Lessons from VizEd Vancouver

The fabulous Tracy Kelly of BC Campus invited me north to Vancouver to co-facilitate two workshops, one on graphic facilitation in higher education (“VizEd“), and the second a larger team collaborative Liberating Structures 2 day immersion workshop. In keeping with my debrief/reflection practice, here are my lessons from the sold-out GF workshop.

First, it was a joy to collaborate with Tracy. She has the domain skills and expertise and organizing mojo as icing on the cake. She attracts fun and interesting people to her BCCampus offering and she is has a deep sense of fun and playfulness. The whole package. So saying “yes” to Tracy is easy peasy.

The registration information gave a clear snapshot of the day’s plan:

Join us for a hands-on, full-on day of exploring the opportunities and practices of bringing hand made visuals into our teaching and learning. (P.S. “handmade” can mean electronic too!)

We will warm up with some exercises to banish our inner critics, then explore practices for going visual in our work. Bring your challenges! Bring your ideas!  Bring your inner learner, your inner teacher and your inner child as we explore visual practices together.

What you can expect:

  • Tips and practice for basic drawing skills (Courage! Confidence! Color!)
  • Examples of visual exercises and activities, and where they might be useful in your work in higher education
  • Explore templates for collaborative visual meaning making
  • Experiment with the intersection of group process and visuals

THERE ARE NO “ARTIST” PRE-REQUISITES!

What we Planned

We iterated our agenda and then whipped it into final shape the night before. There were so many elements we wanted to include, but had only one day! We pulled exercises from both of our practices. It was interesting to see where we had developed different versions of  similar exercises. So we riffed and improvised across our two practices.

The basic building blocks included an visual self introduction using the Liberating Structures Drawing Together, my ever-ever-ever-beautiful favorite “I Can Draw” exercise I learned at an IFVP gathering in New Mexico years ago, a brief exposition of what comprises graphic facilitation, development of the elements of a visual vocabulary, and ways to put it together through space organization, templates and metaphors.

To put this together, we planned to give an overview of sketchnoting, then have them sketchnote/graphically record Tracy interviewing Jason Toal and I. Jason is another fab visual practitioner from SFU.

Then we planned to break into small participant driven groups to Shift and Share around four topics before identifying personal next steps and do a River of Life for evaluation. (Visual agenda on your right!)

What Happened

We had only an hour to set up the room, so we were blessed by a team of helpers who helped transform the pin boards into paper-covered drawing boards. Never underestimate the labor (or for my Canadian friends, labour!)  it takes to set up the room for a graphic facilitation workshop! We had packets with pens, pastels, eraser, pencil, “boo boo labels” and a few other things ready for everyone. People like their goodie bags!

The drawing practice itself is very physical and I’ve learned to encourage people to take care of their bodies right off. I am beginning to work more with communities comprised of people with very different physical and mental abilities. There is a lot I have to learn about useful accommodation.

Photo by : By BCCampus

We had 26 people from various parts of the higher education ecosystem (with just a few classroom teachers). It was a quiet but fearless group. They stepped into every invitation, even at moments of “confusiasm.” They jumped into the self portrait with five simple shapes and used that as a basis for peer self introductions as we got to know each other.

 

The “I Can Draw” is always a visual feast of color and beauty. That we can fill up a room in 30 minutes with such a visual richness never fails to stun me. So often people walk in with that “but I can’t draw” voice sitting on one shoulder, so this exercise is about freeing oneself of that voice.

We sprinkled some slides with some exposition about visual facilitation practices, mostly to situate the simple drawing practices into areas of application. In the higher education context, there are so many opportunities, from visual planning, visual engagement in the classroom, and visuals for constructing and sharing ideas and information. The main point was that we can incorporate visuals in so many places: we just need to remember to THINK about it!

Icon Drawing. Photo by BCCampus

Tracy had a great version of the “how to draw basic shapes and icons” that I had not experienced before.  Everyone started Round 1 at a blank canvas of large paper. We’d demo shapes and icons, they would practice, and we’d step back and look at each others work for inspiration. Supporting these rounds of drawing were resources on the table – various sets of icon cards to peruse and practice, depending on the relevance of an icon to a particular person’s work.

Then they would rotate to the canvas to their right for the second round. So instead of just working on “their” piece of paper, they were working on top of each other’s work. We debriefed not only the drawing, but this experience of layering our work. The rounds included:

  • Round 1 – circles & spirals with icons that include light bulbs, globes, spiral arrows, balloons, etc
  • Round 2 = squares, stars, triangles and arrows with icons like computers, phones, buildings, documents, books, barriers, wrenches
  • Round 3 = people – including star people, stick folks, bean people, spring people, and basic face structures to show a range of emotions. Here we also talked about the cultural implications of how we drew and used color for people. 

I liked this better than my version, which was to go from shapes, to people, to arrows and frames and finally to icons for two reason. The groupings helped break things into bite-sized pieces, and it accomplished the “writing over each others work” that I usually do in a separate exercise. So when time is tight, you get “two for one!”

