, by the way wearing the VR gear).

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  • #12 Show-notes – Roma Agrawal: how to build a skyscraper

    #12 Show-notes – Roma Agrawal: how to build a skyscraper

    In this episode I bring you a step-by-step guide on how to build a skyscraper with structural engineer Roma Agrawal (@RomaTheEngineer), author of ‘Built, the Hidden Stories Behind our Structures’. We get into the engineering, creativity and philosophy of sky scrapers and their designers. Don’t try to build a skyscraper yourself without listening to this first.
    And since engineering education is something I do for my day job, I thought I’d accompany this episode with some additional resources related to the topics of this podcast. I’ll be adding to these over the next few days so stay tuned.
    • Listen to it on iTunes
    • Listen on Stitcher
    • Stream by clicking here
    • Download as an MP3 by right-clicking here and choosing “save as.”

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  • #11 Show notes – Jack Bardwell – Spine-tingling creativity

    #11 Show notes – Jack Bardwell – Spine-tingling creativity

    Graphic designer Jack Bardwell and I used to be colleagues at the Useful Simple Trust, he bringing alive the many wacky ideas I have had about how to teach people engineering. Over our three years working together we had many fascinating and long discussions together about creative processes and teaching design.

    I recorded this episode with Jack last summer just before he left to puruse new adventures in interior architecture. I miss him in this office, so it has been a pleasure therefore to listen his voice in the edit, and to hear the many fascinating things he has to say about his creative process, what he has learnt from working with engineers, and, most intriguingly, the spine-tingling effect other people’s creativity can have on him.

    In this episode we get into:

    • Tuning in to other people’s creativity
    • How people express creativity without realising it.
    • The receiver is the context
    • Cooking is design
    • The importance of copying in developing skill as a designer
    • How new skills open up possibilities, too much skill can limit them
    • Using jigs to constrain the creative process
    • How a carefully tuned jig can force a particularly aesthetic on what you create.
    • How you communicate different parts of the design to the client.
    • When is a jig not a jig.
    • Thinking in lists
    • The way information is presented to you is not necessarily the best way for you to look at it.

    I’ve got a feeling this going to be one of those episodes I keep coming back to when I need angles for looking at the world. Enjoy!

    • Listen to it on iTunes
    • Listen on Stitcher
    • Stream by clicking here
    • Download as an MP3 by right-clicking here and choosing “save as.”

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  • #10 Show notes- John-Paul Flintoff – Saving the world one creative project at a time

    #10 Show notes- John-Paul Flintoff – Saving the world one creative project at a time

    Journalist and author John-Paul Flintoff is this person who inspired me to start this podcast. He talks passionately about how to get people started on their creative projects and the positive impact their creativity has on the world. This interview gets very meta: a podcast about the creative process of podcasting. We get into all sorts of great techniques for creative projects, including:

    • Improv games
    • Valuing what you are good at
    • Not losing track of what is working well already
    • The importance of getting started
    • Not worrying about whether it is going to be good.
    • Shared space in the creaive process
    • Why we need to keep noticing

    But beyond any particular tactic, it is J-P’s warmth and encouragement that I find so inspiring. I hope it inspires you too.

    • Listen to it on iTunes
    • Listen on Stitcher
    • Stream by clicking here
    • Download as an MP3 by right-clicking here and choosing “save as.”

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  • #8 – Eiffelover on tour in San Francisco

    #8 – Eiffelover on tour in San Francisco

    This is the first of two episodes of the Eiffelovercast recorded in San Francisco earlier this month. I was in the city to run some Think Up workshops, and so talk the opportunity to recorded some thoughts, interviews and sound bites related to my regular themes of engineering, creativity and practical philosophy.

    “News from San Francisco: We are all part of the cloud”

    In this episode I visit the Golden Gate Bridge (my favourite bridge in the world?), find out about experiments down in Stanford about what makes us collaborate better, try out as many modes of transport I can, learn about extended cognition and our relationship with the cloud, and experiment with ditching Google maps in an attempt to understand the city better.

