My (8-bit) Computer Club: part 2


Don’t let the title ‘computing’ put you off. This is more about teaching and learning as a whole than I realised since I wrote part one.

Computer use has gone though a few different phases since the home computing revolution of the 1980s: 

Programming > gaming > admin > multimedia > communications

Initially microcomputers were novelties where users could understand how the machine worked and learn how to do things with it from scratch. Over 60 books were published  for the commodore VIC20 between 1982 and 1984 (and just as many for every other platform). There was even a term, now long forgotten, for someone who used computers in this way: a computerist. But just as we now don’t have true motorists, we just have drivers, the computerists have by and large gone. Today we just have computer drivers who are users of the software that only a few experts know how to make.

All the books on the VIC20 I could find.

We were promised as computerists that we could do our accounts, control our central heating, manage our entertainment – but we couldn’t, not yet anyway. What we could do was play games and as the machines gained more memory and higher resolution graphics, that’s what everyone did. 

Then in the 1990s we saw the rise of the IBM PC clone and Microsoft productivity software. Suddenly you could be your own personal assistant, your own typist and data manager. We entered the age of Admin.

The late 1990s brought Steve Jobs back to Apple where he launched the iMac and iPod, devices that could manage your multimedia. With Photoshop and desktop publishing, the computer became a creative tool to manage photos, music and later, movies.

As the new millennium began, the internet started to become fast enough to be useful and computers could be used for shopping, banking and research. The shift to the then-called Web 2.0 gave rise to two-way communication between websites and the era of mass social communication networking began. This became so much more powerful in 2008 with the launch of the first proper mobile smart internet devices. 

If course, people obviously still do all of the five types of computer use today but it’s the first one that fascinates me the most. In the rush to get better games, better graphics, more useful apps and entertainment, I believe we have lost touch with what a computer is and how it works. I think this is detrimental to society and especially the next generation who were born into this closed magic box world. With the next stage of the internet well underway (the so-called ‘internet of things’) where computers upload and download data to the internet themselves, we need a new generation of computerists to design and shape this technology for the greater good, for themselves and us.

It was with all this in mind that I set up my computer club at Fyling Hall School. It’s been running for three terms now (since September 2018) so what have we learnt?

There have been a few students who came, then didn’t come back, but a few have been coming back every week, girls and boys aged 11 to 17.

The initial idea was to create a text adventure game (see my previous blog). But I found I’d have to back-track a little further than even that. I wrongly assumed that kids would know what a simple text adventure was. It was only by explaining it that I actually realised what it was: a simple, primordial artificial intelligence. You think about it: the user enters a two word phrase (a verb and a noun) and the computer has to take apart that entry, work out if it makes sense compared to its database, work out what the verb and the noun is and respond accordingly. It is Siri. It is Alexia. It is and Cortina (or whatever that thing is called). 

We’re not just making a pointless old fashioned game here. We were looking at the basis of AI, with a direct link to present systems and the future.

Some people might frown that I’m using a suite of commodore VIC20s, 39 year old technology, to do this. They might think it quaint, amusingly retro, or crudely out of date. But no one teaches music by giving the kids an orchestra to play with and expect them to write a symphony: you give than a recorder to learn the basics – even though a recorder isn’t in the professional orchestra. You don’t teach electricity by showing them the controls for the National Grid or expect them to safely wire a house: you give them batteries, bulbs and wires. You start simple, you start basic and you start from first principles. Otherwise you’re just giving instructions to prepare the simplest type of microwave meal, a user of food, when we need them to be a chef, a designer and creator.

You can’t deny the facts: kids do use technology. This is why there is a big debate on whether phones and such like should be allowed in schools or not (we’ll save that for another day). But whatever they are using their devices for, for good or bad, it’s not programming that they’re doing on their phones, iPads and laptops. They’re spending all their time being really good users of someone else’s app.

In our lust for the latest tech we’ve lost sight of the idea of having a device that does one thing well. Your laptop is an unlimited multitrack recording studio. (The Beatles recorded Sgt Pepper on tape with just four tracks. What would they have done with a MacBook?). It is a high resolution graphic design and photo studio, greater than Fleet Street in its heyday. It has more productive movie making power than Hollywood had in its first 80 years. It has access to almost the entire sum of human knowledge. (And yet what do we do with it all? Look at videos of skateboarding cats and play Candy Crush. Clearly having a great tool doesn’t make you an engineer. Give a paintbrush to an elephant and it’ll paint a picture. It might be an amusing novelty but it won’t be a match for the Sistine Chapel.)

