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Introduction to Creative Technologies week 2

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Second week of this paper (course) on Creative Technologies, Undergraduate Year 1.

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Introduction to Creative Technologies week 2

  1. 1. Introduction to CT: #ctec502 Week 2 CoLab ethos
  2. 2. http://tinyurl.com/RegisterYourTumblrBlog In case you haven’t: Create your blog (choose a professional name that includes the acronym BCT, as you will be using this blog for 3 years) and register the URL here:
  3. 3. 1. A few videogames^ 2. A car^ 3. A bungalow^ 4. Kitchen appliances 5. Toys 6. Farm tools 7. Learning spaces 8. Museum exhibits 9. Playgrounds 10. Point-of-sale 11. Handcrafts 12. Phone cabin 13. Stairs 14. Interactive displays 15. Websites 16. Virtual galleries 17. Office furniture 18. Lamp 19. Suitcase 20. Chairs and benches 21. Book covers 22. Picture frames 23. Interactive toys 24. One thousand products, websites, systems, services# 25. Rapid prototyping machines# 26. Fifteen companies# 27. Doors* 28. Car dashboard displays* 29. More cars* 30. Robot-friendly furniture* 31. A visual divergence test 32. Reconfigurable robots and social robots 33. Curriculums, syllabus, activities, support materials 34. Design platforms, methods and techniques ^ as a teenager, before entering college # by around 1000 design and engineering students in 6 countries * by computational generative systems that I’ve authored
  4. 4. https://www.harpercollins.com/9780062296009/the-evolution-of-everything
  5. 5. Zacoalpan, 1995 http://huaracheblog.wordpress.com http://www.flickr.com/photos/mexicantextile
  6. 6. Tzintzuntzan, 1996 http://www.artemolinero.com.mx
  7. 7. Zipiajo, 2007
  8. 8. ‘ROBOT GRACIOUS GAIT’ RoboMods Sosa, R., Mohan, R.E., Rojas, N. and Nansai, S.
  9. 9. https://www.metmuseum.org/toah/images/hb/hb_1993.132.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/5/59/Falcon_Heavy_Demo_Mission_%2840126461851%29.jpg/1200px-Falcon_Heavy_Demo_Mission_%2840126461851%29.jpg
  10. 10. Science as Art Archives http://www.mrs.org/science-as-art-archives
  11. 11. Welcome (again) to the 2018 edition of #CTEC502 This paper is a “Deep Dive” into Creative Technologies (CT) In 2017 we redefined the content and delivery, this is an iteration The main goal is to introduce you to the ethos of this cross-disciplinary area ICT is a core BCT paper, with CTEC500 and CTEC600 0 2 4 6 8 10 12 14 16 A+ A A- B+ B B- C+ C C- D Grade Distribution
  12. 12. Weekly Activity: Create a 3-minute vlog “I decided to become a Creative Technologist because…” How to vlog: https://www.wikihow.com/Make-a-Great-First-Vlog
  13. 13. On successful completion of this paper students will be able to: 1. Demonstrate competency in creative, critical and reflective thinking. 2. Describe the nature of the creative industries and how the convergence disciplines can contribute to the development of a creative knowledge economy. 3. Analyse and critique historical and contemporary practices in the creative technologies.
  14. 14. LO #2 LO #3 LO #1 (you) (the world) (CT)
  15. 15. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #1: Demonstrate competency in creative, critical and reflective thinking Students achieving this grade do not provide evidence that demonstrates competency in creative, critical and reflective thinking. Incomplete or insufficient evidence is made available, for example no or few blog posts exist and assignment submissions are missing or incomplete. Demonstrates weak or very limited capacity to critically analyse and produce creative responses. Instead, views are largely uninformed, ungrounded, taken at face value, and go unexamined. Assumptions remain implicit. Ignores key arguments, facts, and precedent ideas that are central to the topic. Simplistic and arbitrary views. Inconsistent and unsubstantiated claims and conclusions. Due to a lack of awareness and depth, creative ideas are lacking in originality, relevance, and value. Demonstrates some capacity to critically analyse ideas, theories, and practices or a limited capacity to creatively respond to assessment events and instructions. Views include terms that are misused, remain ambiguous, or are not framed in context. Some interpretation of sources but not sufficient to develop meaningful arguments. Little questioning of opinions and facts. Misattributions or sources that remain unspecified. A combination of naïve and simplistic views with some more informed and structured ideas. Due to a limited awareness and depth of reasoning, most ideas remain inauthentic, only marginally relevant, largely unoriginal, and of limited value. Provides evidence of a developing capacity to critically formulate ideas, revise views, judge sources, and identify authority and relevance of facts and expert opinions. Identifies debates and tensions, multiple views and levels of arguments, and makes some connections between themes and domains. Inconsistently applies critical and creative reasoning based on a growing awareness of the context. Ideas are a combination of simplistic and insightful, average and high originality, high and marginal relevance and argumentative quality. Evidence can be incomplete at times, and inconsistent in clarity, recurrence, and quality. Consistently provides ample, clear, and well presented evidence of an extraordinary capacity to critically analyse ideas, challenge views, question beliefs, and build arguments. Identifies relevant and at times little-known sources of high quality and authority. Connects ideas from non-obvious origins creating insightful linkages and valuable observations. Based on a strong awareness and deep understanding of the issues at hand, generates creative ideas that are authentic, original, and of high value to others in the field. Clearly demonstrates a superior learning motivation and engagement that permeates to other learners in the class.
