An open letter to my leaving students


As teachers we don’t usually get to mark ‘final’ exams. We only get to see the results of all those years of study as you do, on results day. This year is again different. I know what grades you are getting. But then so do you. We worked it out together, as a team, me and you.

It was unusual marking these, your final exams. You got so many tricky questions completely correct. I don’t mean just the short answer ones, but the explanation ones and the ones with complex calculations. It’s interesting seeing you do so well because I remember teaching you all that stuff but you soon won’t remember learning any of it. But it’ll all be there, in you, it’s become part of you now, your knowledge, cut off from me. The goal of any teacher is that the student surpasses the master. It’s my job to give you what you need to become more and to go on and do bigger and better things. 

Some of you leaving in year 13 I taught in my first year here in when you were tiny scruffy year 8s. Those of you leaving in year 11 were still in the junior school when I started at Fyling Hall. Does it seem like a long time ago to you, or did it all race by in the blink of an eye?

I’m resigned to the fact that you won’t remember much of my lessons, or indeed any lessons, or any part of school life, as the next years go by and it all fades away as you meet new people and have new experiences. You just won’t have cause to remember how far you’ve come and how much you’ve grown, human memory doesn’t work like that. On some level perhaps you’ll remember a feeling. All I can hope for now is that it’s a warm and welcome feeling.

Maybe, many decades from now, you’ll hear some music, or some other trigger, that will call up some long forgotten feeling from the distant past. Perhaps you’ll remember the fun we had and raise a glass to your old teacher, back here in the before time, who did try his best to give you what you needed. And I’ll still be here, long, long ago, raising a glass forward to you and all your dreams and futures and hopes and loves and joys.

To all of you and yours,

You were fantastic.

Wishing you Happy Times and Places,

Always,

A. Instone

Why didn’t they tell us that at school?


Depending on what era you grew up in, there are plenty of things that you’d claim not to have been taught in school. A lot of us still carry some resentment or frustration that things would be better if we’d only been tough such-and-such instead of chemical catalysts, river deltas or trigonometry. 

The truth is we were taught some of the greatest lessons at school although we didn’t realise it at the time: how to cope with annoying people, how to get out of doing something, how to turn up on time and how to learn. These and other skills were not ‘in the curriculum’ of subjects so we tend to call them ‘extra-curricular’. Some are generic, some are woven throughout school ethos and some are deliberately focused on. 

At Fyling Hall School we have a suite of extra-curricular systems. We have our Tutor Groups, Assemblies, visiting experts, Clubs and Societies and of course the Learning for Life programme which is an extra lesson per week about a range of topics linked to the government’s PSHE, Personal, Social, Health and Economic directive.

This year, a lot of our programme has been and will be disrupted and we’re working on different ways of doing things. That main question remains: ‘what would we wish they’d have taught us at school?’, and ‘what extra skills and knowledge do kids of today need to flourish in their lives?’. These are the driving force behind the plans we put together. 

During lockdown I created a ‘chat show’ to replace some of what we could suddenly no longer do in school. It gave me the opportunity to get guest speakers and interview them on a range of topics of value to our students. None of the topics discussed fit into the curriculum, they were all life skills and knowledge that enrich lives if taken note of. There are links to the shows and their topics below. See what you think.

A lot of what schools do actually teach may at first glance to seem like a waste of time (“when will I ever need to use algebra in real life” is a common one). This is partly that we have become too focused on subjects and topics as collections of facts and information and then, realising that a simple Google search will pull up that information, wonder about the relevance of spending six hours a day in a classroom. “What about the stuff you actually need?” people cry, “like filling in a tax return, how mortgages work, how to book a foreign holiday…”. I like to answer that with two responses. One, those topics would make for very, very dull lessons. Two, those things can be found out by a simple Google search too.

I believe that the answer to this dilemma is to switch this obsessiveness away from topics, information and facts to skills where the information is the conduit for learning the skill. It’s not really about chemical catalysts, river deltas or trigonometry, it’s about what you become by studying these things. It’s about the process of learning itself. It’s about critical and creative thinking. It’s about resilience, perseverance and practice. If you can be the person that can learn, understand, remember, apply and combine ideas on one complex or abstract topic, you can do it for any topic.

That said, the curriculum is nowhere near perfect. I’d love to be able to re-tool it beyond what I can do just in my own school. That’s why I’m working on a manifesto for a new approach, not that anyone with any power will take any notice, but I’m doing it anyway. What would you like to see in it?

Here’s a list of what we covered in The Early Show:

  1. Professional speaker and magician John Hotowka discussed resilience, the skill of keeping strong when things are tricky and you feel like giving up.
  2. Steve Judge continued this to the extreme adding in the idea of having a string vision that drives your perseverance. As a gold medal winning special Olympian, Steve’s story of overcoming dramatic injury to become a winner was inspiring and moving. Steve ran a competition to win a copy of his book for creating a vision board.
  3. David Hyner is one of the countries great speakers on having and achieving goals. His humour and humility made the case to take action immediately. Some of our students did following the talk and got coached by their heroes during lockdown. 
  4. If Frederika Roberts’s presentation on wellbeing and happiness didn’t make you smile, you need to watch it again. She presented us with loads of tips to keep our minds healthy, especially during difficult times.
  5. Science magician Matt Pritchard talked about us re-gaining a sense of wonder about the world around us.
  6. David Thomas, the Guinness Book of Records memory man told us bluntly that memory is something you work on, not something you have or don’t have. 
  7. Our headmaster Steven Allen talked candidly about the nature of school returning to wider opening.
  8. Alex Drew disused the benefits and dangers of the rise of internet use.
  9. Lind Sage, a criminal psychologist, discussed how we each make our own prisons. She works with the most dangerous criminals to help them come to terms with their actions which are li need to their self belief. She should us how we can change positively too.
  10. Jackie Perkins talked to us about self-image and how we present ourselves in our appearance, clothing etc. She told us how dressing for the occasion will get you further in life. 
  11. Graham Frost escaped from a cult as a young child, overcame a number of massive problems and now talks about the power of decisions and how they can positively change your direction.
  12. Silky is a stand up comedian and trainer of comedy and improvisation skills. He discussed with us the meaning of life and how in fact, the meaning is to find the meaning and in doing so, enjoy it.