It’s of no surprise that when you have decent ICT suit in a school in which you can research any fact or image, watch the latest tv or movie and listen to any record, it’s hard to say to a student, ‘ok, we’re going to forget all that useful exciting stuff and learn how to move a single character around the screen’ or something. Teaching coding on an all-singing-all-dancing PC is horrendous, it’s so dull and we all know it.

Most schools in the UK are using Scratch to animate characters and that apparently ticks the box for ‘coding’. It’s a bit like the Logo system of old. A high level language that has done all the hard work for you. All the students are doing is clipping bits of pre-made code tother presented to them as simple graphical building blocks. This is fine for showing the flow of logic and its a bit of fun for younger ones. But is this really the best we can do?

Give these kids access to the isolated sandbox which is a microcomputer that won’t do anything at all unless you program it, it’s a different story: they get excited by it. That’s what I’ve found. 

Here are a few recent comments from people on a VIC20 users forum about what I’ve been doing:

“Is one of the best educational computers ever made. The weak BASIC that requires PEEKS and POKES to do graphics and sound is even an advantage.”

“I used to truck around a pair of Vic-20 systems to homeschoolers’ homes to give private computer lessons to kids whose families couldn’t afford a computer. Though the current systems ranged from 386s to Pentium 4s during that time, the kids learned more with the “old” Vics. Several of my former students have crossed paths with me over the years, telling me how much that prepared them for college compared to what their friends who only used PCs had going for them in the same situation.”

“I have programmed all my life, including Vic-20. It is alien to me that I cannot do the same things I could do then, on modern platforms. I just want a language and an output. It all seems so complicated and inaccessible these days.”

“To learn electronics, you need to know what a resistor does, and how a transistor works. You learn the building block first, not from a chip that has millions of interconnected transistors and resistors in it.”

“The principles of programming are the same. Variables, loops etc. Also the discipline is the same. I was self taught programming on the Vic20 and I now programme c# .net. Most importantly 8 bit computers fire the imagination.”

Elon Musk learned to program on his VIC20, he went on to do quite well. Linus Torvalds invented Linux, the open source operating system used worldwide. The BASIC language we’re using on the VIC was actually designed by none other than Bill Gates.

But first we had to get back to basics, I mean real basics. When my generation first used a microcomputer, we brought with us knowledge of the keyboard from the typewriter. That’s how we knew what ‘carriage return’ was, it returned the carriage typing head to the next line. So when faced with a terminal text window, we knew what the ‘Return’ key was going to do. Kids today think it’s all a Word document. They’ve no idea that pressing ‘Return’ means something. They thought they were just arranging characters own a screen, not entering lines of code into the chip.

They’ve heard of Mega or Gigabytes but don’t know what they are. Some think it’s a power rating. This sort of misconception is up there with ‘the Moon only comes out at night’, ‘the Earth is closer to the Sun in summer’ or ‘plants get their food from the soil’, which I have to deal with when teaching year 7 science as clear and as fast as I can. The misconceptions of computer lore have gone unchecked.

The pace of any school curriculum in any subject is super fast. We have hardly any time to reflect, to teach patience or to teach self-drive. All of these issues have come up in the club. I’ve had kids type in their relatively short lines of code, try to RUN it and find it doesn’t work: 

Their first port of call is to tell me. I ask, ‘have you checked it?’. ‘No’ They reply. I can scan the screen and immediately see they’ve missed off quote marks or used a semi-colon instead of a colon or whatever. ‘How can you see that so fast sir?’ they might ask. ‘Because continued effort into directed practice has enabled me to spot patterns of syntax quicker’ I reply. (That by the way is the most profound definition of learning you’ll come across today).

Our kids (and to a large degree all of us) are an instant gratification generation. If we have to wait, it’s boring, and we get distracted. If we have to do something again to correct it, that’s too much like hard work. It we get something wrong, the immediate reaction is to give up.

So, yes, I may be using 39 year old technology. I may be teaching them a hard programming language that is only one step up from machine code assembler but what I’m really showing them is far more important than I realised.