    The second episode from San Francisco will be on line later this week. In the meantime, I hope you enjoy listening.

    To listen you can:

    • Click play on the player above
    • Subscribe by RSS
    • Listen on iTunes
    • Download the episode here
    • Access all episodes online here

    Did none of those links work for you? Or do you access podcasts from another source that I am missing? Then please let me know in the comments below.

  • Embodied perception and the Bristol Swing Festival

    Embodied perception and the Bristol Swing Festival

    Bristol Swing Festival is unique among swing dancing festivals because it offers the chance to learn circus skills alongside learning to dance. One of the things that I love about coming to Bristol for the swing festival every year is the way it makes me feel grounded in myself and the connection it gives me to other people and the world around me. In the past, I haven’t had a philosophical framework to help me interpret these experiences. But this year I think I found it in Matthew Crawford’s book The World Beyond Your Head. Reading the second chapter, ‘Embodied Perception’, I recognise many of the phenomena that he describes in my experiences here at the festival.
    The key idea Crawford introduces is that we think through our bodies: our bodies are an integral part of our thinking process and thinking doesn’t occur just within the confines of our skulls. Before I think about the consequences of this idea I want to first relate the pieces of evidence that he puts forward for this notion of embodied perception to the experiences I have here at the festival. Before we go on I should just say a little more about what goes on at this festival. As the name suggests people coming to this festival to learn to swing dance but what what makes it unusual is that you also learn circus skills alongside those dance skills. On a typical day you’ll spend the morning and early afternoon learning dance steps and then the rest of the afternoon trying out different circus techniques such as tumbling, handstands, tight rope walking, juggling and clowning. It is therefore a very physical environment and one in which you make a lots of physical and mental contact with other people.
    The first piece of evidence that Crawford sites in support of embodied perception is what happens when we use a stick held in the hand to explore a space we can’t see. When we use the stick to rummage around in the unseen space, we are aware of the stick jostling around in our hand as the other end moves over the contours of the hidden space; however, after a while we stop noticing the stick’s pressure against our hands changing and focus instead on what is happening at the tip of the stick. As he describes, it is as if we see through the stick right to the tip. Our awareness has shifted from our hands and is focused instead on what is happening at the tip of the stick. To use his words the probe itself has become transparent – it disappears. He goes on that the crucial fact that makes this integration of the prosthetic possible is it there is a closed loop between action and perception: “what you perceive is determined by what do you, just as when we make use of our own hands.
    You can see this happening as people start to develop dancing and circus skills. The stiltwalkers are initially very aware of the contraptions they have strapped to their legs but as they gain confidence and familiarity with the sensations they receive through these prosthetics about their relationship to the physical world on the ground it is as if the stilts disappear from view. They have become incorporated into the body from an attentional perspective and what the stiltwalker senses is the ground at the at the bottom of the stilts and not the stilts themselves. I think the same can be said of the sensations that two people feel when they learn to dance with one another. When they begin they are very aware of all the places where their two bodies touch: the connection between their arms, between the sides of their bodies. To beginners this connection with the other dancer is something that they think about a lot. But as the familiarity with this dance hold increases it is if the notion that there are two separate bodies holding onto each other disappears and they experience the dance as one conjoined unit. To re-emphasise Crawford’s words this integration of the stilt or the other dancer into our own bodies is only possible because there is a feedback loop between action and perception. The sensory information we receive when we are dancing with someone is that associated with a four-legged organism with a centre of gravity that exists at some imaginary point between the two dancers’ ribcages and so based on this sensory information we no longer perceive ourselves to be two separate beings but rather one entity.