All of the shows are available on YouTube:

Ep.1 https://youtu.be/gi_UZ3k7rDI resilience with @JohnHotowka 

Ep.2 https://youtu.be/IMLCdKpDF8w vision with @SteveJudge 

Ep.3 https://youtu.be/pgwXD2aNH4I goals with @davidhyner 

Ep.4 https://youtu.be/kRDzgppOi4M wellbeing with @Frederika_R

Ep.5 https://youtu.be/qLxSvWXzQMQ wonder with @ScienceMagician

Ep.6 https://youtu.be/iieo7u03skI memory with David Thomas

Ep.7 https://youtu.be/uFt6N0AWwaM wider school opening with Steve Allen

Ep.8 https://youtu.be/eTC6AOHLqlA internet use with @Alec_Drew

Ep.9 https://youtu.be/3NRJVgYyGGI self belief with @meetLindaSage

Ep.10 https://youtu.be/XBjbDBtROXQ express yourself with Jackie Perkins

Ep.11 https://youtu.be/7b-H6p5NzBI decisions with Graham Frost.

Ep.12 https://youtu.be/0yPlh_DIpnA the meaning of life with @paulsilkywhite


Please tell me in the comments below what you’d wished you’d learnt at school or what you did learn that you’re convinced was of no use whatsoever…

Retro Computing – the past and the future


I’ve written quite a few posts on my retro computer projects and during the course of that have met others that have had similar revelations that have turned into business projects related to inspiring a new generation of children to more fully understand computing.

I asked one of these guys, Mark Grogan, what getting into retro computing really feels like and what it means to him on a personal level. Is it just nostalgia for lost youth, or is there something more profound going on?

He and I have a particular thing in common – we were both Atari ST users in the late eighties and early nineties. The ST was a new breed of personal computer much more powerful than its predecessors (The ST stood for 16/32 bit processing. Current PCs are 32 or 64 bit so this was a big step up at the time) and many kids of the day progressed from their Commodores, BBC-Bs and Sinclair Spectrums to 16-bit machines such as the Atari ST or the Commodore Amiga (The Acorn Archimedes, the Sinclair QL and the Apple Macintosh were also available but much lower sellers). With these 16-bit machines we could of course play better games with better graphics, but the main attraction was that for the very first time we could do whole new things using a computer: desktop publishing was one and making music was another.  Today we take for granted doing these sort of things so why did Mark decide to go back in time to the dawn of modern computing?

“Around four years ago I decided to get back into Atari STs, I’d left them back in 1994, as did many of us as we progressed into a world of multimedia PCs and Windows. (Windows 98 is still one of my favourite PC eras, being a former computer shop owner in 2001). 2016, was when the spark happened. I was working with Zach Weddington, producer and director of ‘Viva Amiga: The Story of a Beautiful Machine’ – a documentary about the Commodore Amiga 16-bit computer produced from 1985 to 1996, I was asked to take care of the web marketing in late 2016 ready for the launch of the film in early 2017. Then the whole vibe around tapping into your computing past clicked with me with memories of my own Atari ST. I started looking for one from ebay and from then on that was it, I went down a rabbit hole of vintage computer collecting, restoring and curating. 

“I enjoy the whole process from start to finish, from finding broken and unloved ones that no longer work, to receiving the packages, finding more broken machines, until eventually having lots of parts lying round which enables me to start harvesting working parts into full machines. This takes me back to my days as a computer shop owner, so I’m always happy tinkering with hardware, but the vintage element really is something else, like I’ve never experienced before. 

“In late 2017 I ended up working with one of the most exciting UK projects where we brought computing history into schools as a business called The Code Show, taking working vintage computers into schools for a day and letting the kids get hand-on experience with them. We were the first to do this in the UK and I essentially felt like I become part of a larger cause. As well as my work, the contacts that I have made from this, as well as combining my own Atari ST passions has allowed me to fully appreciate the retro community in it’s full glory – a community of historians, collectors, teachers, documentary film makers and video producers, demo-sceners, video game industry veterans to name just a few. It’s a collection of some of the most interesting, eccentric, supportive and helpful people you could ever ask for and we all do our bit to keep these machines and the history of them alive and we do it because we care. My own personal collection of STs up in Newcastle is called the Atari ST sanctuary – they come here and I keep them alive.

“I get a lot of joy and liberation from these machines. When I take some downtime from work, then there’s nothing better, take yourself back to your childhood. There’s something transcendental about the whole experience I’ve always found: the green GEM desktop has a certain meditative quality about it. I often leave Atari STs running for the same reason that people like having tropical fish tanks in their living rooms, the whole experience of switching on an Atari ST takes me right back to 1989. If you’re looking for the best way to travel back in time to your childhood then I think vintage computing is a great way to go if you were there. Today they are like mystical things of wonder, the way they look, the chip music that has a sound that is only from that certain era in time along with the metallic graphics. I remember the first time I saw the ST and that was exactly it: the metallic graphics combined with that YM sound, it had a every oriental sort of sound and feel on the ST and that was always something that made me curious about the machine from the start. Cosmetically, when you lay them out on the bench, they remind me of Star Wars toys from the 1980s, they are manufactured the same sort of way the Millennium Falcons models were, with care and attention to detail. 

“As well as The Code Show, I have started working on, with a local electronics engineer friend of mine, is ViCE North East (Vintage Computer Events). We aim to launch our first event at Newcastle University around the summer time (with August penciled in), initially as a place for like-minded vintage computer people to get together and share ideas but going forward, to look at opening it up for the public if all goes well.

“This sort of personal time travel help you join the dots backwards. It’s always important to remind yourself where you’ve came from (and as a computer person then I think it’s important to keep in touch with your computing roots). Is there a link between spirituality and computing? I think there could be, you just have to take a look at Silicon Valley culture today and trace its roots back to things like the Whole Earth Catalogue, but that’s another story. This dynamic that has worked well for me, working within computer history and combining my passions and interests of vintage computing really has had some big advantages for my life.”

– Mark F. Grogan

My thanks go to Mark and once the current situation settles down I’d definitely be having the Code Show visit my school at Fyling Hall.  Read more about the Code Show here. Visit his 16-bit Creative business here.

Public Information Films revisited for lockdown…


During lockdown I was tasked with continuing our school ‘assemblies’ in a video format, called The Early Show. The result was a chat show that also featured inserts of videos made by some of the students and other items.

One of the most popular items were a batch of Public Information Films from the 1970s that I re-edited and re-voiced to be (roughly) about the pandemic and lockdown rules.

You can view the complete set here.

Charley Says featured a very clever Cat who gave a young boy valuable advice on a manner of dangerous topics. This time he’s watching out for lockdown violations and those not social distancing properly during their exercise in the coronavirus Covid-19 pandemic. Stay home, stay safe and protect the NHS!

With apologies to David Prowse, The Green Cross Code Man is back – this time he’s watching over lockdown violations and those not social distancing during the coronavirus Covid-19 pandemic. Stay home, stay safe and protect the NHS!