After all, what is a computer programer if not someone who is skilled, logical and creative, who has immense patience and accuracy, willing to keep going until the job is done? Hang on, isn’t that a description of any expert in the workplace?

It’s no wonder industry doesn’t have enough of them.

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Bring back Tomorrow’s World


I really enjoyed the Tomorrow’s World Live special last night. But it should be back every week. We’ve got more and faster changes in technology than in 2003 so why is it off air? Why are we overrun with dancing, cooking and idiots pretending to be entrepreneurs?

The Family Scientist by Judith Hann

The Family Scientist by Judith Hann

I watched it every Thursday (at 7pm before Top of the Pops) and when I was eight my parents bought me Judith Hann’s book, The Family Scientist, full of experiments its you could do at home. No wonder then that I continued this interest in science to university and beyond. I’m now Head of Physics at Fyling Hall School in North Yorkshire.

A couple of years ago I ran a project with my year 9 Physics class on technology, inspired by Tomorrow’s World. We looked at the origin of the technology that is part of their lives: mobile broadcasting, LEDs, digital sound and images, the microchip, the internet and artificial intelligence. I showed them some Tomorrow’s World archive clips along the way.

The students produced a report at the end of term about their vision for the technological leaps we may see in the next 50 years and a prize was awarded in assembly with this certificate:

Tomorows World cert

Watching the 90 minute edition on BBC4 last night reminded me what the point of Tomorrow’s World was – where else can we get to see and hear cutting edge science explained by the scientists that are working on it put into context by expert journalism?

It needs to be brought back to help to inspire the next generation. 

The overwhelming feeling I got from the show was… hope. Hope for the future. That’s what we’ve been missing and what we need so much.

Some may say that Tomorrow’s World represents a past where we looked optimistically forward to a glorious future, and now that optimism is long gone and such a programme has no place in today’s venom filled fear and instant gratification world. They said in 2005 that Doctor Who shouldn’t come back because it was out-of-date with modern viewing but it became the BBCs most successful programme of the last 13 years.

Wasn’t the BBC’s remit to Educate, Entertain and Inform? It shouldn’t just reflect it’s audience back at itself but also attempt to improve it? Shouldn’t it lead the change we want to see in the country rather than continue to dumb us all down to the resigned lowest common denominator?

We need more scientists and engineers. That’s a fact. So why not make some attempt, however feeble, to inspire our children to have an interest? That;’s what Tomorrow’s World did for so many of us. Start doing it again BBC.

https://www.bbc.co.uk/iplayer/episode/b0bs6c8f/tomorrows-world-live-for-one-night-only

The Smile and Compliment Club


Assembly Nurture.003

Assembly Nurture.001As the students walked in to our first assembly of the new term, the song All the Good by Jana Stansfield was playing. On the screen were the lyrics:

“I cannot do all the good that the world needs but the world needs all the good that I can do”

I asked them all to turn to the person on their left and give them a smile – and – a genuine compliment, no matter who they were, if they were a friend, and associate, a teacher, whoever.

Assembly Nurture.002A buzz went around the room and a fair few laughs. I asked them how they felt about it. The unanimous opinion was that it felt good, but a little forced, a little embarrassing.
I pointed out how easy it is to be sarcastic, to say cruel or critical things and how alien it is for so many of us to simply say something nice.
So with that in mind we decide to set up our first experiment and join The Smile and Compliment Club.
The idea was simple. I placed a box in the dining room along with a stash of blank compliment slips. For a week, everyone had the opportunity to write someone a compliment anonymously and place it in the box.
There was a lot of activity around the box at the start of the week, which tailed off towards the end. Then at the weekend, I opened up the box and here are the results:
There were over 100 compliments posted. Eleven were too bizarre or unreadable (there were no rude ones though) so were removed.

the box

The Compliment Box and a slip.

sorting

Sorting the slips into tutor groups

Year 11 was by far the most complimented group, year 10 in second place. The younger ones in year 7 and 8 received the smallest number of compliments. Interestingly enough there were only four compliments for teachers