  16. 16. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #2: Describe the nature of the creative industries and how the convergence disciplines can contribute to the development of a creative knowledge economy The work does not provide evidence that the student grasps the nature of creative professional practice and how CT develops from the convergence of domains, disciplines, and fields of practice. Provides scarce evidence of understanding the integration of disciplinary knowledge and practices that gives form to Creative Technologies. Little evidence that this student is aware of the range of sources and domains and the larger trends that will shape the future of technology and the impacts and consequences in society, the economy, and the environment. Some but inconsistent evidence is available to identify an informed and critical understanding of the role of technology and creativity in the local and global contexts. Limited views about the disciplinary principles and professional practices that have shaped and will continue to shape the societal, economic, and environmental dimensions of the future. A combination of views and sources of varied relevance and authority are provided about the constitutive elements of Creative Technologies. Evidence shows an understanding of the factors that shape and are shaped by technology in the world including societal, economic, and environmental. Student shows an awareness of the future opportunities and challenges for the study and practice of CT. The work submitted demonstrates an engaging, clear, and well developed understanding of the various sources that have shaped and will continue to shape Creative Technologies. Views about the future of the field are insightful and contribute to a better understanding of what Creative Technologies can become in the future and their value in the local and global contexts.
  17. 17. Rubric (or how to score an A+) Fail C region (>49.5) B region A region A+ (>89.5) LO #3: Analyse and critique historical and contemporary practices in the creative technologies The work does not provide evidence that historical and contemporary practices in CT are understood. Provides very limited evidence of understanding the past and present context of Creative Technologies. No or little evidence is made available to show that this student is aware of core theoretical ideas, methodological principles, and current professional practices in the field. Views about CT practices are shallow, uninformed, and unsubstantiated. Only “That project is so cool!” type of responses are expressed. Limited evidence is available to identify a familiarity and awareness of the state of the art in the field of Creative Technologies. Limited views about the past and the future of the field. Reference to some theoretical principles and professional practice cases are made, but include erroneous or limited information. Views of CT practice are inarticulate and intuitive. Patchy evidence with a combination of views and sources about the context and trajectories of Creative Technologies. Can include simplistic and common tropes that go unexamined (including myths) with some more substantial and interesting views about the field. At times shows some understanding of the trajectory of theories and practices in Creative Technologies, but can fail to connect ideas from a range of sources. Evidence can be unclear, ambiguous, difficult to access or understand, and of limited engagement. The work submitted demonstrates in clear and engaging ways that this student understands the state of the art in Creative Technologies. This authentic and broad understanding includes concrete references to theoretical ideas and principles, and cases from professional practice that are of high relevance, accuracy, and interest to the future of the field and beyond. This student shows signs of being deeply engaged and interested in developing a personal and well informed position about the past and future of Creative Technologies. Views of CT practice show evidence of reflection as well as introspection.
  18. 18. Session date Key concepts Activities Assessment event Self-directed learning 27 Feb Education; Creative praxis; Designerly culture; Introspection RTPS: Swanson, 1994 and Cross, 1982. NA Rich Gold: “4 Creative Hats” 06 March Introspection; Wicked problems; Studio learning; Reflective practice; B.S. TPS: Why Universities, Why study CT? Blog post: “My first BCT impressions” (formative) Massimo Banzi https://goo.gl/6YvFu3 13 March Language; Concept; Aphorisms; A to Z of CT Mapping A-Z terms NA Joseph Weizenbaum: “We have the choice” 20 March Creative confidence + Critical reasoning Active Listening Week 4: 3-minute “vlogging” (summative 20%) Andrew Huang https://goo.gl/OQdVvb 27 March Collaboration DAE-type Activity Blog post: “Creative collaborations” (formative) Steve Jobs https://goo.gl/1zsSrm 03 April (Easter) Complexity academy https://goo.gl/UX4kq7 10 April Precedents +Journaling ELI5-type Activity Blog post: “Fix a broken blog post” (formative) Steven Johnson https://goo.gl/on2FQz AUT break w1 AUT break w2 01 May Foundations of Visual Language + Process or Journey TIL-type Activity Week 8: Reflective journaling (summative 40%). Qual. criteria: ethos, authenticity… Critique of a Art Science Dublin project 08 May Humans CMV-type Activity + Design with Intent NA “Things Every Designer Needs To Know About People” 15 May Integrative Thinking + Playfulness ASK-type Activity Blog post: “My creative process/journey” (formative) L. Lessig TBD 22 May Creative Industries IAmA-type Activity (Guest Speaker) TBC NA Gender and Inclusion in Creative Industries: “Critique of Creativity” excerpt 29 May Failure + Prototyping IAmA-type Activity (Guest Speaker) TBC Blog post: “Ethical dilemmas, tensions, and blind spots” (formative) FuckUp Nights: https://fuckupnights.com 05 June Evaluation and feedback + Post-Disciplinary Practice IAmA-type Activity (Guest Speaker) TBC NA Writing tools 12 June Week 14: Individual position paper (summative 40%)
