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Oliver Caviglioli on Graphic Organizers

“Organization is at the heart of learning.”

Oliver Caviglioli is a former headteacher of a special needs school. Now, he’s an information designer and author of several books about education. His latest book, Organise Ideas, which he co-authored with David Goodwin, explains the practice and science behind using graphic organizers to teach and learn.

Show notes

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Transcript

Jorge: Oliver, welcome to the show.

Oliver: Hello! Delighted to be here.

Jorge: Well, it’s a real treat to have you here. For folks who might not know you, would you mind please introducing yourself?

About Oliver

Oliver: Yes! I’m someone who twenty years ago left education. I was the headteacher of a school for children with special needs — extremely affected special needs. So, I spent a lot of time looking at the real fundamentals of communication and particularly visual communication. And then I became… I didn’t quite know what to call myself.

I started translating some of the very academic books and research papers for busy teachers, so they could grasp the message quickly — and I hope attractively — clarifying some abstract concepts in very direct ways. Which included not just graphics; it included looking at language. So, I was starting to become quite a student of editorial design. You know, what people have learned works well in newspaper and magazine design.

Jorge: And do you have been consulting since then? What is the work that you do after leaving education?

Oliver: Well, then became a trainer, and I wrote a couple of books about 20 years ago. I’m embarrassed by them now, but we’re always embarrassed by our earlier work. And, over the last five, six years, I had a breakthrough in 2008. I went to Vizthink, a three-day course on visual communication staged by Dave Gray of Xplane, the American Xplane company. And I was the only educator there in amongst a couple of hundred people from around the world. Many of whom from Silicon Valley were sharing with each other how they use visual communication. Even though they’re colleagues in Silicon Valley, I thought you know, a couple of PhDs each. I found that fascinating given that the people I was communicating with in schools were people of the complete opposite intellectual end of the continuum. But underneath that, we had the same distinctions, the same principles of communication. And from that three-day course, I went back to education and I saw immediately how there was such a powerful set of assumptions in education that continue to make whatever they were communicating unbelievably complicated.

Jorge: They being the teachers?

Oliver: Yeah. The way they write. The way they communicate. There’s an assumption that as they develop intellectually and learn more about their profession, the more complicated their writing became. Whereas, you and I know if you really know something, it means you’re able to communicate it more simply because you know what the key sentences are, or the key messages are. And so, I decided I was ready to start writing a book. And luckily for me, there were… I’m going to jump back! I’m going to jump back all the way before I was a teacher.

My father was an architect and I know you’re an architect. And so you may giggle when you think of this, but my father was also a topographer, book illustrator… And so everything before his eyes was about design. And so I had daily lectures — sermons — about why that’s good design, why that’s bad design. Everything from a door handle, to the color socks I had, will it match the shoes, everything. It was an incredible education. It was so overwhelming, I decided not to follow that course. But you know, it never left me.

So, I was always addicted to fashion and television design and graphics books. So, when eventually I used that information when I professionally had to communicate in visual formats to the children, I found there was a natural marriage. And then what happened was I thought I could write a book. Or rather not my book, I would illustrate someone’s book. There were two cognitive scientists in America who wanted to write a book about the six most effective strategies. And because they’d seen what I was doing on Twitter, they invited me to do it with them.

But of course, as soon as I had the chance to illustrate it, I couldn’t help myself saying well, “Show me how you’ve organized the content? How are we going to navigate through?” If you’re going through a website, there’s certain things you need to keep in mind. But it seems as if none of those principles are at work when we write a book. So I really started investigating books. I mean… let me just give you one example. You open a book and I was always frustrated. I look at the top and I want to know what chapter it is and what number it is. But often they’ll tell you the chapter, but they won’t tell you the name of the chapter. When there’s a reference, you have to go to the back, keep your fingers in the book, and at the back, it tells you all the references by chapter numbers. So you go back to where you were reading and he doesn’t give you a chapter number. It just gives you the chapter title. Then you have to go to the front of the book to marry up the chapter title with the chapter number.

