Ten reasons to teach thinking

The teaching of thinking is a critical endeavour for teachers and one that brings enhanced learning opportunities for students. Unfortunately thinking is not something that we naturally do well and as a consequence it is a skill we need to learn. Understanding this is the first step towards establishing a culture of thinking in your classroom but encouraging an entire school to get on board with this can be difficult and given our already crowded curriculum anything that seems to add to the load is likely to be resisted. Here then are ten arguments to use with colleagues, parents and most importantly students that might help you convince them of the need to learn how to think.

One

Normal education does not improve general reasoning - However; In programmes that target reasoning with specific elements, reasoning is improved - David Perkins

The best programmes are integrated with the standard curriculum, they are not an optional extra - Robert Swartz

Two

Teaching students what to do in the world, what to know, how to behave is EBNE - Excellent But Not Enough - Edward De Bono

Students require opportunities for:

    • acquiring and integrating knowledge
    • extending and refining knowledge
    • using learning meaningfully

Robert Marzano

Three

What makes the good creative ideas stand out from the 3000 others, what do the creative people behind the good ideas have that others don’t:

    • Curiosity
    • Problem Solvers - This is the easy part
    • Problem Finders - This is the part that differentiates them as it is finding the right problems (hard) and then solving it (easy) that means you have a chance of changing the world

Pick the right thing to do and then work hard

Ewan McIntosh

Four

Our lessons should always include Content + driven by the students finding the SO WHAT? - Now you know it SO WHAT? or Now you know it what are you going to do with it or about it?

The 'So What?' leads to student initiated inquiry out of the prescribed content and brings the students passions into the classroom and takes their learning into the world.

Guy Claxton & Lane Clark

Five

If nothing has changed in long term memory then nothing has been learned . . .

An instructional recommendation that does not or cannot specify what has been changed in long term memory; or that does not increase the efficiency with which relevant information is stored in, or retrieved from, long term memory is likely to be ineffective. (Sweller, 1988)

Understanding cognitive architecture allows us to better understand how we learn

Lane Clark

Six

Cognitive Load Theory

Three loads to consider in planning for learning:

    • Intrinsic load - inherent intellectual complexity of the task, you can only reduce this so far without the task becoming meaningless
    • Extrinsic load - how material is presented, environmental factors, modes of responding, you can make real differences here
    • Germane load - motivation, interest, task relevance, buy-in. This is all about engagement and learning that matters to the learner - life worthy learning according to David Perkins author of 'Futurewise'

Three questions to ask that enhance learning:

    • How can you decrease intrinsic load?
    • How can you decrease extraneous load?
    • How can you increase germane load?

Seven

Cultivating learning habits depends on:

    • How you talk (what you name)
    • What you notice (and ignore)
    • What you display
    • How you design activities
    • How you design space
    • How you assign time

A culture is a ‘nutrient medium’ for nurturing growth

Cultures of thinking are places in which a group’s collective, as well as individual thinking is valued, visible and actively promoted as part of the regular day-today experience of all group members

Guy Claxton

Eight

A Metalanguage of Learning

Successful schools create a common language for learning and thinking through a process of collaboration that involves students, teachers, parents and the community and is the foundation for metacognition - A shared language for talking about learning and thinking is an essential step in building a culture of thinking.

Nine

Students have impoverished models of what good thinking is like . . . therefore:

    • We need to teach our students to think
    • We need to teach our students how to think
    • We need to teach our students to recognise the need for thinking 
    • We need to empower their thinking with tools, strategies and scaffolds and overtime allow them to select the right tool for their thinking
    • We need to ultimately produce students who can and who do think who have a disposition to quality thinking

Ten

Children who have become:

    • resilient - have a growth mindset
    • imaginative
    • curious
    • collegial
    • and enthusiastic readers

fare better in life AND do better on the test

If we teach our children to think then they will do better on the test and they will do better in life.

by Nigel Coutts

Education: Competition vs Collaboration

In a time where much of the debate around education is linked to performance on national and international assessments such as PISA, TIMMS, PIRLS and in Australia, NAPLAN combined with calls for market-driven reforms there is a danger that a climate of competition between schools and systems will grow. Such competition while potentially inspiring systems to identify areas for growth may also give rise to a desire to keep ideas that deliver results a secret. What is most interesting is that this potential for competitive secrecy occurs at a time when teachers are increasingly empowered to share and collaborate across schools and systems on an international scale.