Photo by by BC Campus

After lunch we gave a few more examples of how to unify and organize visual elements with frames, templates, layouts and metaphors. (Tracy introduced the term “grounds” for these things!) This warmed them up for their sketchnoting/graphic recording practice. Tracy again came up with a great idea for listening and capture practice with “VizEd Radio.” She had a set of domain related questions for Jason and I while people madly sketched, followed by a reflection on what it felt like to try and visually capture a conversation. For me it was great to listen to Jason’s reflection on his practice, and where we had similar and different experiences — important for seeing the diversity of this practice.

During the course of the day people had asked about specific elements of visual facilitation. Our Shift and Share session provided the chance to identify four of these areas for short, collaborative learning huddles. People could spend 15 minutes in each area, getting a taste, or hang out at one for the full hour. The four stations included digital recording, designing visual supports for specific facilitation practices, visuals and the classroom and  more on templates and layouts! I regret we did not do any good capture of these sessions. I think we all got lost in the interesting conversations and demonstrations. The photo above is all that remains. Harvest fail!

Finally, we asked people to think about how they would apply their new found/enhanced visual skills when they headed back to their classrooms and offices combined with a short visual reflection of their day. We used River of Life, where you visually draw a river, left to right. The upper left is the past: what you wanted out of or anticipated about the workshop, the middle is the present: what you learned, and the upper right is the future – your next step in using the skills. You can see some samples of the Rivers here: https://goo.gl/photos/iaLHerqP3ZS1K3RBA. We also offered a small visual grid on the way out where they could leave impressions – but I think by then we had fully exhausted everyone!

What We Learned

Here are a few snippets from the evaluation:

  • 85% of respondents said it was a high quality learning experience and 93.8% said they can apply what they learned to their work.
  • I enjoyed being challenged to approach what I normally do in a new way.
  • The facilitators created a safe environment for us to try out new ideas. Plus it was just plain fun to get out of the office and do something I have never done before.
  • I learned so much about some of the basics of visual practice that I feel confident learning more on my own now. That is important! and I also gained confidence in drawing…I learned to let go of the critic and just practice. Okay, the critic is still there and hasn’t been let go of but is quieter.
  • I learned a lot – both how to draw things and how to use the things I draw

We had some moments of dissonance as well. Some felt the afternoon was not as well structured as the morning. And of course, some loved the food, some did not. THAT is not a problem I have ever been able to solve!

In the mean time Tracy and I have been exchanging our personal reflections via email.

Nancy:

  • I continue to be invited into fabulous collaborations every time I co-facilitate a graphic facilitation workshop. From Michelle Laurie for our RosViz workshops, to Tracy I am just damn lucky.
  • Yes, you can do a workshop with results in one day. I used to think we really needed two days which feels like a luxury these days with people so busy and short of time and resources. With each iteration the agenda gets sharper.
  • USE the darn visual agenda (it was at the far end of a long room… I should have positioned it better)
  • Don’t overpack the agenda. As I’ve mentioned in other blog posts, I’ll be learning this the rest of my life, but I think we exercised appropriate restraint.
  • Work hard, hard, hard to reinforce each specific idea for application. In all the hullabaloo, this is so easy to lose.
  • Get clearer in how I express some of the fundamental ideas. I do get lost in my own obscure jargon. Argh!
  • I need to practice my own drawing more, but I remained convinced that my imperfection is an invitation not a straight up weakness! 🙂
  • Have good food. THANK YOU BCCampus!!!

Tracy:

  • My VizEd course/practice is expanding from a very heavy leaning into graphic recording into broader Viz practices, with specific hooks for supporting education and organization processes. In the future, I will continue to include more smaller scale work than I have done before (bonus: less paper) and give a bit more air time and encouragement for sketch notes. This means my sketch note practice needs to improve too.
  • I still feel like end of day harvest/how we end isn’t what I want it to be (though I confess I love that I have my “river” from taking your course to look back on).  When I do this course solo, we finish by doing our first large scale GR and gallery walk, which is like “yay” and “omg look at it all! we did it!” I like that vibe to launch them OUT the door. But it may not be the most useful for all people, will continue to give thought… (Nancy nods in agreement.)

Photos: https://goo.gl/photos/giyTDeXPxAk2KF3R8 (mine) and those of BCCampus https://www.flickr.com/photos/61642799@N03/sets/72157677749832233/with/32498695293/ 

Slides: VIZED-BCCampus Slides for Sharing

Lessons from a Crazy MAFN Multi-Sensory Webinar

Warning: Long post suitable for process geeks and lovers of detail. The rest of you might want to skip to the bottom and download the annotated slides PDF!

For the last few years I’ve enjoyed presenting a 90 minute synchronous session for the Mid Atlantic Facilitators Network, or MAFN. The hosting team is top notch, more organized and supportive than any other I’ve experienced, so it is easy to say yes when they invite me back. (This is worth a blog post of its own!)