It’s just enormously frustrating and I can’t believe no one seems to have addressed this. And there are many other issues, but that was just a fundamental one. So I started inventing… when I say inventing… applying what I see on the web. Applying what I see in signage, wayfaring, and applying it to a book, which was really great fun.

Jorge: And you’ve recently written another book, which is the reason why we’re talking today. It’s called Organise Ideas. And in hearing you describe your trajectory, I can see how it converges onto the subject of this book. And rather than have me mangle it, I was hoping that you would tell the listeners what the book is about.

Thinking in metaphors

Oliver: When you look at any books on study, the word organization is a low order phenomenon. So, if a student buys a book on study skills, it’s organized. It’ll tell you what to put in your bag, how to eat properly, how many hours of sleep you need… low order management skills. Now, they’re very important, but only recently have psychologists come to the realization or rather the acknowledgment that organization is at the heart of learning.

There’s one particular model that is very elegant because there are three sections. One, you select what you’re going to concentrate on, and all learning is at the basis of attention. No attention, no learning. The model is: select, organize what you selected, and then you integrate it into your long-term memory. And all of that has to do with meaning-making.

So, there’s many technical aspects to do with organizing… signage of navigation, but behind those technical tactics, so to speak, we should remember the primary aim is human beings are meaning-makers. And the primary way in which they create meaning is whatever’s new in front of them has to connect to what they already know. So, I wrote the book in that way.

And of course I had to model what I was talking about. So, the book is full of kind of navigational aims and strategies. And it starts off with… and this may tie in with architecture because just before we started recording, you were talking about the many ways that architectural training makes you very appropriate to enter so many other professions, because architecture itself involves so many things. Systems, navigation, urbanism, affordances, anthropology.

Well, similarly, there’s lots of different professions that have looked at how we organize information. Psychologists, for example… I don’t know if any of your readers have read Lakoff and Johnson; it’s a linguist and a psychologist. In 1980s, they wrote a book called Metaphors We Live By. Now, we all know about metaphors and we tend to think of them as being something to do with poetry or literature. These two people arrived at how we structure our thoughts, which I think it would be useful to your listeners because they have to bear that in mind when they’re designing things.

When we’re young, before we have language, we try and understand how the world works. For example, with liquids. We have a big jug and we have a cup. And either our parents, or later we do, we play with water. We fill up the cup with water and something so obvious takes place that we’ve forgotten it. And we’ve never had a word for it. We noticed that the more liquid there is in the cup, the higher the level.

And as young children, toddlers, we say in England, we have this experience repeated again and again and again, not just with liquid, but with sand, when we put objects into big containers… the more objects, the higher the level is that internally, we create this physics. We create what’s called folklore physics. We arrive at a principle, and it is: more is up. More is up. And as a result of that, we recreate conceptual structures.

When we talk about someone’s superior moral standing. But that’s a metaphor! There is no superior. I feel under the weather. Because you see up orients towards godliness and the heavens, and we know that down… eventually, we feel down psychologically or physically. In fact, we physically feel so down, we end up being buried under the ground because we’re dead.

We have a complete continuum from down to up. And we apply it in the most abstract of concepts. And another one, which is really fundamental to a lot of design work, especially if you’re talking about processes, is when we’re young we realize that wherever we are, we always are where we are. We start where we are. Psychologists call this “the source.”

And we want to go somewhere. And in order to get from where we are to where we want to go, there’s a path, and we… to travel along that part takes energy or effort. Psychologists call this the “source-path-goal,” but it’s called the “path model.” And so in the path model is the source of all our structures for progress. The flow chart, the Gantt chart, the whatever complicated chart… is fundamentally no different. It’s an elaboration of I’m here, I want to get there.

And that’s what processes are. They’re just two of the fundamental metaphors that we have. And by the way, they’re called metaphor, but they’re called primitive metaphors… so primary, pre-linguistic, they shape everything that we do. And they’re spatial.