The slips were sorted into tutor groups and discreetly given out in tutor time. On the following Monday I reported back to everyone with the results and a conclusion.
Everyone had enjoyed the experiment, both sending and receiving anonymous nice things. But – it highlighted another side and I asked our students to think about who they chose to compliment. Some popular students received quite a few but in some cases, those who would have benefited most from some kind words, did not receive many, or any.
If we were a gardener, would you constantly water and fertilise the strongest and healthiest plants in the garden? Or would you nurture those that need it more, that need it most?
Leadership is about finding the lowest amongst us and lifting them up until they are above us.
Hopefully this got everyone thinking about the idea of nurturing in a positive but soul-searching way, without patting ourselves on the back too much for being perfect and instead to to look carefully at what we can all do to improve and become for nurturing.
The theme of all this was part of my act in my stand up comedy days. Here’s a clip from back then:

 

Next week will be time for the 2nd experiment…

100 years was just yesterday


I led my school’s assembly on the subject of 100 years since Armistice Day, 11th of the 11th at 11 o’clock, 100 years ago in 1918…

As the students came into the room, Divenire by Ludovico Einaudi was playing and on the screen was this image:

somme bodies.jpg

It is a map of part of the Somme from 1916 created by the War Office. Have a look at a closer section:

post-21884-0-83232500-1358932072_thumb

Each square with a blue number is the size of a football pitch. The blue number is the number of dead soldiers in that square. Look at the numbers in the squares at the bottom.

William Henry Instone

William Henry Instone aged 18 in 1914.

Around one million men died in that battle, said to be one of the worst slaughters in human history. One of the soldiers who survived that battle was J.R.R. Tolkien. You can now imagine what gave him the idea of ‘the dead marches’ in The Lord of the Rings which he wrote decades later.

Another soldier who return from the Somme was William Henry Instone. Here is a photo of him aged 18 in 1914 when he joined the Durham Light Infantry and set off for the war. He is my grandfather.

This is why I have a connection to The Great War, as so many of us do. That’s why although it is 100 years ago, it is also just yesterday.

When we see photos from that era, or film footage, it is in grainy, shakey, black and white. It looks old and so long ago, not part of our modern lives. Peter Jackson the acclaimed film maker of The Lord of the Rings was approached by the Imperial War Museum to take the old footage and do something with it to be part of the Remembrance of the centenary of Armistice Day. What he did is not only amazing, but oh so moving.

By slowing the footage down, colourising, extrapolating misusing frames, getting lip readers to work out what the men were saying and overdub actors voices, he has brought 100 years back from the past and made it look like it happened just yesterday.

See the clip below on how it was done and the official trailer for the film. It will be broadcast on BBC television at 9pm on 11th of November 2018.

This is how I closed the assembly:

Today I am wearing a poppy. It’s a symbol long associated with the First World War because of the poppies that grew on Flanders Fields.

It has been misunderstood and misused over the years but it represents remembrance for the fallen, on any side, in any war and the money raised goes to help soldiers and their families who have served recently and who suffer today.

They say wear your poppy with pride. I’m not sure about pride as an emotion.

I wear my poppy with sadness.

A great sadness for the millions of young men who were slaughtered and who’s children and grandchildren and great grandchildren are not here and will never exist.

I wear my poppy with gladness.

A gladness that neither my generation or my parents’ generation had to fight in a such a war.

I wear my poppy with thankfulness.

Thankful for those who serve us today in foreign lands, keeping the peace or fighting for freedom.

And for those reasons, I am proud.

We then proceeded out out onto the junior playground next to the tree that was planted as our cenotaph for the fallen and the whole school observed a minutes silence as students read poems and the last post was played on trumpet (by one of our students. She is German).

Amistice Day.007

The (8-bit) Adventure Game: part 1


I’m starting a Computer Coding Club at my school this term. It’s called The Adventure Game. This is the story of why and how. I’ll post later to let you know how it’s going…

commodore VIC 20 Apple computer

Me outside the Apple Store in Newcastle this year, organising a VIC20 ‘flash mob’… of one…

It all began on Christmas Day 1982 when I was lucky enough to find this box and its exciting contents under the Christmas tree. In case you don’t recognise it, it’s one of the the first ever home colour computers, the first to sell over a million units (it ended up selling over 5 million) and was replaced by the very similar commodore 64 (which is still the biggest selling computer ever with estimates of over 20 million sold between 1982 and 1994 and becoming available to but again soon, watch this space).

commodore VIC20 box

But that’s all irrelevant for the moment. The point is it was a programmable computer. You type things in and it does things. You can make your own games and figure out how computers work. And that’s exactly what I did for for four years.