Tufty really wants an ice cream but he’s following the governments advice. Willy Weasel isn’t though…

Joe and Petunia were a couple in 1970s public information films who didn’t follow the country code, didn’t call the coastguard when someone was drowning and didn’t check their tyres. Now they’re back violating the lockdown rules, having a nice day out and risking spreading the virus.

Donald Pleasance terrified us as kids with his Spirit of Deep and Lonely Water. I’ve re-done this version in light of the Covid19 threat but I think it might be have gone too far…

How to spot the real Father Christmas


Father Christmas original historicalOther children had other questions: how does he get around everyone in just one night? how can he carry all those presents? Where does he live (is it the North Pole)? The question I posed as a six year old was a simple one and was perhaps more pertinent: how could he get into our house when we didn’t have a chimney? The answer provided by my Dad was just as simple: he has a magic key. I was satisfied.

But more interestingly than that, I remain satisfied. That answer is more profound that at first glance. Firstly it completely and utterly answers the question. Secondly, although it appears to raise further questions (how does the key work? where did he get it? does it work for all houses?) it renders those questions redundant because their answers are located in the first answer: it is magic. The nature of magic is that it is magic and is therefore indivisible. It is a closed loop that logic cannot break into.

But here’s another question. Pondered by many, but whispered oh so quietly, as perhaps the undesired answer is already known. But let’s ask it openly and attempt to answer it.

Is Father Christmas real?

Real, unreal; these are modern words that polarise a greater truth that exists somewhere in between. But even truth is contextual. In our ever increasing literal world where things must be concrete, they must be pinpointed and we must be certain, do we throw out a closer more relevant truth of unknowing; they grey area of multiple truths all being correct at once? Like Heisenberg, who showed we can’t know both position and momentum, the more we are certain of one, the more the other slips away, so is it with myth.

Myth does not mean ‘untrue’ as dull literalist dogmatics would have you believe. It means ‘very true’ as if there is another dimension to truth, at right angles to all the facts, that makes a myth more true than fact.

In mathematics we use the square root of minus one, called the number i, as the imaginary impossible number. It can’t exist unless you imagine it. (Try it on any literal dogmatic unimaginative calculator if you need proof). And yet, if we include this imaginary number in various equations, it can help solve them. You can’t solve certain quantum mechanics problems without it. These problems are real world ones too, found in electrical engineering and computing. Without the imaginary number you wouldn’t be reading this on a computer.

So is the number i real or unreal? Real or unreal is the wrong question as i exists, even if it is imaginary and it has a real impact on the world. So even though it’s a dumb question, we have to say i is real.

So let’s return to the original question. Is Father Christmas real or unreal? Bear in mind that he is of similar substance to i. He has the same characteristics: he has a real impact on the world; he explains certain phenomena; he is needed to complete certain functions; he is the square root of minus one.

He is by the literal terminology, real.

So where can we find him?

Father Christmas original historicalAny old fat man in a red suit and fake beard is unlikely to be the real thing. A simple test that drawn upon history is this: is he wearing a hooded cloak? If not, and bears a bobble cap instead, he’s a Coke drinking imposter who’s probably in the payola of the neo-capitalist branding conspiracy to brainwash children. It was Haddon Sundblom, who drew the red-suited fat elf for the Coca-Cola company from 1931 to 1964. Sundblom said he was inspired by Swedish tomte, mythical little creatures with red caps and long white beards but his images owe a lot more to Thomas Nast’s 1863 drawing.

The real Father Christmas may not always be dressed in red (sometimes blue, sometimes green) and may have a holly wreath on his head if his hood is not up.

It was the New York Gazette which, in 1773, gave him to joke moniker of St. A Claus (based on the Dutch ‘Sinterklaas’ which became ‘Santa Claus’) a name which even Clement Moore rejected in his 1821 poem, sticking with St. Nicholas, the name of the 3rd century bishop who gave presents to the destitute. It was Moore who popularised reindeer as the preferred mode of transport. Prior to that, Father Christmas would more likely arrive on horseback.

But his origins are more mysterious and ancient. Originally he was the god Saturn, whose festival, Saturania was celebrated on December 23rd in the Greco-Roman world from pre-history to the arrival of Christmas in the fourth century AD. Saturn, now a fallen god, bowed to the greater authority of Jesus and swore to no longer demand child sacrifice. It is an irony that it was originally the children who were gifts for him rather than him bringing gifts to them.

In his new fallen role and new allegiance, Saturn even turned up at the nativity as one of the ‘wise men’ from the East, bearing gifts for the infant Saviour. Thus the pagan festival and the Christian one unite.

So be careful if you stay up late on the night of the 24th, you may just catch a glimpse of an anthropomorphism of one of the few ancient primal forces still left in the world.

Oh, and the answers to those other questions? If you really don’t want to know, look away now.

How can he carry all those presents? He carries only what is needed for each home with each trip.

Where does he live (is it the North Pole)? The North Pole is a literal version of the farthest place we can think of. Nobody ever said what it was the North Pole of…

How does he get around everyone in just one night? He does them all simultaneously. Since the number i can be all it needs to be at once, so can he. It’s also easy that he only needs to be where an imaginator resides and can easily be personified by them, they become him and do his work for him, as him.

Well, you did ask.

More clues here:
http://www.arthuriana.co.uk/xmas/pages/english.htm

and a history here:
http://www.christmasarchives.org/santa.html
http://en.wikipedia.org/wiki/Saturnalia

To listen my radio show show iTunes here. If you enjoy it, please do give us a rating.

For more interesting info see: www.aydinstone.com

The wonder of the Short Story


short stories science fiction ghostI’ve always preferred short stories to novels. There are two reasons I think. One is that it’s so exciting to discover the one (or sometimes two) really big ideas that a short story can present that really make you stop and think. The other is that if the story’s boring you can safely skip it and jump onto the next one.

I’ve published my first collection of short stories. My intention is to ask the question, ‘What if?’, to take a situation and give it just one or two big ideas, like an extra twist, at right angles to reality, to make characters twitch and a situation unfold. That, for me, is the essence of science fiction: to make just one or two changes to the universe we know about and see where those changes could lead.

It’s a mixture of science fiction and ghost stories. Much as I love the clichéd paraphernalia of film and television science fiction; the cheeky or dangerous robots, the spaceships, the starships and the bolt cruisers, the bug-eyed monsters and the cyborgs, and as much as I expected myself to, I found I wasn’t really including them in my stories.

It comes in part from the thing that non-science fiction fans hate the most; that the technobabble gets in the way of the story, or is a substitution for it. I know what they mean, and I agree.