Now, let’s go to neuroscience. Neuroscientists put some electrodes on mice and they wanted to know, are mice and rats… are their brains, do they go like a sat-nav: left, right, right, left, left, right. Or do they create a mental map where they have a general view of the whole scene? And what they found is that, and we have it as well, in the entorhinal cortex in our brain, it’s as if whenever we tred on seemingly projected triangles that form a hexagon, our brains light up. That’s why animals know where they’re going and can go back to where they come from and they can navigate, and they can find their stash of food. And that’s how we orient ourselves.

But the fascinating bit is… and I’m becoming increasingly convinced and there are some Nobel prize winners who’ve been down this route, who think this entorhinal cortex is grid cells that tell us where we physically are in space is how we organize our ideas. And so, the fundamental mechanism — metaphors that we have — are spatial in context. We talk about, “this thing’s too slippery to hold onto. I want to construct an idea. Let me give you a step-by-step…” They’re all spatial metaphors.

In fact, whenever we use a preposition — in, on, near, after, under — all of them, unless we’re talking about objects in the world, whenever we use them about ideas, it’s a metaphor. It’s a pretend or make-believe world, which is seemingly almost the only way we can deal with abstract ideas. And abstract ideas, like anything which isn’t physical in front of us, we have to use these metaphors as if they’re objects.

Making and sharing models

Jorge: If I might reflect it back to you, what I’m hearing there is that we create models of what we experience and these models are informed by these very base metaphors that we formed through our experience of the world. So we layer these metaphors, conceptually onto these more abstract ideas, yeah?

Oliver: Exactly so.

Jorge: And in the book, you cite lots of research from different fields that point to this notion that we learn better if we somehow articulate these models in a way that can be discussed with others. And the book makes a case for doing that visually. Is that correct?

Oliver: Yes. What I tell teachers, because teachers are word people, and they’re often frightened to learn a new way of communicating. But what I say to them is when they speak, if they listen to their words, they are constantly using visual metaphors, spatial metaphors. In essence, they’re describing diagrams. Something’s above, something’s left, something’s the next stage.

And the thing is, if you describe a diagram, it’s very hard to get that picture in your head. It’s far easier to show them the diagram. So, I ask them… I invite them to consider nearly most of the things coming at their mouth are spatial metaphors and it is far simpler to show them the spatial metaphor as a visual model.

There’s been lots of research to show that you can give students text or you get them texts and a well-formed appropriate diagram, not decoration. And those who are given both understand more deeply and retain the knowledge for longer. Because the thing about language… words are glued together with syntax. And so kind of the tease — the taunt — I offer teachers is… so, on my course, I put them through an exercise where they fail to understand my simple description of something. It’s a hierarchical structure of an organization. And then I show them the diagram and it’s so obvious.

So, having suffered from syntax, they’re ripe for me to ask them to consider the possibility that in some instances, at least if not often, the concepts they’re trying to teach are far, far simpler than the complex grammar and syntax they’re using that we’ve reached to it to express it, to explain it. And after having had the experience themselves of suffering under my… I design the suffering specifically, they’re open to that possibility. If I said it without their prior experience, I think they would think my claims were outlandish.

Jorge: My experience as a teacher myself is that we give a great deal of priority to both written and spoken language over visualizations.

Oliver: Yes.

Jorge: And what I’m hearing here is that we might be able to teach more effectively if we use both, right? If we use both language and visualization.

Alleviating cognitive load

Oliver: Yeah! And just before I go into it, I just want to say there’s another aspect with talking. In cognitive load theory, which is I think what graphic designers have always understood instinctively. And I think they were the first to start reading about it because I read about it in graphics manuals way before teachers got hold of it, is that our attention span is very short. And so one of the things that stops us understanding someone explaining something is what’s called a transient information effect. It sounds far more complicated than it is.