Then, like everyone else I moved onto a more sophisticated IMG_3690computer, in my case an Atari ST, at Christmas 1986. I then did what almost everyone else did with their computers as they became more and more powerful: I stopped programming and started using them as multimedia controllers: making music, artwork, desktop publishing, then managing photography, music libraries, video, animation and so on (getting my first Apple Macintosh in 1995). My much loved VIC20 went back in its box and into the loft.
But when I started teaching, it came back down. I set it up and took a photo of it (that was turned into a Top Trumps card by the makers of The Commodore Story see above). I set it up in my lab and left it on the side with this poster next to it, as teaching took over my life (as any new teacher will tell you).

commodore VIC20 A4 posterThe more I got into teaching and found out what kids of today could do, and not do, and saw the skills and ideas they had, and didn’t have, I came too a conclusion that many of the opportunities for learning that I got from my VIC20 are missing from so many of my students:

• they lack patience
• they lack resilience to overcome failure
• they lack strategies to process ideas logically
• they lack outlets to develop their imagination and creativity
• they struggle to organise thoughts
and
• they use technology but don’t understand it.

 

This advert for the commodore VIC20 from 1981 sums it all up: being able to use technology and play games is not a skill that will set you apart from anyone else. If you only use technology to surf the internet, use office productivity tools like Word, Powerpoint and Excel, great, but you’re a user, you’re an administrative clerk. If you only play games, great fun, but you’re living within the bounds of someone else’s imagination.

ian-mcnaught-davis.png

Hero: Ian McNaught Davis

The next piece of the puzzle came from the BBC’s Computer Literacy Project Archive (visit it here) and I started watching all the BBC’s excellent TV programmes from the 1980s hosted by the genius of computer expert Ian McNaught Davis and journalist expert Chris Serle. The way they introduced computers to a nation who knew nothing about computers was brilliant and I felt a similar approach could be used for a generation who used computers but knew nothing about computers.

If that wasn’t exciting enough, re-watching the excellent BBC docudrama ‘Micromen‘ about the beginning of the first computer revolution of the 1980s and the clash between Acorn and Sinclair made we want to get involved in something even more.

Computer programming (or ‘coding’ as it’s now known) isn’t taught very consistently in today’s schools. In the UK, it is now part of the National Curriculum, but there aren’t enough qualified teachers out there to deliver it and schools are left to their own devices on how to tackle it. The result is that it’s tagged onto ICT lessons, usually using a visual high level tool like Scratch, ran in an IT computer room on PCs running Windows.

Why I think this isn’t a good idea is because using a modern powerful multimedia PC to learn to programme is a little like using a Rugby field to play tiddlywinks in. Computer programs today are very sophisticated and have had in most cases thousands of experts working on them for many years. To use a modern powerful PC to play around with simple programming feels like a waste of time. It’s like using the Large Hadron Collider to understand simple electric circuits: the tool is just too sophisticated.

VIC20 circuits.jpgUsing a self-contained microcomputer to do the task is not only more appropriate, it’s more fun. And why not simplify things down a bit? It’s what we do in all the other sciences. In Physics, Chemistry and Biology, we teach smaller systems and model attributes of larger more complex systems. We use little motors and bulbs, make batteries from lemons, copper and zinc and make models of DNA from sweets and straws. We can’t investigate black holes or do neurosurgery in a school lab and no one would even question that we don’t. So why not use a similar approach and use the appropriate tool to teach computing?

IMG_3033

My own computer notebook from my own experiments when I was 12.

I played with electronics as a child. When I show components to many kids today, they’ve never even seen them before. They just don’t take things apart. They’d certainly not take their MacBook or iPhone apart, and even if they did, the miniaturisation is such that you’d learn very little. Understanding how an 8-bit microcomputer works is so interesting as you can get right down there to the actual 6502 chip, send it commands and see the result straight away. Learning to programme on a modern PC feels like theoretical gardening – you just don’t feel you’re getting your hands dirty. There’s so much learning that can be done on a self contained micro.