Attend a teach meet and you will see many of the strengths of educational systems on display. Firstly, teachers are passionate about what they do and bring creativity, innovation and evidenced based practice to the solution of every-day challenges faced. Teachers are enthusiastic sharers and see the benefits of collaborations within the profession. Teachers are appreciative and supportive of the intellectual activity of their peers and provide nurturing feedback that allows good ideas to become great. Teachers are highly professional, committed to learning and dedicated to ongoing professional development that will deliver results in their classrooms. Lastly it is always apparent that there exists a wealth of amazing ideas within the educational community waiting to be shared and that by engaging in this sort of collaboration you are highly likely to find that solution you have been looking for.

Physical teach meets are great but with social networking the opportunities for virtual collaborations continue to improve. Twitter, Skype, Facebook, ScoopIt, Google Apps for Education (GAFE) all offer opportunities for sharing and collaboration on a global scale. Thanks to such tools it has become feasible that educators can source all of their learning and teaching resource requirements from a pool of ideas created, evaluated and curated by teachers. Such a body of resources is placing pressure on publishers of text books and related resources as teachers increasingly find better options available from colleagues and shared at no cost. The development of this shared tool set requires ongoing two-way collaboration where the value derived from sharing a resource comes from the access it provides in return.

This is where competition is potentially most harmful. If my access to a resource provides my students and my school or system with an advantage am I more or less likely to share that in a competitive market-driven economy? Beyond this is a system likely to invest in developing new programmes that involve an element of risk compared to adopting a widely used commercial solution already adopted by those viewed as competitors? In the world of IT the saying ‘No one was ever fired for buying IBM’ reflected not that they had the best option but that this was the safe option. Competition in a market where success or failure is determined by a narrow, clearly defined measure such as that provided by national and international assessment programmes is unlikely to ever deliver innovation.

The use of these measures not only stifles creative teaching but limits student exposure to creative learning. The trend to following the leaders in the league tables on PISA has most recently shifted the focus from Finland to China. Yong Zhao, Director of the Institute for Global and Online Education in the College of Education, University of Oregon and influential speaker on education advises caution. China’s success on PISA has come at a high cost to its students and within China there are calls for a more human approach to education. Zhao shares concerns over the demands and pressure that stellar performance on high stakes testing places on students. 'That’s the secret: when you spend all your time preparing for tests, and when students are selected based on their test-taking abilities, you get outstanding test scores. But is this what we want for our children?’ (Zhao, Y 2010) Further analysis of PISA results reveal a negative correlation between results and confidence in entrepreneurial capabilities (Zhao, Y 2012) indicating that what these tests measure and create may not equate with the ideal graduate disposition innovative industries are hoping for.

Further the sort of competition driven by these ‘High Stake' assessments hides the underlying social, racial and gender issues that allow a system to produce great results for some but not all of its students. Sue Thomson writes 'The results from the latest PISA assessment have shown that Australia does have a world-class education system - for most students - but there's much work to do to raise the achievement level of Indigenous, remote and poor students.’ A nation’s results on PISA readily hides the results it achieves for its disadvantaged and the trend to blame teachers and schools for dips and defects at a national level shifts the blame away from deeper socio-economic factors. Raewyn Connell shares that educators know how to deliver effective education across diverse environments and needs but that this is of little use if the agenda is already set; 'contrary to the rhetoric of ‘evidence-based policy’, neo-liberal policy-making proceeds as if it already knows the answer to policy problems.’ If that answer is pre-set as market-driven reform targeted at driving improved teachers, teaching and schools the underlying inequities will go unnoticed.

Connell concludes that 'Therefore, one of the most important things that intellectual workers concerned with education can now do, is to build alternative spaces - spaces in which critique is possible, practitioner knowledge can find expression and other trajectories for education are proposed.’ I agree, now is the time for educators to collaboratively affirm what education can achieve. To work as a profession together, united in the goal of achieving excellence for all students and to do so through the sharing of our collective wisdom.

By Nigel Coutts


References

Connell, R. (2013) Why do market ‘reforms’ persistently increase inequality? Discourse: Studies in the Cultural Politics of Education, Vol.34(2), p.279--285.

