Finding inspiration in community

http://couragefaithandcocktails.com

A dinner series seeking inspiration-

More and more we spend our lives staring at screens not only for work, but play and entertainment. Even walking outdoors we’ve become zombie-like, head bowed, connected to the great wide web and cut off from the world. The TV, the computer, the internet, websites with cute cats, these are all a part of our lives, but they are not the meat of our lives. Most of it is actually candy. And there’s a time and place for candy, but we need nourishment. We need meaning. Where are the apps that nourish the soul?

Instead of looking outside of ourselves, to the buzzing and jigging of modern life for inspiration, we need to look inside. Contrary to the pandering-to-a-demographic mentality of advertising, the truth is that the only way to genuinely connect with an audience, is with your own story—your ideals, your histories, with your humor and sex appeal. Ask yourself “what do I have to say?”, “what’s my opinion?” The more personal and specific you can be will speak to the widest of audiences because in the particular lies the universal.

It’s no surprise that many of us are on a search for meaning in our lives and works. It is in this spirit that I’ve created The Dinner Series. (Rick Valacenti)

Tropical Salvage

Collaborative/Interdisciplinary company to look at.

“We believe that the business community must lead in addressing today’s unprecedented challenges to our world’s social and environmental integrity. Tropical Salvage combines business with social and environmental activism. Our mission is to create good, steady, eco-positive jobs in places experiencing economic hardship; to assist in implementing conservation, forest restoration and environmental education projects to protect the world’s remaining primary tropical forests; and to advocate for best responsible social and environmental practices throughout the business world.”

Sample Chapter: Method — 001

Chapter Outline
Intro: Methods of interdisciplinarity
How to find interdisciplinary work? Being ready. Being willing to let go of control. Step into the unknown equipped with the right tools. Have respect and trust for the others in your group.

Inside your mind:
Venn Diagram
Mind Map
Flow Chart
Notes (how to look up other knowledge, take notes, make charts)

Working with others:
How to make a welcoming atmosphere for conversations (Ryan’s dinners)
Structured talks
Listening
Role play

Testing in stages
Staying neutral
Observing
Good failure
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Chapter 1

METHOD

“Design is now too important to be left to designers”
(Tim Brown, Change by Design, p. 37″

Interdisciplinary work starts from within. In order to include other knowledge or other people in your process, you have to be willing to try new ways of making design. Here we will discuss mind maps, flow charts and venn diagrams as helpful means of seeing how disciplines can come together. We will then look at larger efforts in interdisciplinary work, where experts from different fields come together to produce new knowledge. How do diverse groups work well together? We will look at how making a welcoming atmosphere, choosing the right structure, listening well and role playing can help.

Venn Diagram — finding overlaps
A Venn diagram is useful when you think about the spaces where two disciplines come together to form a singular problem, need, or outcome. For example, in a freshmen design elective, students at MICA were asked to rethink hospital walls and come up with graphic patterns that would cheer up a doctor’s visit. A Venn diagram illustrated how two opposing kinds of imagery could come together to create these patterns.

(Follow up with completed images from this assignment)

Mind Map
Mind maps are great for thinking through an idea and finding associations with it. They can show us how ideas or words connect. In an assignment at OSU, Students paired up and picked a profession out of a hat. They had to mind map the strengths they held in their profession separately then list the strengths they held together. From there they had to define a collaboration between the two professions, highlighting their combined strengths.

 

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Random notes:

Example: At Hartford Art School’s Design Global Change, Natacha Poggio partners up with engineers, educators and aid professionals to construct meaningful, service-oriented projects for her students. What are some of her strategies?

Example: In an intense study abroad program, Nancy Froehlich led six OSU students and as many Indian crafters to produce a line of scarves. Nurturing trust and sharing control of the process were essential to this project.

book structure #1

STRUCTURE #1
Each chapter has brief essay followed by practical know-how

Possible title:
Connect: A Guide to Interdisciplinary Graphic design

_introduction: the new connector
(theory, context)
historical presedents; history of disciplines; why interdisciplinarity now? inter/cross/trans; design and philosophy

_chapter 1: method (mind games, including the end user, testing, learning to talk to each other)

_chapter 2: space (flexible spaces for doing interdisciplinary work; flexible classrooms, inspiring work areas at home and work; space to put your ideas in — process books, idea books, notepads; portable spaces; school as space)

_chapter 3: scale (S, M, L, XL projects)
subdivide these into culture, science and society
this would be longer and more heavily illustrated; snazzy captions will point to relevant points
Culture (the fashion company, India projects, etc)
Science 
(data visualization…)
Society
 (Center for Urban Pedagogy, Ideo…)

Add: Interviews and assignments for educators; these can be peppered throughout on special, color coded pages.

when and how change happens

Medici effect

“This is not to say that younger people are more creative. However, younger people
are often less constrained by their education within a field since they
have not yet had too much of it. It would follow, then, that learning a
new field, whether one is young or old, can help break down associative
barriers. Thomas Kuhn points out in his seminal book The Structure of
Scientific Revolutionsthat “almost always the men who achieve . . . fun-
damental inventions of a new paradigm have been either very young or
very new to the field whose paradigm they change.” pg 52

I go back to this text because I find it interesting that great shifts and ideas happen not within the field that you are a master of- but when you are very new to a field. Something to ponder as we trek forward.

everyone is talking about change and it gives me a headache

Designers gather in Phoenix to address shifts in the design profession

http://www.aiga.org/news-20111006/

What is the role of design in a rapidly shifting world?