So I had decided. Somehow I’d teach what I knew about programming and make it fun. But which computers to use? The perfect tool was and is, the Acorn BBC B microcomputer. That’s what it was designed for. (You HAVE to see Micromen!). I managed to get hold of three of them, they’ve still retained their value and as such are comparatively expensive. Plus, when they go wrong, I don’t know how to fix them (as I do the VIC20).

Raspberry-Pi-3-Ports-1-1833x1080The perfect tool would be the Raspberry pi. At £32 you can’t go wrong, except that is for the actual micro, you still need a keyboard, case, SD card, screen, mouse and a load of cables: not so good for setting up in a classroom – easily messy, prone to breakages and things going missing.

IMG_4114

The brilliant FUZE

I briefly toyed with the idea of setting up my own computer company, making a Raspberry pi in a case like the BBC B or VIC20. How cool would that be! But I haven’t got the funds, connections or time to make that work quick enough. But then to my delight I found that someone else has already done it: FUZE.

They are doing exactly what I wanted too do: put a Raspberry pi in a durable (metal) case with a keyboard, all the ports (including a very useful breadboard for attaching external electronic equipment) plus a new version of BASIC, the computer language I learnt on.

IMG_3822When you add up what you get with a FUZE and add a screen, it comes to a cheaper price than what you’d spend if you bought a Raspberry pi and all the bits separately. The Raspberry pi is built with the Acorn ARM chip (and also in most mobile phones) as designed by Acorn originally for the BBC B. Things have indeed come full circle. I now have three FUZEs so far.

Commodore VIC20

My commodore VIC20s set up in my Physics lab to promote the idea of the club.

But what I know best is still the commodore VIC20 and the BASIC language (which was originally written by a certain Bill Gates. It stands for Beginners All Symbolic Instruction Code). I bought some more VICs from eBay, got some old TVs from local guys around Robin Hood’s Bay where I am, and decided that I’d start off where I first began: typing in BASIC. Interestingly enough, I can get the FUZE to emulate a VIC20 (or a commodore 64 or a BBC B or run the latest RISC based ARM OS).

So the stage is set. Next Wednesday we begin properly (after a few teasers, assemblies and a look at the equipment last term).

But what is our project? We can’t just mess around playing games, there has to be a goal. This is where The Adventure Game title comes in.

Scott Adams

Scott Adams then, and today.

In the late seventies, a new type of computer game was pioneered by a man called Scott Adams. He developed a range of text adventures (initially for the VIC20) and later added graphics and the technology evolved into the games of today. Those original games are effectively the origin of what we now would call  Artificial Intelligence, the ability for a computer algorithm to anticipate an outcome from an input and its internally stored data. Those early games were 33313-1actually the first use of Databases. The goal of my club has become for the students to learn enough about computer coding to be able to create such a database, to create their own original text adventure game and by doing so understand a computer language, the microchip, how artificial intelligence starts out and hopefully have a lot of satisfaction and fun along the way, just as I did when I was 11…

To do this we’re going to use the book by Usborne ‘Write Your Own Adventure Games’. All Usborne’s excellent books are available to download for free.

Using BASIC on the VIC20 and on the FUZE is a great point to start as long as we employ structured programming skills along the way. Then, the students will be able to translate their learning into other languages such as Python, Java or C++ just as those who now run the technology giant companies do, many of whom began on commodore machines. The adventure begins…

adventure game logo

Let me know what you think in comments below was well as any memories you have of programming your 8-bit micro.

IMG_3029

My six VIC20s set up in my lab last term to generate interest in the idea of a club.

Into the Vortex


1 corridor before smallThe corridor outside my school lab was dull. Oh so dull. I asked the students to be honest:  if you didn’t know any better, where did you think this corridor was from? The most common answer was ‘in a disused wing of a mental asylum‘. So something needed to be done.

Do you think they were right?

The opportunity came when we decided to have an extra curricular activities week at the end of the summer term. We brainstormed loads of ideas of ‘skills’ that we could teach the students that weren’t normally part of KS3-4. The result was a programme of events called ‘Reality Bites‘.

The whole school was split up into random teams of 10 who rotated around the various workshops which lasted 90 mins.