Each year I use the opportunity to push my own borders. One year I introduced Liberating Structures (2014). Another year Any Lenzo, Nancy Settle-Murphy and I co-led a session about technology and facilitation (2015).  I think there was something in 2016, but alas, memory fails!

This January I said yes again and decided to really push the boundaries of experiential co-learning in a synchronous online environment and play with what happens when we switch up sensory modalities. I positioned this ENTIRELY as an experiment, not a talk given by someone who is certain about something. That alone is an unusual twist. People expect experts. I arrive as a practitioner, and I love claiming this identity.

The title was Fingerpainting Online: Experiments in Synchronous Multimodality. The experiments I proposed included adding music, creating physical objects as interaction prompts, physical movement, taste/smell, vocalization and creation/destruction/recreation. I used the first modality of music by introducing a piece of music – a fugue – and riffing off the structure of fugues. That was probably taking my metaphoric imagination a bit too far, but it was fun. At the bottom of the post you can see pictures of the slides as well as an annotated PDF of the deck which include my notes and some of the anonymized feedback that happened in the group chat.

Prior to the session, participants were emailed a list of preparations which included downloading and making a small paper foldable animal of their choice, having a snack near by, and printing out a note taking template I drew for them.

Listen

The first modality was aural. Before I started even talking, we put on a clip of contemporary classical music. My camera was on so they saw my face as I listened, but I did not talk for a good 120 seconds. An eternity online. During this time I showed three slides, one a brief prompt asking people to think of the 90 minutes together as a piece of music, a quote from Donella Meadows on “getting the beat” of a system, and a definition of a fugue.

I want to explicitly share the Meadows’ quote here as it has value on its own. This idea that we observe, before we disturb. A great process tip!

  1. Get the beat.

Before you disturb the system in any way, watch how it behaves. If it’s a piece of music or a whitewater rapid or a fluctuation in a commodity price, study its beat. If it’s a social system, watch it work. Learn its history. Ask people who’ve been around a long time to tell you what has happened. If possible, find or make a time graph of actual data from the system. Peoples’ memories are not always reliable when it comes to timing.

Donella Meadows

http://donellameadows.org/archives/dancing-with-systems/

When I finally talked, I offered the invitation into this experiment, confessing I had experiences as a practitioner, but no definitive expertise around the experiment. We then talked about the music. Some of the points I raised included:

  • How we carry stress in our bodies, and how that influences group process as facilitators and participants. Music can begin to release some of that stress (or, in moments of uncertainty, create more.)
  • Icebreakers were originally about creating somatic awareness, listening and connection. How does music break ice?
  • Adults react to music based on their experience with that music. Our memory of a particular kind of music will influence the effect. Children tend to just jump into it and be with it. Dance, sing, listen.
  • In my practice, I often use music that reflects context, domain, desired energy level. If I’m working overseas, I use a mix with local music – a subtle honoring of local context.
  • I am often mixing things up, selecting music and language that is familiar enough, but has some unfamiliarity. This bit of dissonance serves to break entrained thinking patterns, and causes us to sit up and pay attention differently.

In the chat room, the comments resonated with some of these observations.

  • It did not resonate with me
  • I was curious. Wondering where this was going.
  • I felt relaxed.
  • It helped focus and ground me to the session
  • curious
  • Relaxed; soothing; all working together
  • engages my right brain, which helps me access creativity (when we start discussing something)
  • Calm, not thinking : )
  • I was not concerned about where this was going. (thinking)
  • relaxing and getting ready
  • Felt lighter. Was thinking “this is different”
  • Actually thinking about past experience of a client very liner which was uncomfortable with anything different.
  • helps slow down the runaway train thinking…
  • I think there’s a question in this for us as facilitators re. our role: are we sage on stage? are we simply facilitating their energy, so they own the process?
  • Nancy White: Yes yes yes… hold that thought . When you change modalities, you change how people notice and pay attention. I’m going to take you on a sensory adventure. Music as conviviality and sociality. Music in complement to visual practices.

We were off and running. In the spirit of the three parts of a fugue, exposition, development and return, we did a bit more exposition and I reviewed the visual note taking template. The central part of the invitation was to treat this experience with curiosity, withholding swift judgement for each modality and then reflection. I warned them some of the parts of the experiment would be down-right weird, and some would be limited by the limits of the technology itself, and I was NOT aiming for some sort of perfect experience. It was EXPERIMENT!

Touch

The next modality was the physicality of touch. Each person had picked, downloaded and built a small foldable animal. The animal they picked determined which chat breakout room they would go to and reflect on a prompt about the artifact they created. There were the elephants, the lions, alligators, rhinos and giraffes.

I asked them to download, print and build an animal based on something I learned years ago from Lisa Kimball. She was my first guide in online conferencing, back in the almost entirely asynchronous, discussion board days. When she hosted an event, she would send out a packet of printed materials (shocking!) which included something to print out, construct and keep by your computer. The agenda was printed on the different faces of the object we assembled. When we were online, one of the prompts was to hold the object when reading other people’s text comments. The kinesthetic experience in the conference, where we were all disembodied, help us feel a connection.