Thomson, S. (2008). International league: Australia’s standing in international tests Teacher:The National Education Magazine, February 2008 40-43

5 Steps to a Killer Poster Presentation

With thanks to Lawrence G Miller PHD and CEO, Miller & Associates for this guest posting. Follow Lawrence G Miller on Twitter @lawrencegmiller or LinkedIn 

A big piece of paper with text and images?  A pretty simple form of educational technology, but this is a format that can be as richly engaging as any our more contemporary digital formats.  It’s a poster!

The exact origins of the use of a single sheet of paper to encapsulate research findings are not at all clear.  In the late 1960s scientific research conferences exhibited simple posters that consisted of graphs, diagrams, and pictures, but did not contain text other than captions.  Within a few years, several scientific conferences established the poster presentation sessions that established the format pretty much as we have known it.  Today, posters have become a popular format for virtually all academic disciples, including education.

There is a certain challenge to excerpting research data or summarizing a complex project on one piece of paper.  You can think of it as akin to the Twitter paradigm of a message in 140 characters of text.  Yet, a well-designed, attractive poster can be a great learning experience in itself.  The design process forces the creator to synthesize and articulate their project or study.  Further, the experience of displaying the poster and engaging in a dialogue with interested conference participants is an extraordinarily rich experience with multiple benefits.
Here are five suggestions that will help you create a great poster and maximize the benefits of presenting in this format.

1.     Let It Flow, Let It Flow
A great poster has a logical flow to it.  An on-looker should be able to follow the intent of the poster.  In a more formal scientific-style poster, the material that is on the left side would be the set-up.  Here one would find the purpose of the research depicted on the poster, the research questions, and the methodology used.  The center area on the poster usually displays the data results of the study.  The right side is where one finds the interpretations of the data and the conclusions of the study.  The bottom right is typically where the bibliography would reside and any acknowledgments such as funding sources.

2.     Follow the Rules, Break the Rules
A poster that is entered in a competition should make sure to include all of the elements specified by the competition rules.  Reading and understanding the rules will make certain that your poster will receive all of the points that are assigned for specific areas.  However, there is room for creativity.  For example, a vertical format poster (think portrait as opposed to landscape) can make a poster distinctive.  One creative poster was constructed of 6 separate posters assembled with wooden slats.  It followed the rules for special dimensions, yet made a distinctive and effective presentation.

3.     Pictures Tell the Story
Images not only are an important way to display data, they also are a crucial design element.  Appropriate charts and graphs are typical of good posters, but sometimes a photographic image or an illustration will say something that numbers cannot.  Images should be really good photos or very simple charts or graphs.  Do not overload your images with information as they will lose their effectiveness in attracting people to stop at your poster.

4.     Clean, Simple Fonts
Nothing makes a poster look more cluttered than the use of inappropriate fonts.  Using fonts such as Arial, Franklin Gothic, and Futura make a poster look nice, but they are also very readable.  Do not mix fonts.  You can use Bold and Italic, or slightly different versions of a font family to call attention to the elements of your poster in terms of its flow.  Also, avoid using all capital letters – upper and lower case makes for easier reading.  Keep in mind that your poster will first be viewed by people who are “shopping” for topics of interest and will not initially be very close to your poster.  Your headline at the top must be large enough for people to easily ready it from a distance of five to ten feet.

5.     Engage During and After the Session
The real beauty of a poster presentation is that only those who care about the topic are likely to come and visit with you during a presentation session.  This one-on-one engagement can yield some of the richest experiences possible for both the presenter and that audience of one who cares about the content.  Be certain to have a handout that gives more depth than the posters could ever present.  The handout is where you can go into detail about your project or research.  And, don’t forget your business cards.

Just one more thing . . .
Creating a poster is a great learning experience.  Its use should be considered by instructors at all levels and a valid “deliverable” for group or individual work.


Hess, G.R., K. Tosney, and L. Liegel. 2014. Creating Effective Poster Presentations. 


Office of Undergraduate Research, Poster Presentations, University of Texas at Austin, 


Waquet, Francoise, Posters and Poster Sessions: A History, Center for History of Physics Newsletter, Volume XL, No. 2, Fall 2008

 

Spaces for Learning

Learning is impacted by many forces such as the learner’s disposition to the process, the quality of their teacher’s pedagogy, their emotional state and nature of the curriculum. Amongst this long list of factors is naturally the environment in which that learning occurs and the relationship between the environment and the learner. Our understanding of this relationship has grown and fortunately today’s educators are more willing to experiment with the way spaces are organised to promote learning. The new buzzword to describe learning spaces is ‘flexible’, but what does this mean and how might we ensure that our attractive new spaces do more than look pretty. 