Godstow nunneryFor me, in writing these stories, I had the further thought of where my imagination might be sourced. I wanted to make sure my invented worlds were as original and believable as possible and did not want to adopt or ride on the back on any pre-existing science fiction methodology. By that I mean how some authors adopt the short hand or methods of another writer. It’s easy to do, but if I’m going to write about visiting other worlds, I don’t want to rely on hyperdrives or warp drives, teleports or transporters, have evil empires or benevolent federations without good reason, independently arrived at. That’s why most of my stories have to be drawn from something I know something about, which admittedly isn’t that much. Some things are harder to avoid. If you’re writing about robots, you’re going to bump into Asimov who’s already been down that road. If you go to Mars, you’ll probably find Ray Bradbury, and if you start exploring subterranean crypts, H.P. Lovecraft will lock the door behind you.

I first started creating stories in the playground with my friend Barry. Aged eight, we became fascinated by the idea of creating a whole world-view within which to set a franchise of stories (although we’d never use or even know those words), like Flash Gordon, Star Wars and Star Trek. Barry knew about the military, so he added the workings and politics of army know-how. I was interested in spaceship and robot design and we both loved the psychological weirdness of Sapphire and Steel. Together we invented motivated villains and evil races. We concocted a reason how the Earth in the near future could engage in interstellar travel by having a ‘wormhole’ appear in the orbit of Jupiter. (We didn’t call it a wormhole, it was a ‘Time/Space Tunnel or Portal’). The playground stories became comic strips and then written down tales as we became older and the stories more sophisticated. We’d created a structure that, if published today, would seem similar to Star Trek Deep Space Nine, although our vision was created fourteen years earlier.

The WallThe stories I’ve collected in The Voice in the Light are about the thoughts that occupy my conscious and subconscious mind: the nature of dreams, of faith, of history, time, and the nature of light. They’re inspired by the kind of writers I’ve enjoyed, that some might call classic science fiction; Brian Aldiss, John Wyndam, Frank Herbert and Larry Niven, forgotten authors like Paul Capon and more recent deities like Douglas Adams and Philip Pullman.

Some of these stories were written over the last year, some a decade earlier, and a few over twenty-five years ago, although I’m not going to reveal which is which. You can try to guess.

Each story comes with an illustration I’ve done (in pen and ink).

The book is available in paperback and on Kindle at a very reasonably low price.

My only wish is that you enjoy reading the 18 stories as much as I enjoyed writing them, and perhaps one or more of them does make you stop and ponder and think, ‘that’s interesting. I wonder, I wonder, I wonder…’

ink drawingHere’s a description of the kind of stories you’ll find…

• A boy seeks solace from his imaginary friend from another dimension…

• A robotic experiment goes disastrously wrong. But why is a psychic detective called in?

• Imagine being able to create extra time to spend as you wish. What would you do with it?…

• A machine that allows you to ‘see’ into the past…

• In a distant future, our cities are avoided as cursed tombs of a doomed race…

• A student joke with a ouija board unlocks a dark past and a prediction is made as to who will die first…

• A boy enters a secret world to enlist magical creatures to help him do his homework…

Get your copy in paperback or Kindle.

 

Ayd Instone works with people to explore and unlock their creative ideas in ways they may never have thought possible, to inspire innovation in their lives, and their business.

To listen my radio show show iTunes here. If you enjoy it, please do give us a rating.

Book Ayd to run an Innovation Ideastorm Masterclass in your organisation.

For more interesting info see: www.aydinstone.com

The story of a long lost friend, found again


Palitoy Talking Dalek

In the attic…

I’ve become obsessed with an idea, or rather a feeling or memory of an emotion. It’s linked directly to an artifact that you probably don’t have the same interest in, let alone have any connection to. But the object isn’t the point of this, the linkages and thoughts that are connected to it are. So for you there may be a similar effect but with a very different artifact. Let’s see.

Five days before my sixth birthday, on Christmas morning, I awoke to find a box in my stocking, left by Father Christmas. It measured 8” x 6” x 6”. It was still dark when my brother and I climbed excitedly into my parent’s bed to open our presents. I unwrapped the box to discover what would be the most treasure toy of my childhood and my most valuable possession until I owned a computer six years later.

I played with the toy constantly until I was around eleven. Then it became an ornament on my windowsill, on display to see every day. Then, when I eventually left home to go to university, never to return, it was packed in a cupboard in a box which a decade later made its way into my loft.

I don’t remember a time when I wasn’t a fan of Doctor Who. My parents knew I was that Christmas as I opened my presents to reveal The Dr Who Annual 1977 (which I wasn’t capable of reading until a year later) and the joy of joys: a Palitoy Talking Dalek.

Even the box was exciting. It had an illustration of a red Dalek on one side and a silver one on the other side. Mine was silver, with blue spots. There was a little bag in the box that contained the appendages; the eye, gun and sucker-arm. I put it together and put in the two HP7 batteries and pressed the black button on the Dalek’s head. It had four phrases, “Exterminate, Exterminate!”, “What Are Your Orders?”, “You Will Obey!” and “Attack, Attack, Attack!” Later I would discover that these were located on a small vinyl record disc inside the Dalek. David McKiterick took the record out of his bothers Dalek and put one in from a talking doll. So the Dalek said “Mama! Mama!” and some poor unfortunate little girl’s doll said “You Will Obey!”

I made the later, regretful, decision that I didn’t need to keep the Dalek’s box. It got thrown out on Boxing Day. That was the last toy box that I didn’t keep. So with future toys I would be able to keep them in pristine condition, return them to their box and open them up again, re-enacting opening them for the first time. But with my Dalek, the box had gone.

I did see a box, one more time, the following year when we were in Durham’s department store, Doggarts (later to become a branch of Boots). They had Talking Daleks on sale there. I longed to have a red one to compliment mine, but at £5, they were far too expensive. Simon Payne brought his red one to school when we were allowed to bring in a toy one day. I took in some teddy bear. There was no way I was going to risk any damage or loss to my Dalek.

But somehow, even with my due diligence, the sucker-arm was lost. I made a replacement one from a sucker dart from one of those guns that fired suckered darts. I made a replacement arm, gun and eye for Simon Mckiterick’s too. His dad had bought the last Talking Dalek from Doggarts, without the box or appendages. His Dalek didn’t last long, after losing the record, it got totally dismantled. I saw the shoulder section from Sarah Woolfenden’s bedroom window, inexplicably on her garage roof.

The following Christmas I was lucky enough to receive a Doctor Who doll (in the likeness of Tom Baker) and his Tardis, as well as the most prized book of my childhood and beyond; Terry Nation’s Dalek Annual 1978.