What I want to do was paint the corridor – but simply giving the kids a brush and some paint would too much a case of free labour and not a direct learning experience. So instead I came up with a plan to have a session that taught them a brief History of Art with a focus on the use of perspective. We then looked at optical illusions that played with our perception. Then I showed them how I’d created the plan to turn the corridor into a forced perspective tunnel.

2 corridor drawing small

Obviously I’d done a lot of pre-preparation. I’d done a scale drawing of the entire corridor and marked out a 50cm squared grid over the walls and ceiling. I’d then mapped the spiral design over the corridor photo and distorted it in Photoshop over the scale drawing. Some talented 6th formers helped me draw out the curves (this was much harder than it looked!).

Then, with two colours of paint decided, the first group were taught bush and roller techniques. As each new group arrived, different approaches to the painting had to be taken (and some sections had to be re-done!).

But every student had a go and now all feel part and proud of the finished job (which they all have to go down to Physics and Chemistry!).

10 final small

The finished corridor

(What they don’t know is that it took me ages and ages to finish off, especially the ceiling, during the summer holidays!). See below for what the approach to my Physics lab door looks like now…

If you’re passing, pop in and see us at Fyling Hall School.

Words from the Woods


I’d long had the goal of inspiring children to write more and better stories and collect them into an anthology and finally this year I achieved that goal.

The book is called Words from the Woods (my 7 year old daughter came up with the title from the fact that our school bus nestled on the edge of the woods.)

woods3D

Initially it had the double goal of using stories with some as a tool to better engage students in science, by encouraging them to create a narrative around a scientific phenomenon an with others, to draw out the creativity of those already proficient in science but less likely to develop their imaginations. Surprisingly, most of the schools I had worked with had little interest in the idea. It was only when I came to Fyling Hall in January 2016 that I could set up an after-school club to develop these ideas and The Intergalactic Writers’ Guild was born.

Guild-logo

I say ‘guild’ and not ‘club’ as just like the trade guilds of old, the idea of the meetings was to develop, home and improve our craft of storytelling. We met for an hour every week and played creativity games designed to encourage and develop different aspects of story creation and writing: imagination, description, characters, locations, voice, atmosphere, style and purpose. Two of these exercises resulted in short pieces that are so interesting, I’ve included them as works in their own right at the back of the book.

The themes we explored centred around two interesting techniques that you’ll see reflected in most of the stories. The first and most powerful starting idea for a creative expression was the speculative fiction idea of ‘what if?’ – asking a question or changing one aspect of reality and dealing with the consequences which unfold as a story. 

The other key theme was ‘the ghost story’ which was especially exhilarating during dark autumn and winter evenings (and sometimes telling stories by candlelight) and it is this genre more than any other threw up so many interesting ideas that you’ll find many of the stories herein fall into that category.

Not all contributions contained herein have come via the Guild. A batch of stories were written as part of English lessons for years 7, 8 and 9. Some being given themes such as ‘the cold’ or ‘the other side’. I also gave two special sessions on ‘Writing the Ghost Story’ and on ‘Speculative Fiction’ for year 7 which have led to some fascinating stories that I was able to harvest for the anthology.

Overall we have 52 contributors, including those that have submitted artwork from their GCSE portfolios (not linked to any of the stories) to break up the pages between stories. Special thanks goes to Hee Joo Jin who painted the original artwork for our cover and Head of English Alex Woodhead who proofread our grammar and punctuation.

Layout 1

A sample page from the book.

The challenges that face young authors are the same that face any young person in any 21st century endeavour and fall into these four categories, which we aimed to deal with one by one in the Guild:

1. How to have an idea (creativity).

2. How to turn an idea into an interesting narrative (communication skills).

3. How to keep going (perseverance)

4. How to have a great ending (find purpose and meaning).

These skills creativity, communication, perseverance and finding a purpose are critical for a rounded education and fulfilling life and yet they don’t always fall within the traditional curriculum in many schools. For that reason I believe the work we have done here is of the highest value and has, I hope, enriched the experience of those that have participated in the book. On behalf of all our writers, artists and myself, we now hope that it will in some small way entertain, inform and educate you too, do take a look on Amazon.

I’m preparing a tool kit for teachers on how the Guild and the book were put together with such a good outcome. Drop me a line on twitter or here @aydinstone if you want to know more. I’ll post the resources on my blog here when it’s ready.

Thinking out of the box… but how did we get in it?