I’m curious if Design has always been in such a state of flux? Things are shifting faster due to technological advances, but Isn’t change innate? Why do we spend so much time talking about it vs stepping up and trying to find answers that are needed. I’m finding a tremendous amount of articles, conferences, conversations about change. Yep things are changing, lets move on.

redefining space

Interesting article on the shift of the retail environment.

http://www.metropolismag.com/story/20111115/brand-new-world

Brand New World

Our retail roundup includes kiosks, pop-ups, hidden shops, and a virtual experience activated by QR codes. All of this raises the intriguing question: What is a store today anyway?

By Martin C. Pedersen

Like just about everything else today, retail design is in a state of flux. We’re now living in a world where most items for sale in a store are also available online. Which raises a couple of important questions: What’s the role of traditional retail in an increasingly virtual world? And how will stores compete in the digital future? The reassuring news is that we still need physical transactions. The brick-and-mortar store will not disappear. Instead, it’s adapting to new realities, changing demographics, and perhaps a smaller budget. The retail roundup presented here is a snapshot of a fluid industry, with global brands attempting to put on a local face, big-box retailers mastering the art of crowdsourcing, and secret stores that are tucked away like Prohibition-era speakeasies. For designers, the shift is a subtle one, from places of transaction to spaces for human interaction and shared experience.

stephen farrell — design meets fiction

Designer, educator, works closely with fiction writers on hybrid image/text novels. (this has precedence in Dada, McCluhan, etc)

From Farrell’s page at SAIC
http://www.saic.edu/gallery/saic_profile_faculty.php?type=Faculty&album=467
Simply put, I write stories and explore critical ideas with design. I’m interested in taking traditional literary forms, the short story, the novel, the critical essay, and remaking these forms to include the methodologies, the vocabularies—the possibilities—of design. In the literary realm, writing and design are usually two distinct, non-overlapping activities. Most of the book pages designers labor over could be characterized as non-places. These book pages, although skillfully crafted, work tremendously hard to transport the reader to a transparent realm of language, dissolving the spatial and material aspects of the page. A lot of the work that I do pushes against this transparency and manages the flow of reading in different ways. My work still acknowledges that reading is about flow, and that one of design’s chief objectives is to manage and facilitate this flow. However, the strategies I use—the way I manipulate flow, arrange and organize texts, and employ a spatial approach to the page not unlike staging in theater —often encourage both linear and non-linear movement. Simultaneous stories may interweave, images and information graphics may interject. How this spatial, imagetext experience collides or coincides with the linearity of reading is of prime interest to me.

VAS: An Opera in Flatland, A Novel

Steve Tomasula, Stephen Farrell

University of Chicago Press, Dec 15, 2004

Printed in the colors of flesh and blood, VAS: An Opera in Flatlanda hybrid image-text noveldemonstrates how differing ways of imagining the body generate diverse stories of history, gender, politics, and, ultimately, the literature of who we are. A constantly surprising, VAScombines a variety of voices, from journalism and libretto to poem and comic book. Often these voices meet in counterpoint, and the meaning of the narrative emerges from their juxtapositions, harmonies, or discords. Utilizing a wide and historical sweep of representations of the bodyfrom pedigree charts to genetic sequences VASis, finally, the story of finding one’s identity within the double helix of language and lineage.

 

 

opportunities to collaborate

Would be nice to include a section of contacts where people could apply to be a part of an interdisciplinary/collaborative experience.

http://www.good.is/post/ideo-org-fellows-bring-beautiful-design-to-humanitarian-efforts/

IDEO

“Human-centered design, the framework through which all IDEO.org fellows operate, guides designers to come in with a “beginner’s mind,” asking lots of questions and observing everyday moments, resisting the instinct to jump to conclusions or try to sound smart. It’s relationships and hunches, not strategic plans and short-term goals, that are the real tools of the human-centered designer. Liz Ogbu, one of the fellows working on the water project, writes, “We are starting to think of available water services and technology as analogous to a set of Lego parts that can be applied and rearranged depending on the needs of the community.”

m/m paris — design meets photography

Of course, design and photography are closely related disciplines. But MM Paris worked with photographers Inez van Lamsweerde and Vinoodh Matadin to mesh the two disciplines in a fresh new way, in designing “Alphabet” (2001) and “Alphamen” (2003). This seems novel because the letterform and the photo-fill are so closely intertwined, giving a result that is greater than the sum of its parts. By contrast, in a traditional sense, a photograph is still a photograph without being included in a layout, and conversely, a layout maintains its identity even if the photos on it change. With these MM projects, the photos and the graphic shapes transform so radically into the letterforms, that they would not have the same “identity” as separate images.