It was then that I noticed that something was amiss with my Palitoy Talking Dalek. Namely, it had the wrong number of spots. Looking at the pictures in my Dalek annual it seemed that the number of skirt panels were wrong too. Even though it was, to date, the most accurately reproduced model Dalek, the head was a little too small and squat too. Why did the sucker arm have a central spike and why was it and the eye red? I had suddenly become visual discerning.

The inaccuracy in Doctor Who toys is startling. The Cyberman had a nose. Tom Baker’s face looked exactly like Gareth Hunt from the Avengers (that was because the Tom Baker mould was damaged just before production so they actually did use a Gareth Hunt mould). Later 1980s toys had big errors such as the six-sided Tardis console having five sides, Davros, famous for having just one arm, had two, and the robot dog K9, who everyone could tell you was grey; was green in the toy.

But these things didn’t stop me having fun playing with my Dalek. I painted the eye the correct colours and in 1979 stuck on black stickers on the shoulder slats to match the on-screen look of the Daleks in Destiny of the Daleks.

By 1981 my Dalek would no longer talk. He stood on my windowsill until I went to university  in 1990 and was then packed into a box that sat in a cupboard and then was shipped out to my own house and made it’s way to my loft.

Someone on ebay makes replica arms and boxes. What a crazy and yet genius idea. So now I have the parts to restore my Talking Dalek. But can I get him to talk once again?

I brought him down from the loft, dismantled the mechanism and washed him, taking off the stickers from 1979. His silver grey plastic had a slight golden tinge to it, probably due to exposure to light over the years. The inner mechanism is a tiny record player with a transparent disc that contains the phrases. I cleaned all the parts and removed the dust but nothing happened. I feared the motor had given up the ghost but after attaching the batteries directly to it, it started to spin. It too was probably clogged. I left the battery connected for ten minutes and the motor span faster and faster. Putting the needle back in and assembling the whole thing, I pressed the button.

It was a magic moment as an unearthly voice from the past grated out those famous words. What you need to appreciate is that sound coming from the Talking Dalek is not electronic; we’ve become too familiar with toys that have sampled digital sounds stored on computer chips. This is different. It’s an analogue, organic sound. The whir of the motor and the scratchy, wobbly sound echoing from the tiny disc. The Dalek toy is designed inside as a sound box which echoes and amplifies the sound, reverberating it throughout the inside of the Dalek.

Perhaps that why this was not just my favourite and most treasured toy; it was somehow alive. I wonder how he feels now, working again, being played with again. I wonder how he feels looking up with his red eye into my eyes, to see I’m no longer a five year old boy.

Palitoy Talking Dalek and boxIn February 1977 we sat on my parents bedroom windowsill, looking out into the evening as the snow started to fall. We watched it fall, my Dalek and I. First it covered the black tarmac with a powdery white covering. Within the hour it had hidden all sign of the curb as the pavement and road became a single blanket of white. We watched as the night fell and the street lights came on in the silence that only snow knows. Then it was tea-time. Outside the snow continued to fall and the wind blew drifts over the village.

That’s why there’s a value for me in this adventure. By restoring my Talking Dalek I’ve somehow re-connected, not with a old plastic toy, but with the little boy who used to treasure it. We are the same he and I, separated by a gulf of half a lifetime, of sorrows and joys. I need to remember that we are the same. Whatever trials and tribulations face me today, I owe it to that little boy to not let him down.

I also have children of my own now. There are at the age when they will be forming memories that will define for them their own history of who they are. It’s my job to facilitate and support that process in whatever form it takes. It’s unlikely to be a Talking Dalek that will excite and inspire them. They had fun pushing the button for a while before running off to play some other game.

My Talking Dalek also remind me that we are all unique in our loves, our passions and our journeys. My parents could not have guess the relevance of my Talking Dalek and I may probably never know what memory triggers my own children will find.

So have a think at what connects the dots in your life. Is there an artifact, a sound, a place that connects you to that small child from all those years ago?

Ayd Instone works with people to explore and unlock their creative ideas in ways they may never have thought possible, to inspire innovation in their lives, and their business.

Book Ayd to speak about the Power of ‘What If?’ and Inspiration for Innovation at your conference, or in your business. A great way to open your event or as an after lunch energiser.

For more interesting info see: www.aydinstone.com

Creativity and imagination from Star Wars


Star Wars figuresI was born at exactly the right time to live through the Star Wars phenomenon as it happened. I wouldn’t have it any other way.

To older, more boring unimaginative people, Star Wars was just a film, albeit a very popular one with people queuing around the block to get tickets to see it, that broke new ground with special effects.

But to me it was like witnessing the Gospel.

I was the last to see it at my school. I was six years old. I badgered Sean as to what it was like. I knew there were robots in it, a gold humanoid one and a small Dalek-like one. I asked him if R2D2 had a gun, did he shoot like Daleks did? Sean couldn’t remember. Couldn’t remember? How could he not remember? I was busting to see it. I started to guess what it was about and made up a story that I thought might fit the bill.

We went to Newcastle one Saturday. There was an enormous poster of Darth Vader’s head covering the front of the cinema. I’d only been to the cinema once before, to see a Children’s Film Foundation film about a hot air balloon. We were given a programme in the foyer that introduced us to the concepts in the film.

The next day we had Star Wars Weetabix for breakfast. There were transfers in the packet that you could rub onto a diorama on the back of the box, of Darth Vader and Ben Kenobi’s lightsabre duel on the Death Star. We had to finish the packet before we could cut the box up. We’d never eaten so much Weetabix.

That was 1977, Jubilee year. This week, Jubilee year again and 35 years later to the day, I opened up the Sacred Glass Cabinet at the top of the stairs. It contains my 100+ Star Wars Action Figures. Mabel (4), Verity (nearly 2) and I selected a (large) collection and we took them downstairs and along with lego we created an adventure story. (Neither of the girls have seen Star Wars).

This is what they came up with:

Princess Leia (in Bespin outfit), R2D2, C3PO, TC14, and a friendly Jawa arrived in their snowspeeder to an ancient ruined pyramid which the team suspected contained a great secret. R2 went in through the gap in the wall, but didn’t return. C3PO was too nervous to investigate so Princess Leia called for help and Chewbacca and Hammerhead arrived in a landspeeder. Hammerhead’s big hands managed to move more bricks and Chewie went inside only to be met by a fierce Gammorean Guard. It turned out he wasn’t a baddie, he wanted to warn them of the unsafe structure. Chewie and Bossk went carefully in and pulled out R2 and a Death Star Droid who was in need of repair. 9D9 and Powerdroid got him working again and he told of the treasure that was still inside the pyramid. Working together they removed enough bricks to pull the treasure out. The Princess changed into her ceremonial white dress and it was time for everyones lunch.