It was a great set up in Adobe Connect because while people chatted in their respective chatrooms, they could see all of the rooms and look “across” the experience. All the Rhinos are holding the same object, working on the same thing.  Then we debriefed. Right off the bat one participant noted it was a “metaphoric opportunity” that helped us become present in a different way through the mere act of touching something. I smiled. Here are a few of the chat observations (beyond the riffing of animal jokes!):

  • A tremendous amount of diversity of thought!
  • Could be in multiple breakouts at the same time — and see what was happening in all of them at the same time.
  • OK to not follow the rules – that in itself is a great intervention, encouraging people to speak up, and to take some ownership. (I told them they did not have to follow the rules I offered!)
  • Metaphoric opportunity for application to real issues
  • My lion just bit me!!
  • Creating connection – all the rhinos, all the giraffes – I think that’s brilliant in a D&I context – we connect with other people around shared whatever; it creates an affinity that I might not feel for you because I don’t know you.
  • Diversity and Inclusion
  • Seem likes the object needs to be relevant to the to the group work at least as much as ice breakers

Move

Our conversation was moving us from the fugue’s exposition to development. We wrapped this section up by me asking them to take their hands off the keyboard, hold their animals, then imagine the other people in the group who had selected the same animal. A shared, somatic experience. And we moved right into the main somatic experience of moving. I invited people to stand up, move about for a few minutes. To release the tension in their hands, arms, neck and shoulders. To breathe. (See Linda Stone’s work on email apnea!)

Chat Notes after standing up and moving:

  • I seemed to have greater energy . I was able to be more focused
  • It’s fun to freak people out sometimes! : ) (reflecting on the fact that people in the office wondered what this person was doing!)
  • I move more as I work
  • relaxed me a bit
  • it just occurred to me.. we should do this whole thing using xbox!! I’d love to see snapshots of people’s moves : )
  • True! VR is the future and coming soon!

Think about the movement towards standing desks? (3+ participants said they had one, one didn’t know what a stand up desk was). How many walk with their phone during phone calls? We are learning that we are killing ourselves prematurely by sitting too much. There is a stream of work aroundwalking meetings” and redesigned work environments.

But  what do we know about the value of movement in group process? We then explored the connection between moving, attention and how body position can impact attention and prevent more computer based multitasking. Stretch breaks.

Dancing is a metaphor used in our work, just like music (“Its like Jazz!”) Movement and kinesthetic experience has long been incorporated into K-12 pedagogy. The link between math and balance board activities, the association of certain sports activities with areas of studies such as music and math, and the emerging consensus of the value of recess, particularly the physical play aspects, are visible and most of us are aware of them.

If you do a general analysis of group processes, looking at their underlying patterns, there are strong movement components. Large/Small/Large group alternation. “Stand up” meetings.  Visual practitioners talk about the power of people getting up to a wall and making a mark (expressive arts) . The body, my friends, is powerful… Trios in walking tasks improve the quality of thinking and conversation.But we don’t find a lot of results with a Google search about physical aspects of online group facilitation. Building the kinesthetic experience into F2F is fairly common (mode choice), but not very often online. The most frequent thing you hear is to take physical breaks in online events every 40 minutes.

What might technologies like virtual reality help us do? How can our use of metaphors of movement (like dancing)  stimulate the somatic memory. Donella Meadows talked about “dancing with systems.” There are ways of doing strategic planning that are about building resilience, flow and action versus a static plan. We need to build kinesthetic metaphors into our vocabulary and moving methods into our process. I move tables out of the room for more physicality (tables are for eating!), use the human spectrogram to tease out positions and avoid people getting trapped next to the two people they sat down between at the start. What does this look like online?

Different technologies influence our design.  The invitation to engage in these things is important – the language we use.  “This is too childish… we are adults.”  If we have a clear purpose, the activity has to have a direct link to purpose. Talking about facilitation ideas in the abstract is less powerful, because their use towards purpose is what matters. The connection to the purpose: that is the integrity of the design.

Here are some of the ideas the group shared in the chat room: :

  • Instead of having people sitting at breakout tables, have the groups gather around chart paper on the walls around the room
  • I have people stand for exercises all the time . My purpose is to get them focused on the task and get their energy up
  • Love the idea of walking breakout groups
  • I have conference centers give us breakout rooms without tables and chairs. Only flipcharts
  • If folks have cell phones, you can use the Adobe app, etc.
  • How about hololens? An augmented reality headset. Like a next gen Google Glass
  • when working from home, I walk around with my laptop
  • Who says they all have that capability?How to get around the fact that people will sign in with diff technology that prohibits
  • We breakout participants in groups at the end of a day’s session and ask them to produce a skit of their summary of key takeaways from the day. I am always surprised at how much adults love to produce and act! …we can geek out 🙂
  • Love the language change suggestion!
  • there’s a fun platform, MURAL, that allows you to do fun things on the computer that you would do in person – like creating and posting sticky notes with ideas.  https://mural.co/
  • A group of children is almost always more creative than a group of adults. So being “childish” may mean more creative.

