What's the Big Idea? (Module 7)

 “Play is the beginning of knowledge.” ~ Author Unknown

In Chapter 13 of the Sparks book, the Root-Bernsteins mention the life and work of Richard Feyman. It is perhaps one of the most fascinating illustrations of how play can be intertwined in a person’s thought process. Of Feyman, the authors stated, “Tales of his scientific (as well as personal) exploits fascinate the layman, for whom physics is normally a dry-as-dust subject (249).” This was all possible because of Feyman’s willingness to indulge in play. Even when he was at work, he infused bouts of play or results of play in his work. A good example of this is in the title of his book, “Surely You’re Joking, Mr. Feyman.” Other examples of this type of playful attitude can be found in book titles like “French Women Don’t Get Fat” by Mireille Guiliano and “I am America (And So Can You!)” by Stephen Colbert.

The greatest aspect of Chatter 14 of the Sparks book is the way it explained how all the thinking tools are used in the transforming process. The example of Mary Leakey’s work was particularly exemplary. The authors explained that, “Leakey and her team played, observed, recognized patterns and anamolies, engaged in dimensional thinking, imagined body movements, play-acted, formed patterns, analogized, and modeled, ultimately transforming the fossil abstractions into kinesthetic, visual, and emphatic images of the hominids who left their footprints at Laetoli (272-273).” In modern times, we can discern how using these various thinking tools can transform an idea, even a dream into a reality. You can get a real sense of these thinking tools in the following video excerpt that details the making of the blockbuster film Avatar:



When I think of how transforming occurs in the workplace, I consider the entire instructional design process. Within this process, many of the thinking tools mentioned in the Sparks book are involved. Among them are:

Dimensional thinking: taking an idea from concept to reality.
Patterns: incorporating training methods that have worked well in the past into the new training.
Formed patterns: Using familiar templates (A PowerPoint with our corporate logo) and tools (Adobe Connect) for training.  
Play: During the train-the-trainer sessions the trainers engage in role play activities where they take on the role of a trainee.
Observe: Instructional Design team views the role play sessions.

Ironically, all of the above are part of what our team likes to refer to as “best practices.” These are methods that have proven to be effective and beneficial to the work we do. Like each of the thinking tools, our best practices are not static elements in the workplace. They take on different forms and evolve according to the changes that occur within our company and with our clients. I like to think of this constant state of motion as a crucial element of transformational thinking. Working in a creative environment actually allows me to approach rather complicated matters with anticipation instead of anxiety. Like the Root-Bernsteins stated, “Most creative people handle complex transformational thinking with ease (277).” I agree wholeheartedly with that assessment because to creative people, the fear of the unknown is not a deterrent. It is a motivator.

So as I move forward in my daily practice, the main takeaway from our readings this week will be to make a conscious effort to examine the transformational process more closely. In other words, I will be taking a closer look at what levels of patterning, dimensional thinking, imaging, playing, analogizing, abstracting, modeling, embodied thinking, emphasizing, and observing actually takes place in the instructional design process. And starting from there, I think the possibilities to explore new ways to improve and enhance the process are relatively endless.