learn the technique from the direct experience, from the elements thaty you have in your own place.
Carlos realized that he was of the desert south of lima. he decided to begin to employ low temperature clay and colors of the desert. he began to place objects back into the sands of the desert.
In Cuenca Carlos began to try to bring the landscape into the musuem, even as he was moving the objects into the landscape. In Mexico, he brought 14 tons of gravel into the Museum of Modern Art as the landscape the objects.
Using very simple forms.
giving back things to the earth.
finding narrative significance in the iconography of the crab.
cosomological and numerological significance.
it takes an hour to fold an origami crab.
the folding is a reminder of stories.
videos of the folding.
grinding of glass spheres.
dancing with a crab.
video of "Displacements" recreating the folds, meant to feel as though they are floating in space. folded paper brought together to make the map of the world, and then the ocean comes and the folded papers are replaced by crabs of different sizes. building up the forms from darkness to light.
the body as measurement of all things. press molds to make 300 figures. taken hostage by the revolutionary movement Tupac Amaru. held for 10 days. the piece called "the wait". 100 roses for 100 waits (hopes?), dried roses in the urns below the figures. people were still held hostage while he was making this work. an homage for those still held at that time. an attempt to communicate.
]]>"Flirtastic" was born.
how to assess the design? tried to attack with traditional HCI, but:
impossible to describe rich interaction with paper prototypes
impossible to...
impossible to...
flex made sense to develop prototype
created a bootleg workflow all Adobe branded.
created story video to prototype the service.
there is a live prototype created in Flex.
Lee Byron's website: http://leebyron.com/what/flirtastic/
team member, Paul Robare's website: http://www.paulrobare.com/Flirtastic.html
Adobe Design Achievement Awards competition 2008
video of benefits given to those who earn distinction.
Reel Ideas studio:
]]>Graphic Design & Digital Media Programs: Obstacles and Opportunities
Obstacle
Opportunity
Graphic Design & Digital Media Programs: Questions For Consideration
Isn’t this a systems design problem at its heart? The fact that we even have to place “graphic design” and “digital media” in oppositional terms belies the fundamental problem of institutional structure. As long as we have traditional silo departments in divisions, can there even be resolution to this potential conflict?
Does the redefinition of Design (capital D) to capture the social, technical, visual, auditory, motion, human, and political system-based problem solving, set us up with an impossible task: an academic domain too broad to cover? Consider this: can you prepare a student for the breadth and depth required by an Institute without Boundaries and The Barbarian Group?
Does it demand partnerships that we have not considered?
Co-creation. Non-linear curriculum. No one owns an academic domain. Faculty as partner, not expert. We are our network... This all requires quantum, not incremental, change. Can we do this? Can we afford not to?
Top Down? Bottom Up? Left to Right? Right to Left? Who moves first?
]]>Co-exist by separating or collaborating? Combine/collapse?
Questions to dialogue to consider solutions:
Digital Media programs by their very nature want to fight against the traditional siloed university structure. Should digital media move from the single disciplinary home, such as Art or Communication, to an interdisciplinary collaboration?
If departments across campus, including graphic design, are doing “digital media” shouldn’t they be sharing their common language and take advantage of overlaps?
In a “networked/non-linear society” what is the appropriate organizational structure for our graphic design/digital media curricula?
How can we be affective advocates for change on our campuses? Is it our role to educate administrators about dynamic media and how it fits within and changes the traditional curricula?
How can we set up our curricula to be evolving and flexible, as opposed to static and repetitive?
Design thinking, like digital media, is a bridge to other disciplines. Is it our role/responsibility as graphic design faculty to take the lead in building that bridge?
Is a “thematic” education as effective as a “linear” one?]]>
I am the director of an interdisciplinary Digital Media Studies Program. Curriculum development is constant and ongoing.
1.- My sense of self-worth is deeply tied to my making things, either by myself or with others.
2.- What is the radius or range for my interdisciplinarity?
3.- Can I play well with others?
4.- Can I understand my field deeply? historically? with vision?
5.- Can I understand someone else's field deeply? and how that field productively interfaces with mine?
6.- How can I subsume the voice I worked so hard to develop?