Taste/Smell

It was about half way through the 90 minutes when we moved on to taste and smell. Snack time! We’ve heard the line: “Wake up and smell the coffee.” or “That is a tasty idea.” smell and taste metaphors are rich and common. They are one of my favorites because as a chocoholic, I often invoke it in many ways. I shared a picture using chocolate as a metaphor for coming together via  a chocolate mandala at a retreat. Here was a bit of my rap:

Can you smell the chocolate? Does it remind you of something beyond the act of eating chocolate?  Smell memories are some of the most powerful. Smell and taste are powerful parts of the limbic system. Associated with memory and feeling. They can trigger something almost Pavolovian.

Because the olfactory bulb is part of the brain’s limbic system, an area so closely associated with memory and feeling it’s sometimes called the “emotional brain,” smell can call up memories and powerful responses almost instantaneously. “ (HowStuffWorks) When I smell “Love’s Baby Soft” perfume, my year as an exchange student in Brazil as a high school student rises up in all its detail, when otherwise I simply remember the stories I retold the most after my return. Rice cakes make me think of my pregnancies.

I invited you to bring something yummy to eat or drink. Take a sip or a bite right now, if anything is left. Pay attention to your body. What is happening?

While they were munching, I mentioned the work of a client at the CITA program who have introduced good nutrition before family court hearings. and how this simple act of providing protein is shifting court experiences and outcomes. Yes, our bodies are in this with our minds.

Immediately someone asked about the relevance of an experiment like this – the relevance to the purpose and the relevance of the group. Sometimes I step a bit away from purpose and look at creating or holding the space or conditions for working on a purpose. Punctuation – not the main meal, but things that help the main meal go well. But it can’t divert or detract from purpose. Our role is not entertainment – it has to be purposeful. But food has strong social connotations and it evokes memories. So how can we use this in online facilitation?

Chat Notes:

  • Dark chocolate over coconut – the taste and smell is heaven!
  • Wondering about the realistic application of this during an actual on-line session with people that use diff tech to participate and have diff ability and comfort level with any specific tech. Examples of your use of this ??
  • Nancy: This is exactly my question, I don’t know the answer! 🙂 But I want to hear ideas!
  • Does Adobe allow all of us to connect our cameras and audios for 30seconds?
  • I like what you set up… inviting everyone to bring food / drink and even to eat/drink at the same time. And then… ask to share and go to impact or application??
  • What are you eating? You can eat and type, but hard to eat and talk at the same time.
  • coffee and almonds, here in Philly
  • that was my point 😉 sharing everyone’s eating and drinking 🙂
  • @ZZ, we can turn cameras on, but one person at a time. Anyone want to go on video for a bit?
  • a smell that holds memory for you? and the feeling accompanying it/ and …?
  • we have had ‘celebratory’ online meetings with colleagues around the world — the meeting was to celebrate the group’s work and get feedback on the process,
  • Cranky if we aren’t experiencing good nutrition
  • The same issue with nutrition happens with people with dementia or cognitive impairments
  • I certainly agree that food is good for in person meetings, but it is interesting that I don’t want to be watching people eat on-line. Interesting. Is it just because it is different? Or am I impatient because I see it as taking up time?
  • brain & thinking impact from chronic stress… ACES study.
  • Appreciate the question and exploration of ideas for how to do this. At the end of the day does it not need to be relevantly useful for the group’s work?
  • @YY agreed. But I’m finding myself enjoying seeing the coffee drinking.
  • I’m with XX – don’t want to watch people eat 😉 adverse childhood experiences…

Sing/Vocalize

Next was the experiment that, in a previous setting, was the most challenging for people: shared vocalization in the form of singing. Now I know that when we open up multiple mics there will be a sound mess. Things won’t synch up, so I warned everyone in advance. Then we sang Happy Birthday together.

My friend Steve Crandall mentioned a while back some research about the role of singing and social bonding. (Two here and here.) This got me thinking about singing together. I did a little experiment last year at the Sketching in Practice conference in Vancouver, BC with groups using different modalities F2F and the group that had to sing to communicate was, well, not happy. They rebelled. Singing is not a shared public practice, it seems. 😉 We need to figure out how to USE it!

If you look at the development of shared communication, singing has played  role. But we have often excluded in business as “not appropriate.” They create moments of discomfort, regardless of online or offline. Can we use these moments productively? Can we access the value of shared vocalization more deeply?

I’m not suggesting singing Kumbaya and holding hands, but thinking about the value of shared vocalization, in neurostimulation. As we work in a complex world with different people and contexts, shouldn’t we be calling about these things as part of our process? Shouldn’t we be asking these questions? Maybe just playing music alone is not enough, but need something purpose driven around shared vocalization.