    So that was the first piece of evidence in support of extended perception:tThe way we integrate tools and prosthetics and even other people into our bodies. The second set of evidence relates to how we interpret the world around us based on sensory information. He explains that the traditional model of perception has it that our eyes supply our brains with a two dimensional representations of the world. When I look at the beer can in front of me what I see is a 2-D representation. But from memory I have images of the can from other perspectives. What my brain does is a sort of three-dimensional rendering in order to create a 3-D model of the can in front of me. This model seems to imply a great deal of processing happens in the head whenever we wish to perceive a 3-D object.  That model however, as Crawford explains is being challenged by and alternative approach. That approach takes as its starting point the fact that our eyes are located in eye sockets in which they can swivel. Those eye sockets are located in a head seated up on a neck that can look from left to right up and down. Those eyes, head and neck are attached to a body that is connected to legs that can propel the body forwards, backwards, left and right and up-and-down. To repeat the quote that Crawford uses, vision is not the purely mental processing of sensory inputs but rather the way in which we use our body to extract invariants from the stimulus flux. In other words, we explore and understand the world around us by moving through it and seeing things from different perspectives and critically this allows us to identify things that remain the same from different perspectives. Movement through the world is therefore critical to understanding it.
    Here at the festival we learn lots about movement and moving in different ways, so it is possible that this altered locomotion offers us new perspectives on the world. In the handstand classes we spent time moving around on all fours and connecting our hands to the ground. In solo jazz we learn to slide, hop and skip through a space, filling it in new ways. In tumbling classes we run, we jump and we fall (gracefully). All of these activities reveal the world to us from new perspectives, and remind us how narrowly we perceive the environments that we commonly inhabit.
    When I look out of the window from the cafe at which I am writing this post at the streams of people walking to work, walking the same direction as each other, walking the same way as each other, to go and sit in office environments that are probably very similar to one another. If we move through (or rather remain sedentary) in very similar ways, what does that say about diversity of thought?
    Crawford concludes this part of the chapter with a reflection on how toddlers learn to walk. When they are learning they are experimenting to see what movements of their bodies produce what effects. Initially this takes lots of concentration, but eventually the commands can be carried out with thinking about them. The child’s attention shifts away from the body toward the world that can now be explored through movement. Through mastering a new skill, their world has grown, and their attention and perception reaches out beyond the body. Invoking Nietzsche, Crawford says that joy is the sense of one’s power increasing. As we master a new physical skill, frustration gives way – their attention shifts from their body to the world beyond – and they feel a sense of joy.
    So what do I take from all of this? Why does going to the Swing Festival feel so good. I think that there are four things at play here:
    The first is that for many, myself included, our primary stimuli during the day are visual and audio – all from the head and little from the body. At the festival, the stimuli are much more physical. This gives our brains a break, and perhaps puts us back into a sensory environment to which are perhaps better evolutionarily suited.
    The second is that many of the skills we learn at the festival allow us to move through the world in new ways, giving us new ways of perceiving it and understanding it. Turning upside down may seem a trivial thing to do, but when we do so much of our thinking the right way round, flipping things provides a refreshing change.
    A third thing I’ve noticed is that spending a few hours a day doing bodily-focused classes seems to make people more physically playful outside those classes. It’s as if we are given permission to rediscover our world through physical play, to rediscover that intrinsic joy that children find when they run around, swing from branches, balance on walls, wrestle with one another or just give each other hugs.
    And finally, the festival gives us a tiny taste of the power we could feel if we could master a circus skill: when we might one day stop looking at our hands and watch the juggling balls dancing in front of us; when we might one day feel the lightness that comes with the perfect handstand.
    To conclude with one of Crawford’s phrases, ‘we think through our bodies’. Bristol Swing Festival gives me new ways to think through my body, and that’s why I enjoy being there so much.

