"I'll tell you the projects we had the first semester. You must realize that this is a real naïve bunch of students, all fifteen or sixteen, that come in with paint boxes thinking that they were gonna do Renoirs or something like that. I was involved by pure accident: it was the nearest art school. In fact, if I could have done, I would have gone to another one that I couldn't get a grant for. This was just a crummy little place in a little country town, and this bunch of students all from the country, and all with ideas about the nice paintings they'd be doing.
"On our second day there, our first drawing exercise was to make a visual comparison between a venetian blind and a hot water tap. It was meant to be in terms of how they functioned, not in terms of how they looked. And this boggled everyone.
"And then the first main project was that the students were put in pairs, and each pair of students had to invent a game, the function of which was to make some kind of psychological behavioral evaluation of people who played it. So they weren't necessarily competitive games, they were games that involved making a decision rather than a number of others, and then extrapolating things about people's personalities on the basis of those decisions. I think there were thirty students altogether, so there were fifteen games made. They varied through all sorts of things: mine was a kind of board game, others were whole rooms that you went through and did various things in. Anyway, all the students went through this, and consequently each student ended up with fifteen so-called character profiles. From those character profiles you had to make what was called a Mind Map, which was a kind of diagrammatic scheme of how you tended to behave in lots of different situations, and then the next part of the project was that you had to then assume a character who was as far as possible opposite to that one, and that was who you were to be for the rest of the semester, which was like eight more weeks. This was very, very interesting.
"And then we were put into groups of five on the basis of these new assumed characters. The meekest person would be like the group policymaker, and the one who tended to talk most would be who got to do all the dirty work, like buying things from the shops. He would be the dogsbody; that was my job, actually. And so you had people working with characters who were quite alien to them.
"And each group of five had another project that was a very complicated one that I can't explain, but we had to make the projects using those characters.
"There were some funny things (that) happened. There was one girl who was very timid, so part of her Mind Map stipulated that she had to walk this tightrope in front of the whole group every morning. This was her own stipulation, you know, these things weren't imposed; having designed your own Mind Map you then worked out a number of behavior patterns that you carried out.
"Another interesting thing was that the whole accent of the course was on working with other people; you could act alone if you wanted, but the accent was on group dynamics and how people worked together. In fact, we went into that in quite considerable depth, about how you got things done in groups and what sort of behavior tended to be counterproductive and so on. It was all very useful. I'm happiest working with other people anyway.
"It was really like early training in Oblique Strategizing, collaborating, all the techniques I use now, and it was certainly the most important thing that could have happened to me at the time. That lasted only two years and then everyone got sacked again, and I went to another art school: one of the staff whom I got on with particularly well got a job in another school and said would I come along and be a student there."