“We show that although singers and non-singers felt equally connected by timepoint 3, singers experienced much faster bonding: singers demonstrated a significantly greater increase in closeness at timepoint 1, but the more gradual increase shown by non-singers caught up over time. This represents the first evidence for an ‘ice-breaker effect’ of singing in promoting fast cohesion between unfamiliar individuals, which bypasses the need for personal knowledge of group members gained through prolonged interaction. We argue that singing may have evolved to quickly bond large human groups of relative strangers, potentially through encouraging willingness to coordinate by enhancing positive affect.” http://rsos.royalsocietypublishing.org/content/2/10/150221

The online technology is not friendly to us today, but we should be asking questions about how we can improve the experience. Maybe virtual reality will help us.

Create/Destroy/Recreate

And with that, we moved on to “create/destry/re-create” which is an experiment I’ve run many times in online meetings. This is the “finger painting online” bit – actually mouse-painting for most people, working on a shared white board and using images instead of words. I’ve written about this before, so I’ll move right into the debrief, as this post has grown to gargantuan proportions. Oops!

The debrief of the open drawing of the first round:

  • started to look like jackson pollack by the end!
  • it got messy!
  • incites curiosity
  • looks like Guernica
  • Depends what we are trying to do.
  • confused
  • LOL
  • For this kind of exercise it felt right
  • overwriting each other’s pictures could get in the way of purpose, or not!
  • I greatly improved other peoples drawings…
  • connection, another way to hi
  • the idea of an exercise of building off others’ work if interesting
  • This is a self selected group of people willing to experiment

The second round where a grid and specific instructions were provided:

  • started to look like jackson pollack by the end!
  • it got messy!
  • incites curiosity
  • looks like Guernica
  • Depends what we are trying to do.
  • confused
  • LOL
  • For this kind of exercise it felt right
  • overwriting each other’s pictures could get in the way of purpose, or not!
  • I greatly improved other peoples drawings…
  • connection, another way to hi
  • the idea of an exercise of building off others’ work if interesting
  • This is a self selected group of people willing to experiment

And the third round where we opened things back up to a more emergent creative practice:

  • This is an awesome exercise… here’s what it looks like in a room as part of a world cafe: http://lizardbrainsolutions.com/zwixnxzvcauu2d39y9ijr7kbumu9y1
  • Lol. Love the gump!
  • Ah, I see Forrest Gump
  • ha ha….ha
  • shared purpose
  • more like the first time
  • tower of babel tasking
  • felt more like intentional collaboration I looked for places to add, elaborate
  • jointly effort because we have a theme
  • it felt like we were all contributing to an agreed end product
  • It seems the drawings appeared at the same time.
  • more detail possible but still does not resemble tree
  • surprise, but shared purpose — yielded unexpected results you could build on
  • some people dominating?
  • a cactus would have been nice.
  • After creating several trees, I looked for open spaces. Trying to work together.
  • its difficult to control the stroke sometimes – inadvertently infringed on people’s space
  • would love to have the drawing exercise with music in the background!

Look at the progression: We had no constraints, then constraints, and then between the two we find the space to work together. We built awareness of intentionality and purpose, of our own acts and the acts of our colleagues. Fisher Qua has been doing a group drawing on large paper that starts with individual drawings on the perimeter of the paper and then work collaboratively towards the center. In a space of unfamiliarity, we act differently into the experience.

World Café table clothes where large white paper is set on each table with a range of colored pens for spontaneous doodling and drawing  are a very good example of this F2F. So too with drawing on whiteboards — we have a subtle negotiation of visual space and an easy place to play in the online space.

The Return

Our time was coming to an end. We reached the “return” stage of our metaphorical fugue. We started easy with aural and ended with easy with visual. We explored how to pay attention together and work together.  Individually. Collectively. At a distance and yet really together. We concluded with a “What? So What? Now What?” debrief which you can read in the PDF below.

For me, the insights were these:

  • We need to actively understand and experiment with including more modalities and approaches in our online work if we truly want to learn and work and play together online.
  • Switching helps us out of our thinking ruts and into new, productive spaces for engagement.
  • Discomfort is ok. Let’s use it productively.
  • We have a lot more work to do!

MAFN FingerP ainting Together Online Jan 2017 Annotated

This slideshow requires JavaScript.

» Graphic Practices in Higher Ed: VizEd 2017

Source: » VizEd 2017

Happy, Happy, Happy dance! I get to offer a workshop with the fabulous Tracy Kelley of BC Campus in February on visual practices in higher education. (She made the visual above which I LOVE!) AND PSST, the early bird deadline is NOVEMBER 15th. You can read all about it here. It is one of two workshops we are cooking up. The second is a Liberating Structures immersion workshop and I’ll blog about that separately as I want to share some of the planning process.