Stories happen!

My girls were doing exactly what I’d done all those years ago. Star Wars figures are wonderful because they are so interesting. Palitoy seemed to deliberately make figures of all the minor characters and leave out many of the main ones. You couldn’t get Grand Moff Tarkin (played on screen by Peter Cushing) who’s central to the story. But you could get Death Star Commander, who you see for two seconds in the background.

My brother and I never played with them to re-create scenes from the film, instead we’d create characteristics and adventures for these lesser-known creatures, people and droids. R5D4, Dengar or Snaggletooth may only have appeared in the films for less than a second, but that’s what made them so fascinating. They could be whoever we wanted them to be.

I never got a Millennium Falcon playset, or the so obviously not-to-scale rubbish cardboard Death Star. I didn’t get the Jawa Sandcrawler, Boba Fett’s Slave One spaceship or the exciting giant AT-AT snow walkers either. They were all far too expensive and elaborate.

But I’ve never been so grateful for anything from my childhood as I am for NOT getting those toys for Christmas because it meant that instead I made my own.

I collected my Mum’s perfume bottle tops, cardboard, any plastic packaging. It was all saved up, glued together and painted. I had far better playsets than the ones prescribed by Palitoy and learnt model making into the bargain.

Oh, and the story I expected to see before I seen the actual film? I wrote it down and developed it as my own movie franchise with its own characters, robots and monsters. I even made action figures of them using Fimo.

I don’t think I’m particularly unique in having an imagination. Every child has one. But it needs to be developed and encouraged. I think it was mainly good luck that I became embroiled in Star Wars at the age I did in the way I did. It was such a good vehicle for the imagination. It still is. It’s a simple story, but so well told with such background depth that’s perfect fertile ground for the seeds of a child’s imagination to take root, explore and grow.

I believe we need to teach children how to play – not all of them can learn how to do it on their own. And I believe we need to give them the tools of play but need to be careful not to over prescribe too tight a formula and format. With many modern toys and especially computer games I feel there’s a real risk of that.

If your child finds more interest in the box the toy came in rather than the toy itself – keep watch, something interesting may be happening in that imagination of theirs…

Ayd works with people and businesses to explore and unlock their creative ideas in ways they may never have thought possible, to inspire innovation.

Book Ayd to speak about the Power of ‘What If?’ and Inspiration for Innovation at your conference, or in your business. A great way to open your event or as an after lunch energiser.

For more interesting info see: www.aydinstone.com


The end of a friendship


Sherburn Village Infants and Juniors 1977

If there ever was a golden age, it was here, 1977, Sherburn Village Infants. That’s me, seated front row in the middle in an orange polo neck. That’s Sean, front row far right on the mat.

He was my best friend from that time when you actually named your best friend as number one, as if friendship was the pop charts with various friends jostling for that coveted top position.

We’d met when we were both five at the very first day of school. We’d had some great adventures. We’d discovered Star Wars and Superman and The Incredible Hulk together. We’d discovered the secrets of Sherburn Hill together, explored the country lane, the slag heaps and the rubbish dumps together. We’d learnt to read, write, draw and collect Action Jacks together. We’d created magic potions, travelled back in time, been bounty hunters, saved the world from a Dalek invasion (many times) together. We’d learnt how to burn our shoelaces with a magnifying glass, sing the Beatles songs from Help!, programme our Commodore VIC20 computers (and reach level ten in Arcadia.) We’d made recordings on a tape recorder that were so funny we laughed until tears streamed from our eyes and we lay on the floor holding our aching sides.

We’d always sit together in class until Mr Hall banned it and said we had to sit at opposite sides of the room. We were also told that boys weren’t allowed to put their arms around each other in the playground (but girls were). The dinner ladies had reported it to the teachers who’d sent letters home and we were told that the only physical contact boys could make with each other was to punch each other, otherwise you were a ‘puff’, whatever that was. (Turns out, neither of us were).

How is it that you can get really close, so tight in a friendship and then… something happens? This is what happened.

It was a hot afternoon, early summer. I got my bike out of the hut in my back garden and wheeled it down the grass and out of the gate. I rode up to the end of the cul-de-sac and up the curb to ride past Sean’s house and looked in the window to see if there was any sign of life. There wasn’t so I rode up the hill to the tarmaced area called ‘Play Area One’. Everything on the estate had a name. Behind my house was a hidden pavement that was secret until the houses behind were lived in. We called it ‘the secret passage’ ever since.

On the play area was Sean and Sid with their bikes. Sid was a year older than Sean and I who were 12. Sean used to live next door to him when he lived further up the estate, before he moved opposite me. Sean and I had Commodore VIC20s and Sid had a Sinclair ZX Spectrum. We had a software writing corporation called MISARM-SOFT. The initials were the first letters of our names; Michael, Instone, Sean, Adrian, Robert, Murphy. The A and S also stood for Andrew (Sid) Smith.

Sean and Sid had collected a few bricks and a wide plank. They’d made a ramp and were jumping off it with their bikes. I watched for a while then had a few goes too, it was too hot to just stand around. Someone decided to change the arrangement of the bricks to make a higher ramp. I picked up a brick to help with an idea of how I could make it higher but more stable. I was about to put it in place when I dropped it. It broke.

I tried to conceal the broken brick by hiding it under another and I look around to see if there was another brick to replace it. There wasn’t. Sean noticed.

“What have you done that for man?” he said.

“You’d better get another brick.” snapped Sid.

“All right, all right, I’ll get one.” I wondered where I could get another brick from.

“He’s got loads of bricks in his back garden” Sean said to Sid. He turned to me, “haven’t you?”

“But my dad needs them for a wall” I said.

“Go home and get one” said Sid. I got on my bike to ride off when Sean said, “Hey, he can get away. We’ll go with him!”. Sid grabbed my back wheel.

“I said I’ll get one” I said.

Sid dropped my back wheel. I raced off, not looking back. When I got home I thought about it all and came to the conclusion they didn’t deserve a new brick. I sat down and watched The Dukes of Hazard with my brother. I looked out of the window and saw faces peering through the fence at the back from the secret passage.