When you speak the words that you speak disappear. They don’t hang around. As soon as you say that they disappear. They don’t almost have any life. You know, I say to you it disappears, it disappears. And every word you disappear has to be hung on to and connected to the new words. So you would get an increasing load. The complexity of syntax and the transience of the spoken word means we’re really going uphill.

The simple diagram — and there is a danger with diagrams; is they’re complicated, they can be too complicated, and if people aren’t used to them, they get frightened by them. So, the secret to using diagrams when you’re teaching is to develop the diagram slowly and make sure, always, you’re absolutely clear that all your listeners know that when you’re speaking, they know which part of the diagram you’re talking about.

You may think it’s obvious. You need to go near whatever you’re using, a screen or whiteboard whatever, and physically touch and point to the area you’re talking about. That way, your listeners aren’t wasting precious attention or working memory in thinking, “which part is he talking about? Where does it go? What now? Where are we?” Always trying to catch up. You point to the area of the diagram, the diagram is not complicated, it builds up gradually, they’re absolutely clear where you are, what you’re referring to, so all their attention is understanding the words and the spatial relationship of that small part of a diagram. Really clear, really simple.

Then you’d say… you may ask a few questions to make sure they’ve understood. You might ask them to talk to each other and summarize what you said and what they’ve seen. Then you leave the part of the diagram up with a few key words, they would then elaborate on those key words, making them into sentences to explain to someone else.

So we’re using human beings’ natural, not just facility, but urge to communicate meaning to somebody else. And in doing that, of course, they create meaning for themselves. So it’s reinforcing. They’ve had a break from your talking. You say, “that’s great!” You might question one or a few people, always check for understanding, but, let’s move on to the next part.

You may even say, to stimulate their meaning-making, “what do you think I’m going to move and talk about next?” You get a few ideas. “Oh, that’s interesting.” Then you move on and you do the same process and you take them step by step. You don’t do your bit and hope they come along with you.

Drawing for learning

Jorge: I’m thinking about the distinction between teaching and learning and what I’m hearing is of the great value in teaching by using these graphic organizers, as you call them in the book. And I’m wondering about the use of graphic organizers by the learners themselves. In other words, having the students draw the diagrams. Is that also a thing?

Oliver: Absolutely. So, yes, there’s something called a generational effect. If you create one yourself, you are meaning-making. And, let me tell you the secret to learning and it’s something students hate when they’re confronted with this fact. And we do them a disservice by not telling them this. The more cognitive effort you exert, the more you learn. There are no free rides in education. In fact, there’s a bit of irony and tension in that the better communicator you are, the easier it is, and the less effort they have to exert in receiving it, the less likely they are to learn it and retain it. So we learn and we retain information when it’s meaningful and the meaningful state is arrived at by working, wondering, linking, connecting, hypothesizing, testing, talking, judging. So that’s really the critical bit.

So yes, students should create them. But there’s never a real easy answer. One of the… I’m going to use two words that maybe people don’t like. One of the big insights that’s happened in British education is the idea that novices don’t think like experts, and experts don’t think like novices. So, it’s very difficult and unproductive to ask a novice, and by a novice. I mean, someone could have been a Ph.D., but if they encounter a bit of information that’s not in their field and it’s unfamiliar to them, they’re a novice. So when you encounter an unfamiliar piece of information, it’s very hard to be able to map it, to create a graphic organizer.

That process is always more productively engaged in if the teacher first of all, gives you the main concepts. I sometimes think if you go to a new town you’ve never been to before, and you have a guide, the last thing you want the guy to do is to overwhelm you with details. You just want something like, “well, listen, we’re in the town square. There’s a church. Over there is the railway station. The river’s behind you, and the football grounds are over to the left.” So, all we’ve got are four reference points, then we can go and explore. We can explore the details and we can then connect the details to these four main reference points. If. you come along to the town straight away and you’re on the outskirts, then nothing makes any sense. You don’t know what a major reference is. Because you’ve got your eyes to the ground, everything is street level, nothing stands out.