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  • #7: Musician and composer Ellie Westgarth-Flynn on creative strategies, instruments as an extension of our bodies and creative feedback

    #7: Musician and composer Ellie Westgarth-Flynn on creative strategies, instruments as an extension of our bodies and creative feedback

    Ever since I was a kid my Dad has been sharing musical composition strategies with me, so I think music has been a lens thorugh which I’ve thought about creativity for a long time. And so I jumped at the opportunity to interview my friend Ellie Westgarth-Flynn, pianist, singer, composer and performer about our shared interest in creative techinques for composition. As in many of these podcast interviews, I think that creative techinques from one domain can easily be transported to another, and so I hope that whatever your domain of work, you find something useful in the creative techinques that Ellie and discuss. In this episode, we get into:

    • The tension between technical mastery and creative freedom.
    • The freedom that rhythmic and harmonic templates or restrictions bring to our compositions.
    • Building up composition from motifs and building blocks.
    • The importance of feedback in the creative process – acting on feedback is where change takes place.
    • There comes a point at which you need to leave yourself out of it and get on the with the job of writing the music.
    • Three creative techniques for anyone trying to get into song writing.


    • Listen to it on iTunes
    • Stream by clicking here
    • Download as an MP3 by right-clicking here and choosing “save as.”

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  • Eiffelovercast #6 – Riding the Northern Line Ghost Train

    Eiffelovercast #6 – Riding the Northern Line Ghost Train

    In this episode of the podcast I attempt a sonic recreation of a part of the London Underground that never got built, a stretch of the Northern Line that would have run from Moorgate to Alexandra Palace. En route I reflect on the transport infrastructure shapes our experience of the city and the difference between what engineers plan and what actually gets built. I really loved making this podcast – it features my mother, Anne Soutry, as Northern Line announcer, making the most of her skills as a continuity announcer for BBC Radio Manchester many years ago. Also, as part of my research, I got a ride in the cab of a Northern Line train with my friend Stuart McGee – thanks Stu. So, have a listen, and I hope you enjoy the ride.

    If you liked this podcast then you’d definitely enjoy:

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  • Analogue skills: fogotten powers

    Analogue skills: fogotten powers

    We live in a time of rapid and accelerating technological change. It is the age of digital, big data and smart technology. The digital zeitgeist is presented with a benign face: faster, more connected, more megapixels, do more, see more. But over the last couple of years I’ve had a feeling that in the race to embrace these new digital tools we are forgetting pre-digital ways of doing things which might turn out to have been more useful, more sustainable and better for us. Things like how to communicate face-to-face, how to communicate in written long-form (even the long email is a thing of the past), how to read a map, how to spell, how to sketch, how to make an appointment and keep to it, how to concentrate, how to make things, and even how to take notice of our physical environment.
    The name I am giving to this pre-digital ways of doing things is ‘analogue skills’. As an on-going project, I plan to explore what analogue skills it would be worthwhile keeping hold of, and to interrogate the digital tools at our disposal to see how to make good use of those without detriment impact to our well-being or to the planet. I hope the outcomes of this project will be to produce some suggestions for how we can use the tools at our disposal, both analogue and digital to improve our experience and quality of life.
    Of course, there are many ways in which digital tools empower us: wide-spread and long-distance communication; access to information and knowledge sharing; access to an almost unlimited range of media; online commerce and sharing economies; increased connectivity through social media – and I benefit from all of these.
    But there are also costs. More screen time means less time experiencing the physical environment.The flip side to the benefits of social media is the social anxiety in can cause, fear of missing out – so called FOMO. The huge choice of media that the Internet offers can lead to a sense of being overwhelmed and lower levels of engagement with the content. Digital consumption is dependent on technologies over which consumers have decreasing amounts of control – no longer are we necessarily the masters of our tools – and with built-in obsolescence, these technologies have a large environmental impact.
    Around me, I increasingly see the signs of digitial discontent. Friends talk about digital detoxes and commit ‘Facebook suicide’. At Hazel Hill Wood, where I co-lead conservation weekends, there is no mobile phone reception. Most participants are relieved for this enforced time offline. But there are usually one or two users per group who anxiously spend time at the one spot in the wood where they can get a feint signal and wave their handsets around in the air, like some ritual dance to the digital deity, in a desperate attempt to connect.
    At this point I need to make a full disclosure: I write this post on an laptop, using notes that I made while walking along the street on the memo app on my iPhone, cross-referencing that with notes that I made in Evernote almost a year ago, which I will post to a website, which I will then share on social media. So yes, I am fully-signed up user of digital technologies. But there are plenty of digital things that I don’t use. For example, for the last year I have been trying to minimise the distractions of social media by removing notifications from my phone, and by limiting my screen time. For certain, I’ve been sceptical for some time about the digital panacea. This project is an attempt to martial these thoughts, to change my skills and habits and hopefully to help other people along the way.
    I am fascinated by really cutting edge technology, the innovation that goes into it and the possibility it offers. But I do think that older technologies allow us to interrogate the new; indeed one of the most fascinating things about older technologies is finding out how the engineers of the day were using great ingenuity to extend what was possible within the limits of the technology of the time.  Of course, digital technologies are here to stay, and in many ways for the better. What I think is important is making sure that is us who are smart and not just the technology.