Historic Classroom - courtesy of William Creswell  - Flickr

Historic Classroom - courtesy of William Creswell  - Flickr

You do not have to go far back in time to find images of classrooms that fit the look and feel experienced by the first students to experience formalised school education. Sadly you most likely can find classrooms that fit this image in your local school, today. A blackboard or Interactive Whiteboard at the front of the room, a teachers desk beside it, rows of neatly aligned desks and walls conspicuously devoid of colour or covered in carefully selected pieces of student work with a motivational poster going yellow in one corner. Ken Robinson has entertained many audiences with stories of this sort of classroom, stories that are entertaining to so many because they fit perfectly with their experience of school.

But not all classrooms are like this, some present learners with a mix of spaces suitable to a variety of learning modes or meet these varying needs through the use of spaces that are readily adapted throughout the day. Flexible learning spaces that may be tailored to the needs of the learners are said to be the future of learning. The classroom of the future as seen in the emerging spaces of today’s flexible classrooms will be bright airy spaces, full of colour and comfortable furnishings that can be arranged in many ways to create spaces of varying shapes and sizes. The classroom is becoming increasingly homely with spaces to lounge, spaces to sit formally at desks, spaces for collaboration and spaces for quiet reflection. Like so many ideas these flexible spaces first appeared in the offices of the young and hip start up companies of Silicon Valley. Google in addition to leading the world into the era of ‘search’ and all things online also led the way with the adoption of workspaces that smashed the stereotype cubicle spaces of their old economy competitors. Google took the colours of its well-known logo, combined them with playful design sensibilities and open spaces that were readily adapted to differing needs and gave the world a new design aesthetic.  

New trends in office design are envied by schools - Skype, Google and KBS+ 

New trends in office design are envied by schools - Skype, Google and KBS+ 

Since then there has been a good deal of experimentation with learning spaces and we are beginning to understand how to best utilise this new way of thinking. One of the first significant moves forward was the emergence of a metalanguage for the types of spaces we are likely to have. The origins of this language are a little murky but a good starting point is probably the work of architects Prakash Nair, Randall Fielding and Dr. Jeffrey Lackney of Design Share. Their work embodies so much of what has been adopted in a modern design language for schools and introduced three key spaces. Using metaphors from ancient civilisations spaces are seen as Campfires, Watering Holes or Cave Spaces; each serving a different purpose but acting together to meet the needs of a group of learners throughout a day. Campfires are spaces that allow communication on a large scale and fit the model of the lecture into a friendlier space that encourages more back and forth interaction. The Campfire space is best supported by spaces for collaboration on a smaller scale with nearby breakout spaces or flexibility in furnishings that offer this function. Watering Holes are spaces for small group collaboration and should include spaces that facilitate spontaneous interactions and socialisation. By nature they are likely to be loud but can be adapted to the specific needs of the group. Cave Spaces are for individuals and pairs who need access to a quiet space for reflection and meditative thinking. These spaces offer a foundation along with ideas such as tiered seating and task specific areas (wet areas, lab spaces, performance spaces) but with an agenda to allow spaces to be adapted and remixed to suit the needs of the learner schools should create spaces to suit their specific needs. 

Hellerup School in Denmark seen by many as the poster child for new learning spaces

Hellerup School in Denmark seen by many as the poster child for new learning spaces

Beyond the physical nature of the spaces there are important considerations for how they are to be used. A quick search online will reveal countless images of attractive educational spaces but such images present a potential risk to school planners. The design of any learning space must be guided by sound principles of learning and the spaces need to be matched to the pedagogy of those who will use them. The most amazing space will fail to enhance learning if it does not suit the needs of its users. There is a danger in hoping that new learning spaces will transform tired pedagogy; a belief that is not reflected by experience. In Sydney, Northern Beaches Christian School has had great success with its use of flexible learning spaces and has adopted the language of Nair, Fielding and Lackeny. Visitors to the school are told how these spaces evolved overtime to suit shifts in the ways their teachers taught and learners learned. The pedagogy of the school evolved overtime and this shift demanded new spaces to suit. A large financial investment without careful planning and preparation for how the new spaces will be embedded into the school’s learning platform is likely to result in spaces that are under utilised. 