A year earlier, during the last few weeks of junior school I had been very ill with some sort of fever. Before the illness it had been just an ordinary June, just like all those that had gone before, stretching back into our pre-history. There had been no sense of endings then. If there had been a feeling of occasion in those final weeks of school, I’d had missed out on it. Mr Jackson the headmaster retired that summer and there’d been event to commemorate. I’d missed that too. I’d never said goodbye to any of my classmates who I’d grown up with since that September day six years ago when we were all five. And except for the few that lived on my estate I’d never saw any of them ever again. Barry said that Mr Jackson had died not long after.

So after that summer had passed we’d all moved up to a bigger school. But I’d gone to a different comprehensive school to my infants and junior compatriots. They all went, I assume, to Gilesgate, the rough, tough inner city ‘Grange Hill’ type school. I went to Belmont, which seemed more refined, almost like grammar school. When the new term began at our separate schools I’d slowly started to lose that regular contact with Sean, even though he lived opposite. Presumably he’d made new acquaintances, new alliances, new friends and a whole year of new school had passed.

That first year had ended and it was the start of another summer holiday and I was feeling I needed to keep clear of Sean because of the brick incident that week. Barry lived at the other side of the village. I told him about Sean and the brick. He and Sean had never got on. At school, when I’d played with Barry, Sean would always resent it. Barry mentioned that he’d seen Sean riding around the village with a small gang. I’d been reading The Lord of the Rings and jokingly referred to Sean as ‘Sauron’ and his gang as ‘the Nazgul’, ‘the black riders’.

Barry and I were round at Graham Stead’s house, drawing maps of fictional islands and continents we’d made up on rolls of anaglypta wallpaper. We saw Sean’s gang coming round the corner on their bikes. Barry and I leapt on our bikes and rode off. Graham went back inside his house.

There’s an adrenaline that comes from being chased. Especially if you know you’ll always get away. We seemed to have shaken them off and got to Play Area One and found my brother there. He joined our gang and so did his friend Neil. So there are now four of us. I was in the middle of explaining the situation to my troops when some retard called Nigel came up.

“I’m going to tell them where you are.” he said.

“You thick head.” I said “You think we’re going to stay here?” Nigel shut up and started throwing a tennis ball off someone’s house.

It was getting late so we all headed home. I was pleased that I had at least got four members recruited to my own entourage. I looked out of my brother’s window and saw something disturbing in the street beyond the back garden, between the garages. In the dim light, Barry was stood near Sean. Then Neil went up to him. I opened the window so I could hear. Neil had said, “Can I join your gang?”.

The next day I rode around the village on my own. I turned into a narrow path only to see it blocked by Sean and his black riders. I knew I couldn’t get away this time. They stopped me and Talley grabbed my front wheel.

“Why don’t you give Sean a brick?” he said. Before I could answer, Renny came up from behind and crashed into my back wheel.

“Sorry, my brakes don’t work.” Renny said grinning.

I was frustrated, worried and wanted to get away. I hit at Talley, trying to get him to release his grip on my bike.

“Right, you asked for it.” he said and jumped on me and I fell off my bike. I lashed out at him again which gave me the chance to jump back on my bike and get away. My bike made a grinding noise, the mudguard on the back was buckled and scraped against the tyre.

A day or two later, Barry and I had been up the moors. On the way back we headed to ‘the Bash’, a huge and thrillingly dangerous slag heap, a remnant of the village’s coal mining past. After collecting a few fossils, we walked back to the village and there, just in front of the entrance to the secret passage behind my house was Sean and his riders. They cut us off. They used their bikes to block up the entrance to the passage and crowded around us. But Barry had slithered out towards the back and when I looked around he was standing well behind them all.

I looked around for a means of escape but there wasn’t any. To the left of me was the barricaded passage entrance. Behind me to the right and left were rows of garages for the flats and behind me was a fence. Stood around were Sean, Sid, Cheeky, Daz and Renny. This lot had all been my mates, for years, just less than a year ago. Sid had with him his tiny brother Steven with dirt around his face. He must have been just two years old.

“Why did you call me Spud?” said Sean from the back.

“I didn’t” I said.

“Yes you did” said Barry.

“No I didn’t” I repeated.

“Yes, you said you’d used names out of the book you were reading” said Barry.

“I don’t recall ‘Spud’ being in Lord of the Rings” I replied.

Daz picked up little Steven.

“Steven, kick him, go on, kick him!” he said. The little toddler did just that. Perhaps they wanted me to go for the poor kid but I just moved out of the way.

“Ha! Look, he’s scared!” said Daz.

I was getting anxious. I wanted to go in for my tea. Then everything seemed like slow motion. I ran and leaped over the barricade of bikes, giving them a kick behind with my right foot, knocking them all over. Then Renny rushed at me and jumped on my back. He was a small potato-like shirtless lump. I threw him off and heard him go splat on the ground. Cheeky came next. He ran at me and I grabbed the scruff of his neck and picked him up. Oddly, he laughed out in surprise. I threw him to the floor. Then Daz tried it and I knocked him to the floor too.

Then it happened. The others had retreated and Sean moved towards me with fire in his eyes. I lashed out. He hit me in the stomach. But with the next blow, our fists collided, like some sort of stalemate. Our knuckles cracked. Everyone else just looked on.

Further down the passage our gate opened and my brother came out. He shouted back through the gate to the house and my Mum came out and I backed off. Sean’s face was red and I was shaking.

Later I told my Mum the whole story and after tea she took a brick over to Sean’s house. We didn’t see each other again after that, and at the end of the year my family moved far, far away from the village where we all grew up.

Three years later my Dad had some business in the North East and because it was in the holidays I went up with him. It was early evening when he dropped me off in the village and I walked round to Sean’s house as the light faded. We were now both fifteen. His mum answered the door and I went in and up to his room. Sean was there with two boys I didn’t know, playing computer games on a Sinclair Spectrum. I wondered what had happened to Sean’s VIC20 and we talked about nothing as if nothing had ever happened ever. It was as if he could only just remember who I was. The only thing he mentioned related to the past was that there was another boy now living in my old house. After a while I said, ‘see you later’ and left them to it and walked out into the night to the spot where my Dad was due to pick me up.

Even that is now 26 years ago. This isn’t even a story to be proud of. But somehow I knew it was important as I wrote it down at the time. I’ve developed longer and deeper friendships since. But there something different about those early years, the foundation for who we are and what we’ll become.

The threads of our life’s tapestry is laid down in those times, and although so short, sometimes they do feel like the most important threads of all.

If you liked this theme of childhood and school memories you may like:

I own the only surviving copy of time

My headmaster still owes me £50

Why do we remember what we remember?

Everyone remembers a good teacher

Where does our ‘right and wrong’ come from?

The Creative Troublemaker

Don’t Talk to Strangers

Ayd works with people to explore and unlock their creative ideas in ways they may never have thought possible to inspire innovation in their lives, and their business.