So what the expert does, they’re able to go up in a helicopter and say, “there you are! There the four main points. Look at them!” Then you can go down to ground level and you can then search out the details. But you’re always navigating by those four reference points. So that’s kind of my way of answering it. There’s never a simple answer with teaching. Yes, creating your own is just what you need. But if it’s completely unfamiliar, they need some guiding navigational points.

Jorge: Yeah, I’m hearing a couple of things there. One, this last thing that you were talking about, the reference points, I’m reminded of a quote by Richard Saul Wurman, who said that you only understand things relative to things you already understand.

Oliver: Absolutely so.

Jorge: Yeah. And the other of which, I wanted to point out is that it might sound like there’s a contradiction in saying that the greater the cognitive effort you expend, the more you learn, and then we’re talking about tools that ease learning. But what I’m hearing about the graphic organizers is that the intent is to shift the cognitive burden to the truly difficult parts of the material you’re trying to learn as opposed to the learning process itself. Is that a fair read?

Leveraging the Goldilocks effect

Oliver: Yeah. If you consider the learning process often has to surmount the load of hanging onto someone’s talk, transmitting information, and getting through the complicated syntax of writing or speaking. In that sense, yes. There isn’t a contradiction, but there’s a dynamic — there’s a tension. It’s very frustrating, but many of these issues, people turn and talk about the Goldilocks effect. You know, not too much, not too easy, not too hard. So as a general rule for learning, it’s most people need to have about an 80% success rate. Because as humans, we like doing what we are good at, so make sure people succeed. They want to know what comes next. But if it was always too easy… we know that we remember things through effort.

For example, it sounds very old-fashioned, but it’s pretty much an agreement now that one of the complicated skills thinking that we have analysis, synthesis, et cetera, et cetera: they’re all born from knowing things. You cannot use critical thinking skills when you have no knowledge of the content that you’re analyzing. And so a great deal of intelligence is actually… and we find it terrible to acknowledge, is down to a memory. We can have as much access to Google, but unless, you know something you don’t know what to look for. Which goes back to Richard Saul Wurman. So there is a balance to be had between knowing things sufficient that you can be more intellectually engaged with unfamiliar material. Make it too easy, and you don’t remember anything? We remember what we struggle over.

Jorge: Yeah, Make it challenging, but don’t make it impossible, right? Like if I were to teach my students in Spanish and none of them know Spanish, I’m making it challenging for them, but they won’t understand anything, right?

Oliver: Another way of looking at it: teaching in Spanish is an extraneous load. It is a load. And it’s extraneous in as much as, it doesn’t aid the learning of the concept. So, the little attention span that humans have got, what’s called working memory, devoted entirely to the core bits of knowledge you want them to learn and don’t give them any other tasks or burdens, like speaking in Spanish, writing in complicated fashion, having a typeface so small, they can’t read it. All those peripheral challenges that create cognitive efforts, take away from the limited bandwidth we’ve got to concentrate on what you want them to learn. It helps the teacher be really clear. What do I want them to learn first? What’s central? By the way, did you notice that spatial metaphor? What is central?

The four structures underlying knowledge

Jorge: Yeah, they come up all the time, don’t they? We’ve been talking about teaching and learning, and the book is explicitly aimed at teachers, but as I was reading it, I kept thinking these are skills that have applicability well beyond the classroom. And I’m wondering what, if any, your experience has been with applying these ideas outside of explicit learning environments?

Oliver: Well at the 2008 VizThink conference, I spoke to Dave Gray, the founder of xplane.com and he’s completely devised these incredible visual instructions. And he creates a metaphor, a mini world, on top of what is to gather attention, to create analogies, feelings of understanding. But underneath it, it’s often either a radial map showing a central idea and all the orbital connections or it’s a variation of a simple flow chart. Underneath the complicated graphics … and I read a lot of infographics, I can see what they are fundamentally — and I’ve analyzed the information we have in school, and I’ve seen many other people do it in other spheres — and there’s pretty much agreement that there’s four sorts of information.