Playful spaces that encourage students to engage with their environment in new ways

Playful spaces that encourage students to engage with their environment in new ways

With the adoption of new learning spaces come new opportunities for student learning. With choice should come an understanding of the choices that are made. Research has shown that the nature of the space can have an effect on the way we learn at a neurological level. Spaces full of noise and movement suit learning that is goal oriented in which the learner has a clear direction and understands how to get there. The brain responds to this environment in specific ways and the architecture of the brain in this environment is well suited to this mode of learning. This is why we are able to get certain tasks done effectively when listening to loud music but it also explains why this environment is not well suited to tasks requiring more open ended, reflective and creative thinking. In the loud environment the brains architecture is like a metaphorical mountain range with steep valleys according to Claxton and Lucas writing in ‘New Kinds of Smart’, sticking to the valleys allows us to traverse the pathways to completing a task quickly and with focus. At other times in a calm environment the brain is in what they call ‘Meadow Mode’ where a metaphor of a brain with flatter open spaces illustrates a more meditative style with open pathways for connecting ideas and big picture thinking. Understanding that the spaces we are learning in can affect the brains mode of operating is essential. What we want is for our students to have a range of spaces to choose from and the ability to explain why they are choosing one space over another. Spatial metacognition should become a skill for learners as they are empowered to select and even organise spaces to suit their learning. 

Whimsical Cave Spaces from Google Zurich offices

Whimsical Cave Spaces from Google Zurich offices

Lastly the way that we organise our spaces is only part of the discussion of how the learning environment shapes the learning that occurs within it. How we decorate these spaces has a significant impact too. Traditionally learning spaces, particularly in Primary schools are adorned with lovingly completed works of the students interspersed with carefully selected motivational phrases or images. These displays say a lot about what schools value; that is finished and near perfect pieces of work. This model is being challenged and schools are finding success in using their wall spaces as a combination of planning and ideational space that shows works in progress alongside tips and strategies that can be applied to learning; ideas generated by the students as they reflect on their learning. The wall spaces become an extension of the student’s exercise books and digital devices onto which the students arrange ideas as they evolve to be shared and commented on. If a school values a Growth Mindset this use of displays spaces goes a long way to reinforcing the belief that learning is messy and requires hard work with mistakes and revisions on the way.

A space to inspire young imaginations, this one in an Alabama Resort, not a school.

A space to inspire young imaginations, this one in an Alabama Resort, not a school.

Undoubtedly the new learning spaces bring a fresh level of excitement to schools and students quickly fall in love with the options and the playfulness they offer. The challenge for schools is to avoid the lure of shiny new toys and ensure that the adoption of flexible spaces is part of a bigger shift in thinking that includes effective pedagogies and supports for teachers who will be using the new spaces.

by Nigel Coutts

Essential Reading:

Nair, P., & Fielding, R. (2005). The language of school design. [Minneapolis, Minn.]: DesignShare.

Nair, P. (2014) Blueprint for Tomorrow: Redesigning Schools for Student-Centered Learning. Harvard Education Press 

The Third Teacher: 79 Ways You Can Use Design to Transform Teaching & Learning by OWP/P Architects, VS Furtniture, and Bruce Mau Design

Lucas, B., & Claxton, G. (2010). New kinds of smart. Maidenhead, England: Open University Press.

The beauty of unfinished work

There is a danger in seeking finished perfection in all that we do. There is a risk that our students will focus solely on the attributes that define a finished piece and overlook the importance of the process that leads to it. With a shift in our mindset we might be able to celebrate this process and encourage our students to value the learning that occurs along the way.

Guernica by Pablo Picasso  - http://www.all-art.org/art_20th_century/picasso11.html

Guernica by Pablo Picasso  - http://www.all-art.org/art_20th_century/picasso11.html

Carol Dweck’s writing on Mindsets has had a significant effect within education. Her research informs us that an individual’s beliefs about their potential to expand their cognitive and creative abilities and their success in doing so is closely linked. Believe you can improve and you have taken the first step towards achieving your goal. For teachers the lesson is that we can play a powerful role in developing the Growth Mindset of our learners through the things we value, the feedback we provide and the culture in which we situate their learning. If we value the processes of learning, creating, thinking and collaborating more than we value the finished product we send a message to our students that we see learning as a continuous act with mistakes, failures and refinement as essential components. 

