Eiffel Over

Tag: CreativeTools

  • The Kalideascope

    Some time ago, I took James Webb Young’s kaleidoscope analogy for having ideas and ran with it, building a whole model for helping engineers (and other humans) understand idea generation as a structured process. 

    I call it the Kalideascope. 

    The model has three distinct stages we can follow: 

    • Building the Kalideascope – creating a shared space for idea generation. 
    • Filling the Kalideascope – gathering input patterns.
    • Turning the Kalideascope – making new connections to generate patterns.

    The Kalideascope can help us work at different levels:

    • For individuals, it provides a structured approach to working creatively on a project.
    • For teams, it creates a pathway for tapping into the group’s creative potential.
    • For leaders, it offers a way to think strategically about the creative processes and habits you establish.
    • For people thinking about system change, the model can help us better see the system more clearly, how ideas emerge in it and the opportunities for change within.

    Over the coming weeks I’ll be sharing posts that explore how the Kalideascope works.

  • When the joke isn’t funny anymore

    I’ve been writing this week about when is and isn’t a good time to optimise. And also about the way a street theatre clown uses feedback to keep them close to their goal of making the audience laugh. 

    Well, the clown has another trick up their sleeve, which I learnt from clowning teacher Holly Stoppit, which is called the Drop. 

    Usually a clown can whip up an audience into a frenzy of laughter by doing silly, unexpected things on stage. They will find a gesture or a game that gets the laughs rolling. But then usually, at some point, the joke will stop being funny. The tide turns quickly, and the audience isn’t laughing anymore. 

    This is when the clown should use the Drop. They simply forget all about what they were doing and invent something new. The surprise keeps the audience engaged. It reanimates the clown, giving them a new creative opportunity. It reconnects the clown and their congregation. And the game of improvised laughter-making starts again.

    The reason the clown can do this is they have no resistance to changing the plan. Few deeply held plans about how the session is going to go. Few carefully created props that wouldn’t get used if they took the show in a different direction. And critically, no ego.

    With none of this baggage, the clown is freed of sunk-cost fallacy. Sunk-cost fallacy is the often-held belief that we must continue doing the same things as before because we have invested so much in our existing ways of doing things, even if in the long run changing plans would lead to better overall outcomes. 

    One of the reasons we continue to do the same thing as before rather than change approach is because we feel we have so much invested in the status quo. It could be investment in physical infrastructure or personnel. It could be more personal than that and be an issue of reputation. Or a fear of challenging the powers that be.

    But if the approach we usually take is no longer working for the system, we need to have the confidence to drop and explore something new. Because when the audience stops laughing, the joke isn’t funny anymore. 

  • Start with your scales

    I was taught to start my music practice by playing my scales. Starting with your scales:

    • Grounds you in the practice. The basic relationship between you and the instrument and the sound you can make
    • Reinforces and enhances the automatic movements that become how you play.
    • Takes you through the full range of motions of play.
    • Removes the barrier to knowing where to start because where to start is always the same. You pick up your instrument, you play a scale and you have begun.

    Starting with your scales doesn’t just apply to instruments. It applies to any work where you develop a practice, be that a practice of design, facilitation or performance. 

    In the technique I call Professional Palette in my conceptual design training, I encourage participants to warm up to a design exercise by quickly drawing through all the common typologies for the project they are working on.

    It applies whether you are designing a bridge span, an investigation, a workshop or a dance performance. 

    Make it your default to start with your scales: go through the range of motions, get all the pens out and put them on the table, familiarise yourself with the full breadth of your tools, and then begin.