Or rather, there’s four structures underlying knowledge. Let me just go through them. The first one is “defining things.” Which is the whole and the part, or chunking. Chunk up, chunk down. The tree diagram, a mind map, anything like that where we look at the relationship between the part and the whole, which is also called nested knowledge. And it goes all the way back to Aristotle when he talked about categories and the subcategories and super and subordinate, all that stuff. The bits and the whole.

Another major structure is “comparing.” This is the learning skill that all humans have, whether they ever go to school or not. We learn by comparing. Comparing two things in front of us, or comparing one thing of what we already know. Always comparing. It’s the bedrock of learning. So we’re always comparing. Which of course was the ideal advertising structure: before and after! Before, my clothes were this dirty. After, I tried that soap, they’re just sparkling and clean. Before and after. It’s still one of the most powerful ways to explain something. A process.

Those two are to do with things, generally. And there’s another two to do with processes. One is “sequencing”: temporal connections. And then, and then, and then, and then… and it could also go towards continuum, you know? So, sequencing. And then the next one seems to be the same thing, but it’s not. It’s “causal connections.” Just because something precedes something doesn’t mean it causes it. And of course, that’s often the reason for many children to have fights on the playground because they don’t understand that just life isn’t like a billiard ball. Something’s happened way before, which could be said to be causal.

So, that’s defining, holding the part, comparing, sequencing, and cause and effect. Although I grant you if you’re not talking to an education audience, the sequencing and the cause and effect in many instances can be depicted the same way. It’s essentially the node and the arrow. And I’ve read some research to show that, this was some 20 years ago, the world is sufficiently global now that everyone’s absorbed the metaphor that the arrow means from here over to there. And it wasn’t obvious to many people. It seems as if that’s what it means, only because we make it mean that, and we were born into a culture where that was one of the things that we learned. But it’s pretty universal now, a node from here to there. Which of course goes back to my childhood psychologist called source-path-goal. A path model. Here to there. So, if you have that and you go and look at complicated… an infographic, just one of those, if you whittle it down to three, just one of those three things. Or, of course, a hybrid where some of these tools could be nested in a bigger tool.

For information designers, underneath the idea of what you want to communicate in the audience and the colors and the style, and what’s fashionable, and what’s wanted… underneath all that, there’s like a skeleton. Am I defining something? Am I comparing two things? Or am I putting things in motion? Really simple. And I find it enormously useful. Because I use it when I start analyzing new information and I’m wanting to depict it. So when I read complicated educational books and theory behind me, I’m always constructing these simple models.

Closing

Jorge: Well, I thought that the book did a great job of presenting that skeleton. And more importantly, as a designer myself, I have used diagrams that fit into one of those four categories. And I think a lot of us are familiar with the difference between something like a concept map and a fishbone diagram. But it was very useful not just to see them organized themselves so that there’s some kind of method to the madness, but also to see pointers to the underlying research that explains not just how these things work, but why they’re effective. And I thought that the book did a great job. It really brought the ideas to life for me. But, for folks who would like to follow up with you, what’s the best place to find you?

Oliver: On Twitter I’m @olicav, which the first three letters of my two names, so O-L-I-C-A-V. And my website is olicav.com. And there I’m in the middle a network of other people I work with and you’ll come across all that work. If you do, introduce yourselves and we can follow each other and I’ll come learn something of your worlds as well.

Jorge: Well, fantastic. It’s been a pleasure, Oliver. Again, the book is called Organise Ideas, and for the US audience have to point out that organise has the UK spelling, with an “s.” And we haven’t mentioned this, but it’s co-authored with David Goodwin. And like I said, I loved the book and recommend it.

Oliver: Thank you very much.

Jorge: Thank you, Oliver.