Failure is a concept with an unhappy history. At times it has been deeply admonished and hidden from view. Individuals who failed were to be shunned or punished. At other times failure was to be avoided by setting the bar for success so low that failure was impossible. The result of this movement was that success became meaningless, achievable by all without risk and through little effort. More recently failure is seen as a part of the learning process, an inevitable consequence of trying something new. Einstein said ‘Anyone who has never made a mistake has never tried anything new’. Elon Musk, founder of Tesla Motors and Space X is quoted as saying 'Failure is an option here. If things are not failing, you are not innovating enough.' A culture that accepts failure as a part of the learning process will need to take time to celebrate the steps taken towards learning as much as it celebrates the finished product.

When things go wrong for Space X the results are costly and spectacular but part of the process.

When things go wrong for Space X the results are costly and spectacular but part of the process.

There is an unhealthy obsession in schools with displaying a public face made up of pristine student works that hide and devalue the reality of learning as a messy process full of mistakes and revisions. Maybe this traces back to a time when Gutenberg’s press was literally the final word in publishing. The costs involved in printing required a determined effort to avoid errors. In schools publishing persists as a part of the creative process of writing and sharing with similar expectations for quality in the published works as that set for those printed on a press. This fascination with publishing as the path to perfect finished works persists in the digital age only when the very nature of digital works as open to constant refinement and reworking is ignored. Digital allows levels of accuracy and precision not achievable in other ways but also presents the possibility for a published work to be revisited time and time again by its originator and by yet unknown, future collaborators. A digital work of art, of music of writing is never truly finished, it grows and transforms over time. 

Taking time to celebrate the unfinished product within the learning process is one idea Guy Claxton encouraged during his presentations at the International Conference on Thinking (ICOT). Claxton encourages teachers to ban erasers from their classrooms so that student mistakes are there to see. The message to the students is that mistakes are something that you learn from, a marker of the learning that has occurred and not something to be banished from view. Claxton believes that in a classroom that allows erasers students are taught that smart students don’t make mistakes, a message he insists we must avoid sending. In his classes mistakes are a sign that the learning is not pitched at a level below the needs of the students; if the students are not making mistakes when they engage with new learning the expectation has been set too low.

In seeking an opportunity to celebrate unfinished works Claxton described a school art show titled ‘We never finish anyth” that displayed student artworks in their unfinished glory. Unfinished art in particular has a certain appeal and energy that may allow students to see the creative process and their ability to participate in it differently. Dr Karren Serres discussed the potential of unfinished artwork when interviewed by the BBC about a display at the Courtauld Gallery.  "At a more aesthetic level unfinished works have a quality and appeal all of their own. We can imagine the possibilities of what they would look like if they were finished, but at the same time they have a ghostly quality that is also very beautiful.’  Picasso had a definite view on finishing his artworks 'Woe to you the day it is said that you are finished! To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul – to give it its final blow; the most unfortunate one for the painter as well as for the picture.’ He also identified with the role of accidents not as mistakes but as an inevitable part of the process and the path to discovering humanity in art 'Accidents, try to change them - it's impossible. The accidental reveals man.’ Claxton encourages schools to explore the use of unfinished artworks as stimulus material for students as part of a culture that values process over finished perfection.

Study for "Guernica" - 1937 Revealing the process behind the masterpiecehttp://www.all-art.org/art_20th_century/picasso11.html

Study for "Guernica" - 1937 Revealing the process behind the masterpiece
http://www.all-art.org/art_20th_century/picasso11.html

Schools that have embraced a Design Thinking approach have the foundation required for a culture that values process over product. Embracing mistakes and failure as part of the learning process needs to be accompanied by a clear message that we are to learn from these situations. What must be avoided is a belief that mistakes are to be accepted without an equal emphasis on identifying and understanding their causes. This model neither admonishes nor ignores mistakes but sees them as fodder for the next lesson, the next attempt in learning, the many stepping-stones to success. Within a rapid prototyping/design thinking approach this attitude towards mistakes is baked into the process, each turning of the design cycle will reveal new lessons from the mistakes of the previous iteration. With opportunities for reflective practice and metacognition real learning can become part of a process that the students are eager to engage in free from fears that their failures are a measure of their fixed and predetermined ability.
 
 By Nigel Coutts