Book Ayd to speak about the Power of ‘What If?’ and Inspiration for Innovation at your conference, or in your business. A great way to open your event or as an after lunch energiser.

For more interesting info see: www.aydinstone.com

Children are not sophisticated


It was a phrase I first heard in the late 1980s that ‘children are more sophisticated today’.

It was used as a deceitful excuse for removing budgets from children’s television by canceling many programmes that had run for years, including the pre-school programme Play School, which had run for 24 years, Play Away, Crackajack and others to fund breakfast television. What was cut from the schedule were the quaint, gentle and silly programmes for young children.

The it was used to justify lowering the certificate rating on films and video releases.

It’s used to today to justify fast moving, complex, sophisticated themed children’s programming, use of computers and computer gaming.

I’ve been experimenting on some unwitting children. I found an episode of Andy Pandy on YouTube. It was an example of one of the very first British children’s television programmes (when CBeebies was called Watch with Mother). The episode was from 16th September 1952.

I sat down with my own children (aged 6, 4 and 18 months) watch it. A programme from 60 years ago. The target demographic for that episode when it was made would now be 63 to 67 years old. The makers of that programme are most probably no longer with us.

It was 15 minutes long, in black and white, low definition and in 4:3 ratio. But my children loved it. They laughed at the funny bits. They warmed to the characters straight away. Here they were, in the unimaginably distant future watching and enjoying a programme made for their grandparents.

How could modern, sophisticated 21st century children possibly stomach such a basic, simplistic, primordial out-of-date piece of television?

Because children are the same as they’ve ever been.

My children are very familiar with the current pre-school television programme, In the Night Garden. It was made by Ragdoll productions, the same company that made Telletubbies for late 90s children and Rosie and Jim for early 90s children. To an adult the programme seems like the most bizarre convoluted jungle of nonsense, “Iggle Piggle rides the Ninky Nonk with his friend Upsy Daisy to visit the Tombliboos as Macka Paka polishes his stones”

It was carefully designed as a bedtime hour programme to tell simple stories set in a garden for very young children before their bedtime.

Let’s compare Andy Pandy and In the Night Garden. They both have the same running length and are narrated by an unseen narrator. They are both set in a garden in an undisclosed location. They both feature toy-like creatures who come to life.

But hang on they’re not just similar, they’re almost EXACTLY the same. Iggle Piggle IS Andy Pandy. Upsy Daisy is Loopy Loo. Macka Paka IS Teddy. When a character appears they each sing and dance their own signature tune.

In the Night Garden IS Andy Pandy. It’s the same. The only difference is the technology of their production and that’s not relevant to their enjoyment unless we as adults have made it so.

Children of any age respond to the same stuff because children have not, and do not, change. They want fun. They want play. They think falling over is funny.

Children are not ‘more sophisticated’, they’re children. They don’t expect or demand more sophisticated entertainment because they are children, they don’t expect anything. They don’t compare anything to anything unless adults do that for them.

If parents and teachers ‘condition’ children, through action or inaction, then children will become to expect certain things. Children create their world view from the environment they’re in. They have no control over that environment. Only parents and teachers do, so any change in children is not some mysterious evolution, but trackable changes made by particular people on particular children.

For many children as soon as they are able to walk and talk, there is an emphasis begin to remove what is considered babyish entertainment.

It’s as if we want out children to grow up fast by forcing adult themed entertainment on them as soon as possible.

Moving images affect people. They affect mood and outlook. They can modify and change behaviour. Violent imagery can and does begat violent behaviour.

Barry Norman, the one time film expert and presenter once said that it was nonsense that people were affected by violence in films. He made the classic mistake. What he should have said that he wasn’t affected by violence in films. Clearly some people are and it’s usually vulnerable people and it’s certainly true for children.

Some children are labeled as ‘sensitive’ as if its some kind of flaw that a frightening adult themed piece of ‘entertainment’ gave them nightmares or caused them to wet the bed. It’s somehow braver and worthy of merit that a child can stomach violence, killing, brutality and cruelty without being affected.

In 1982 I was sickened to know some of my friends were playing a computer game where the object was to run over cats in the road (I was 11). That game used less than 48k of computer memory, it wasn’t any more sophisticated than the joke in a Christmas cracker. But todays computer games are photorealistic. You can kill, torture and rape people and it all looks very real.

In a report from the Association of Teachers and Lecturers conference this year, teachers have reported that children have increased aggression and more violent as they are being left unsupervised by their parents to play inappropriate computer games.

You can read the original report here.

“Pupils as young as four are acting out “graphic scenes” from games in class and in the playground… there are fears youngsters cannot separate fantasy worlds from reality.”

“…I watched my class out on the playground throwing themselves out of the window of the play car in slow motion and acting out blood spurting from their bodies,”

“Out of 27, four or five-year-olds, most have TVs and laptops in their bedrooms, most have sight of or actually own Nintendos, playstation, Xboxes and Wii and many said they watched older brothers, sisters and cousins playing games.”

“… and there is a lot more hitting, hurting, thumping etc in the classroom for no particular reason.”

The myth that children are tech-savvy future-focused intellectually advanced gadget geniuses is nonsense. It’s placing our prejudices and failings onto them and making excuses or simply not noticing that age inappropriate material is so easily accessed by young children..

They are children. They just want to play. And they’ll play, learn and develop along the lines of whatever we give them.

And that’s the secret to their success, if we don’t kill off their creative play before they get to learn from it.
Douglas Adams (philosopher and author of the Hitch Hikers Guide to the Galaxy) said there are rules to how we view and relate to ‘technology’:

“Everything that’s already in the world when you’re born is just normal; anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it; anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really. Apply this list to movies, rock music, word processors and mobile phones to work out how old you are.”

Technology is unimportant to pre-school and early years children. The adult themed worlds of fast moving action, violence, anti-heroes and realistic graphic representations of the world are not required and are damaging to a developing imagination.

We need to take better care of our children to provide better suited entertainment and education that helps them grow in a positive way that will give them (and us) a better society in the very near future. If we end up with a society in 60 years time that is cruel, uncomfortable, impersonable and violent, we’ll only have ourselves to blame.

(We’ve also watched Button Moon, perhaps the most unsophisticated of children’s programmes every made. And they loved that too…)

Ayd works with people to explore and unlock their creative ideas in ways they may never have thought possible to inspire innovation in their lives, and their business.

Book Ayd to speak about the Power of ‘What If?’ and Inspiration for Innovation at your conference, or in your business. A great way to open your event or as an after lunch energiser.

For more interesting info see: www.aydinstone.com