7.- Am I frightened or comforted by apparent schizophrenia?
8.- How do I feel if I create situations? If I create systems? If I create relationships?
]]>Open Code Project:
rethink the idea of making simplified forms of programming. Alan Kay thinks:
"... when we teach children English, iti is not our intent to teach them a pidgin language, but to gradually reveal the whole thing...
In computer terms, the range of aspiration should extend at least to the kinds of applications purchased from professionals."
There may be a fallacy in this thinking, in that the whole of the natural language is on display at all times in original language aquisition. Children can express themselves functionally -- if clumsily and with frustrations -- with imperfect syntax and vocabulary. This is not the case with artificial computer languages.
http://opencode.media.mit.edu/tool/open_code
Having a browser will become a ubiquitous condition. Creators have created a processing IDE and archive at the above address. Code won't be stored if it isn't clean. So you can trust all code on archive to learn from. Can't store code in archive unless author is willing to share code.
Type+Code: processing for designers
formal exploration of letterform transformations in processing. Student introduced processing to Ellen Lupton, her advisor, at MICA. Linked interpretive typography with Sonya [sic?] to create reactive piece with acoustic input.
Everyone can learn processing.
Created some basic tutorials as a contribution to Ellen Lupton's book on the New Design Basics.
These still offer a reductivist or simplified approach, Bauhausian tradition reaffirmed. The breakouts lag behind the Keynotes. This is likely a necessary existential condition of conferences.
"Genetic Typography"
recapitulation of the typeface Beowulf, instantiated in Processing, with self-conscious homage to A-Life pioneer, Conaway.
Hugh Dubberly is very impressed that Lupton's students are exploring Processing, and wants to know how that happened.
Driven by student interest at MICA.
A reference is made to Adobe Illustrator as a "traditional tool" (tee hee)
And reference to Processing as a meta-tool
conversation about how to make form (predictable or otherwise) with and through Processing.
Glen Carlson should have presented here. so too should have Devin Monnens. Josh, Carlos and Mohammed could have presented some P4 Games examples here. They spend all their money on tuition, and can't afford to be here. Yarghhh!
Challenges to authorship. Once again.
]]>Talk tilted:
Three new waves of change and what they might mean.
worried that design might be stuck. The world around us is changing. These changes are large. Rates of change are double exponential.
thre trend, senors are proliferating, video is converging, mobile devices are opening up.
Wii mote is a touchstone of the inflection point.
shows "World of WiiCraft" video. Will need DarWiin Remote patch. Don't need the Wii, just the sensor bar ($10.) and the Wii-mote ($40.00).
Intel put individual sensors on individual vines in a west-coast vineyard to make a very detailed map of the heat & humidity in order to optimize for micro-harvesting and increased quality.
Don Carr's sonic snowboard. snowboard as musical instrument.
google my lost keys. (sharing spime scenario)
Johnny Lee from CMU and his internet fame from his demos on Wii-mote head tracking
Emotive Inc. Software that recognizes brainwave patterns and matches them to commands. Not magic, you have to train the system. (my EEG hairnet)
Mobile Devices are opening up.
Apple is looking at the entire community of systems that surround the mobile tech.
Spook Country geo-locative tagging scenarios
augmented reality displays
Video is converging with other media (finally)
Seadragon by Microsoft (BladeRunner scenario)
Plastic Logic Inc with flexible screens.
Screens become architecture
a new video web will emerge
assumptions to challenge:
sensemaking and storytelling don't change
managing complexity is a new problem
designing is the exclusive province of designers
systems theory provides a body of knowledge designers should use
design thinking is opening the door to business, but traffic can pass both ways
design is a part of all professions
the arrival of design courses in business schools should be cause for celebration and reflection.
look up Austin Henderson, Liz Saunders (Sanders?)
We need to think about tools for making tools.
We need fundamental change in the way we practice and think about and teach design. There may be a schism between those who believe is about giving form and those who look at and think about designers of systems.
We don't have a mechanism for improving design. This is a goal of research. There is no feedback loop.
The research imperative is too tied to specific personalities and has not yet taken on a life of its own.
Hugh looks forward to working with all of us on changing that situation.
]]>