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  • Eiffelovercast #5 – Nick Cobbing: photographing the Arctic

    Eiffelovercast #5 – Nick Cobbing: photographing the Arctic

    Photographer and photojournalist Nick Cobbing talks about photographing the Arctic, what happens to photographic equipment at minus 38 degrees, using drones to take photos, the role of the audience in the creative process, being reduced to tears by the beauty of the planet, the best places to swing dance north of the Arctic, life hacks for creative people working on their own and whether penguins tango or waltz.

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  • Everyday Creativity for Blues Dancers

    Everyday Creativity for Blues Dancers

    This is the second workshop I have run in the ‘Everyday Creativity for…’ series, this time for blues dancers in the London blues scene. A huge thank you to Ellie and the Sunday Shake Off crew for inviting me down.

    The premise is that blues dancing is an inherently creative activity (maybe even more so than lindy hop?), and by interrogating what we are doing when we are dancing blues we can find creative strategies and techniques that we can use in other parts of our lives, from personal projects to professional work.

    This workshop was a truncated version of the full workshop that I run for swing dancers. Into an hour we managed to squeeze in:

    • Thinking of creativity as a system, and understanding the parts of that system
    • The influences we draw upon in our swing dancing and in our professional work
    • Generating connection with your collaborators and your audience
    • Strategies for stimulating divergent thinking
    • The value of doing really silly things.

    Keep an eye out on this site for dates when I’m planning on running the full workshop again.

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  • Eiffelovercast #4 – Crossing France very very fast: a paean to TGVs

    Eiffelovercast #4 – Crossing France very very fast: a paean to TGVs

    Ever since I saw my first one zoom past as a boy I’ve loved TGVs. In January I travelled from one side of France to the other and back by high-speed train to get to a conference, and used the chance to try to capture some of what I love about fast trains in France. It’s a mash up of travel diary, interviews and engineering history, all stitched together with familiar SNCF noises. I hope you enjoy.

    If you enjoy the interview then please let me know in the comments thread below.

  • Eiffelovercast #3 – Andrew Scoones – is there is such a thing as engineering culture?

    Eiffelovercast #3 – Andrew Scoones – is there is such a thing as engineering culture?

    We are trying to define the heritage of the future – the creativity and ideas in engineering that people will look back on – Andrew Scoones

    Andrew Scoones is a filmmaker specialising in the built environment. Andrew seems to have interviewed or met almost all of my engineering design heroes, and so I was equally delighted and nervous when he agreed to let me interview him! In this podcast we explore one of Andrew’s passions, the identification and celebration of engineering culture. Along the way way we get in to some great stories about designers, what they design and how they do it.

    Andrew is director of the Engineering Club, set up over twenty years ago to host events about the broad culture of engineering in an informal setting. In this podcast he shares some of his favourite stories from Engineering Club guests, which illustrate different aspects of engineering culture.

    En route we get into bicycle design, designing trainers, whether there engineering culture includes creativity, and whether there is room for creativity in industrialissed systems. We talk about some great engineers and their projects. And we talk about building your own dishwasher.

    Please enjoy this interview with Andrew Scoones and let me know what you think in the comments below.

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