I’m particularly excited that we are focusing the practice in all sorts of higher education contexts – teaching and learning, administration, design and… well, ANYWHERE! (Yes, all caps. Yes, EXCITED!)

Here is the blurb:

Have you ever noticed that moment when people are talking about something, then they whip out a pen and start sketching? Or when a conversation breaks open because someone goes to the whiteboard and draws something?

We are beings with many senses, but we often forget how powerful it is to make meaning using words and images. There is something so negotiable about rough little sketches that invites us deeper into understanding, instead of trying to “be right” or “prove my point.” Everything becomes just a little bit more negotiable.  This is the power of creating visuals with and for each other.

Join us for a hands-on, full-on day of exploring the opportunities and practices of bringing hand made visuals into our teaching and learning. (P.S. “handmade” can mean electronic too!)

We will warm up with some exercises to banish our inner critics, then explore practices for going visual in our work. Bring your challenges! Bring your ideas!  Bring your inner learner, your inner teacher and your inner child as we explore visual practices together.

What you can expect:

  • Tips and practice for basic drawing skills (Courage! Confidence! Color!)
  • Examples of visual exercises and activities, and where they might be useful in your work in higher education
  • Explore templates for collaborative visual meaning making
  • Experiment with the intersection of group process and visuals

THERE ARE NO “ARTIST” PRE-REQUISITES!

What to bring: 

  • Bring a notebook, your phone (or other camera) to capture visuals that inform and inspire you.
  • You are unlikely to use a laptop during the workshop, but you might like to bring a tablet (and your favourite stylus if you have  one!)
  • Wear your most comfortable clothes and shoes you can get dirty (ink, chalk, etc.)

Register here.

Can we role model graphic recording? Part 3 in the series

logo_gfrasBackground: This is the third of three posts about some recent visual experiences at the  7th Annual GFRAS Meeting in Limbe, Cameroon, where I was invited as their graphic recorder! As I noted in Part 1, it is a huge investment of resources – theirs and mine – to have me there for the meeting, so I asked if I could also run a short “introduction to graphic recording” the before the event kicked off, and then we could have the participants fan out across the breakouts and field trips to capture sketch notes. The second post in the series shares a few stories and artifacts from the workshop participants about their sketchnoting at the meeting and after they returned home. How are they using their new skills? This third part shares the graphic recordings I did with a little reflection on my own process and the element of role modeling graphic recording skills – particularly the listening and synthesizing skills. 

The #GFRAS2016 Annual meeting started on a Monday afternoon, had a full day on Tuesday, field trips on Wednesday and a final day on Thursday. My graphic recording charge was a chart for Monday, Tuesday and what was needed for Thursday was “emergent.” The field trips were “harvested” by our newly-trained sketchnote artists from Monday’s workshop. (You can see the agenda here.)

Day 1 – Opening

img_20161003_163440

nancyrecordingby keerthiraj siddapuraAs one might expect in Cameroon, there is still a strong sense of formality and meetings being opened by dignitaries. In my experience, they often arrive late. This time they were EARLY and we scrambled to get in the room and set up. There was a very small window for set up, but it was so cool that the Fine Hotel made a recording board for me. You can see how lovely and BIG it was in the photo by Keerthiraj Siddapura at right. (Thanks, Keerthiraj – also one of our newly minted graphic recorders. You can see his full set of photos here.)

The formal opening was in French and the sound was VERY difficult, so the contents of the formal opening were … um… brief. The fact that Limbe is known as a “town of friendship” was the key piece for me. Graphic recording through translation is a tricky proposition at best. The second part of the opening was a conversation between the outcoming and incoming secretaries of GFRAS… the handing of the baton.  So overall, it was a pretty light piece for day one. You can visually see I still battle my “right hand downward tilt” as I record.

What was super fun was that for many in the room, this was their first time seeing graphic recording in action… including most of Monday’s workshop participants. So there at the back of the room I got a lot of attention between sessions and during breaks with people asking me “how do you DO this!” When the new GR’s passed by, we did a bit more analysis – what was working for me, for them and more importantly, what was challenging.  It was a good place of learning.

Day 2 – Keynote and Conversation on Agripreneurship

img_20161004_112341395_hdr

I was very luck to share a cottage with Day 2’s keynote, Dr. Merida Roets of South Africa. As we chit chatted over shared chocolate, I learned more about her, her work, and this strange new concept to me, Agripreneurship. (Know that this is a hard word for me to spell. I had to keep practicing.) After her talk, a panel came up to comment and their input is on the left. There is still a bit of jargon in here, like RAS (rural advisory services).

Merida had never had her talks recorded, so this was a fun new experience for her as well. Remember, she also took Monday’s workshop, so I could see the wheels turning in her head when she came by afterwards at my request to see if I missed or got anything wrong. In the end, she took this piece home with her, with a clear idea of where she was going to hang it in her offices. It turns out that while Merida and her team have been promoting and building agripreneurship capacity with rural farmers in South Africa, they had never heard of the term before either! 😉 Language is a funny thing.