Commodore VIC 20

This can’t break its programming. You can.

Society has such an outmoded view of creativity. At best it’s a necessary evil, at worst it’s a waste of time.

If you don’t believe me, go and have a look at your primary national curriculum for schools and do a text search for creative thinking and see what comes up.

It’s a rhetorical question: why do we hold back from our creative potential? Because we were trained to. We were programmed to think we were good or bad at this or that and we’ve been running those programmes ever since.

Here’s proof. If someone asked you to do a drawing today, would your first reaction be, ‘whoopee!’? Or would it be one of fear and embarrassment? Ok, maybe you’re the exception, but most people would react in fear. Let’s remind ourselves why.

Let’s go back to being age 6, 7, 8 or 9. The teacher says we’re going to do a drawing. Can you think of anything more exciting? A drawing! It’s pure joy. We’re going to draw… an elephant. So we get going. Mine’s looking ok. But I’m not sure, so I look over at someone else’s which prompts a line of executable programming code from the teacher:

“Don’t copy!” the teacher barks.

So we’re programmed not to look at other people’s ideas. We don’t look to see what other people are up to. We don’t know what our competitors are up to so we can’t do better than them. We fear our ideas will be stolen so we hide them and never improve them. But paradoxically we fear that everyone else is better than us which undermines our confidence, but we can never look to see the truth because our programme stops us from finding out.

John turns to me to ask me something. This prompts the second line of code:

“Stop taking! Do your own work!” .

So we’re programmed not to discuss our ideas to brainstorm them with others. From now on we work in isolation and waste time re-inventing the wheel. We waste time making the same mistakes that others could have helped us with. We get stuck and don’t ask for help. We think that originality is better than collaboration and elaboration and never fully develop our ideas. We begin to doubt ourselves and what we’re capable of. We turn into perfectionists who never finish anything.

Then the teacher comes over and looks at my drawing. “That’s pretty good” she says.

Suddenly I’m programmed with a positive mind virus. It takes over my subroutine, re-calibrating my system with this logical argument.

Teacher is correct.
Teacher says I am good at drawing.
I am good at drawing.

Because she’s the authority figure, what she says must be true. Fast forward from that moment, a year, a decade, thirty years, and the programme is still running. Here I am. I can draw and I know it.

Then she looks at John’s. “Ha ha! What’s that supposed to be? It hasn’t even got a trunk.” She shows it to the class and they all laugh.

Teacher is correct.
Teacher says I am no good at drawing.
I am no good at drawing.

“She’s right. I can’t draw.” thinks John and he runs the further algorithm:

I cannot draw.
Drawing results in embarrassment.
Do not draw.

If we fast forward thirty years, not only does John actively avoid drawing, to avoid further embarrassment, he’s re-calibrated it as frivolous and irrelevant. Just to be safe, he’s lumped in all creativity with it, his software now labelling himself as ‘not a creative person.’

When I was seven I won a painting competition. The best in the village. I won £4.50. I bought a toy telescope with it. But was my painting really that great? If I showed it to you now would it really be that good today? Was it noticeably better than the 2nd place painting? Probably not much better. It probably wasn’t that much better than the worst painting. The painting is of course irrelevant. It’s the fact that I was programmed as a painter that counts.

Can we take credit for what we’re good at (or think we’re good at) today? We can certainly take credit for what we’re not good at.

Did we have talent that was encouraged and developed? Or were were programmed, sometimes randomly, sometimes arbitrarily? Have those programmes stuck, making us think we’re good at (or not good at) something?

The reason so many of us can’t ‘think outside the box’ is because we were forced into that air-tight box all those years ago and we’ve remained there ever since. That’s not really  ood enough. We need to do better. We need to break that programming.

I dare you to do it.

Make a list of the ordinary things you’re not good at. My guess is it will include some of the following: drawing, writing essays, maths, mental arithmetic, memory, sport, geography, finance, cooking, DIY, public speaking, selling…

These are all base-level skills that require little or no talent. They just require confidence and practice.

Pick one, and practice it. Seek the extra bit of training if needed to crack it, and break your programming.

You are not a color home computer loaded with a Beginners All Symbolic Instruction Code operating system and a flashing cursor awaiting instruction on what to do. You are a self-determining creative being. You need to start acting like one. We all do.

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