By the way, the colors in these images are not very good. The lighting was difficult in the space. They look a little dull here. But as I was doing some coloring with Pan Pastels, it was also a time where our new GRs used the materials and tried shading and coloring on their sketch notes. So in the end, my space ended up as a little graphic recording lab at the back of the room for the full meeting.

In the afternoon I facilitated one of the four break out sessions and as part of my duties, created visuals for the report out on Thursday. I used Paperby53 to create a base image, then built on top of it to break out each of the elements for our presenter to share.

img_0483 img_0485

Day 4 – Harvest and Network Assessments

Day three people fanned out across the region to visit agripreneurs, farming cooperatives and other locations to see the work in action. Then on Thursday, the morning was the harvest of the Tuesday breakouts and Wednesday field trip reports. The field trip reports are at the bottom and the four breakout reports at the top. I used the metaphor of weaving basket threads together…sort of.

img_20161006_122445

My intention on this chart was to allow individual parts of the image to be pulled out in close up photos so that they could be woven into the meeting documentation. You can click on the thumbnails below to see some examples. All the images were provided digitally to the GFRAS team.

Next there was a network assessment activity led by Kevan and Alexa Lamm. Most of this session was work in groups, so I briefly captured their introduction on my iPad and then animated the sequence. This was done simply by saving the image as different files along the way. (Let’s see if the animated GIF plays correctly in the blog post. If not, you can find it here. )

kevan-lex-animation

I had made a few other iPad images as a way to demonstrate some electronic graphic recording.

There were some other paper sketches I made… nothing really worth sharing… but to empathize with our team that sometimes it can be hard to really pull something of substance out of short and informal presentations.

It was a great experience working with the GFRAS secretariat and all of the participants. I took MANY pictures with people in front of the images… lots of smiles. It has been a while since I did straight up graphic recording and not only was it fun (and sweaty – did I mention the aircon mostly did not work?) but it was a great way to link the workshop on Monday to real practice, to be able to reflect together on our work, and of course, to always remember how much more there is to learn!

Can we actually practice graphic recording after just a 4 hour workshop? Yes! Part 2

Background: This is the second of three posts about some recent visual experiences at the  7th Annual GFRAS Meeting in Limbe, Cameroon, where I was invited as their graphic recorder! As I noted in Part 1, it is a huge investment of resources – theirs and mine – to have me there for the meeting, so I asked if I could also run a short “introduction to graphic recording” the before the event kicked off, and then we could have the participants fan out across the breakouts and field trips to capture sketch notes. This second post in the series shares a few stories and artifacts from the workshop participants about their sketchnoting at the meeting and after they returned home. How are they using their new skills? Part 3 will share the graphic recordings I did with a little reflection on my own process. When I publish #3, I’ll come back and link it here as well!

Unleashed across breakout sessions, field trips and plenaries, many of the participants of our short graphic recording workshop took their pens and notebooks to try and capture the essense of sessions as sketch notes. Remember: these people walked into the workshop with little or no sketchnoting experience. Just a fire in their bellies and a willingness to try.

The first experiments were just with pen, mostly on the small conference spiral note books. You can see the experimentation with how to organize the ideas on the paper and a great deal of courage focusing on the images, not just relying on text.

At one point after a plenary, a few folks stopped by my graphic recording station and we did some mini debriefs and talked about introducing color. The magic was instantaneous… (not that I don’t like black and white, mind you!). Click the images for a larger and fuller view!

By the end of the week, our intrepid team had introduced metaphors and ways to organize space on the page along with some clever extras.

 

But wait, this is not the end of the story! What happened after everyone has gone home? I have two stories to share already (and hopefully I will glean a few more.

Merida Roets, who was also our day 2 keynote and my wonderful roommate at the hotel, was already planning to offer her staff a brief graphic recording session upon her return to South Africa. (I’ll share the capture of her keynote in post #3). They may have wondered what Merida was up to, but she immediately applied her learning to her work with her project developing some learning materials for the South African Sugar Association. She shared an image with me as an example. (I can recommend Merida for both her intelligence and love of chocolate!)
sugar-cane-farmer-in-field
Finally, one of the workshop participants who was already deeply into visual practices for agricultural development, Luke Smith, who is the AgriEdutainment Officer & ICT Director of WhyFarm that originated the world’s Food Security superhero  “AGRIman” as a way to engage younger folks in agriculture , wrote ” I have used the graphic facilitation method with some children in a workshop. I didn’t have all the materials required to execute they way I wanted too. I showed the children  the basics as you showed us in the training. I then gave them the problem of how can we increase food production by 2050 and told them to use the icons, arrows, symbols to come up with a solution.
The children drew there ideas on a copybook page, I didn’t get time to take a photo as the session ran out of time . But I was amazing that some kids drew the ideas of doing farming underwater. I want to try this method again but with flip charts and markers etc. I will certainly capture the use of graphic facilitation the next time. ”

agriman
Agriman

And for a bit of fun