  19. 19. “Wicked” Problems Ill-defined or “untamed”: • No definitive or single formulation • Every problem essentially unique • Every problem a symptom of another problem • Choice of representation determines resolution • No stopping rule • Indeterminate solution space • No true/false solutions • No immediate or ultimate test • Every solution transforms the problem (co-evol) (Rittel and Webber) 1973
  20. 20. http://www.jstor.org.ezproxy.aut.ac.nz/stable/20027998
  21. 21. CoLab Studio Ethos • Be present • Find your passion • Learn with others • Reflect in/on action • Listen to feedback/feedforward • Understand, connect, integrate • Question, inquire, synthesise • Make a dent • Iterate (All of the above apply to students and instructors)
  22. 22. Problem-Based STUDIO http://www.studioteaching.org http://studiobasedlearning.org/ http://www.edi.msstate.edu/work/pdf/history_studio_based_learning.pdf http://www.bie.org/ http://www.teachthought.com Characteristic of Art & Design • Origins: apprentice in the atelier • Students gather the individual instructor’s Weltanschauung (worldview), with each new studio another possible approach to design is layered upon the last • Regular critique: the instructor reviews the student's progress, suggests revisions. This process of revisiting and revising design iterations occurs dozens of times (2 or 3 times a week) • “Ritualized contexts”: pin-up, interim or midterm crit, and final crit • Teaching tends to be individualistic, intuitive • Learner agency is heightened Characteristic of Engineering Design • Origins: early 20th-century educational theorists • Students go through a process of inquiry in response to a complex question, problem, or challenge • Projects are carefully planned, managed, and assessed to help students learn specific academic content • Teaching may occur before the project starts • Includes many “needs to know” (“It’s hard to over plan a project”) • Risk that teaching becomes disingenuous and formulaic • Teacher agency is still dominant
  23. 23. PBL SBL 7 Dimensions that distinguish PBL and Studio Instructions Sequential Planned Team Quantitative Service Concrete results Learn to do Inspirations Exploratory Emergent Individual Qualitative Expression Conceptual Learn to become …………..…… …………..…… …………..…… …………..…… …………..…… …………..…… …………..…… …………..…… (Note: not discrete, but each tradition emphasises more one side of these dimensions)
  24. 24. "The most difficult thing is the decision to act. The rest is merely tenacity. The fears are paper tigers. You can do anything you decide to do. You can act to change and control your life and the procedure. The process is its own reward.“ - Amelia Earhart, aviation pioneer and author http://www.ameliaearhart.com/about/quotes.html
  25. 25. http://www.signs-derby.com/catalog/item/4027930/7618399.htm
  26. 26. WRONG http://www.wall321.com/ http://www.signs-derby.com/catalog/item/4027930/7618399.htm
  27. 27. concept context practice
  28. 28. “Those who work with their hands are labourers. Those who work with their hands and their head are craftspeople. Those who work with their hands and their head and their heart are masters.” ― Louis Nizer, British author (misattributed to Francis of Assisi, Catholic mystic)
  29. 29. Concept: head Context: heart Practice: hands “Reflective practice” = head + heart + hands concept context practice RP
  30. 30. Reflective Practice Plan / Design How should we do this? Model / Prototype What could be done? Document What works? What doesn’t? Reflect Why are we doing this? Based on Zull, J. (2002) The Art of Changing the Brain. Sterling, VA: Stylus Publishing Very often we do this
  31. 31. One of the surest tests [of the superiority or inferiority of a poet] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest. Eliot, T.S., “Philip Massinger,” The Sacred Wood, New York: Bartleby.com, 2000. https://nancyprager.wordpress.com/2007/05/08/good-poets-borrow-great-poets-steal/
  32. 32. By Unknown - http://lccn.loc.gov/50041709, Public Domain, https://commons.wikimedia.org/w/index.php?curid=14901168https://themillionairedropout.files.wordpress.com/2013/05/twoc2a32.jpg
  33. 33. Class Activity: Think-Pair-Share (TPS) A. What are Universities for? B. Why study CT?
  34. 34. http://tinyurl.com/RegisterYourTumblrBlog In case you haven’t: Create your blog (choose a professional name that includes the acronym BCT, as you will be using this blog for 3 years) and register the URL here:
  35. 35. Weekly Activity: Create a 3-minute vlog “I decided to become a Creative Technologist because…” How to vlog: https://www.wikihow.com/Make-a-Great-First-Vlog
  36. 36. • Create an individual video: two to three-minute “vlogging”. Summative grade 20% of the semester for ICT #ctec502 • Title: “I decided to become a Creative Technologist because…” • Should demonstrate at least 6 to 8 hours of work • You can talk to the camera, but may also try other formats like a slideshow or simple animation techniques like stop-motion. • Use any technique, but focus on content, not “decorations”: www.magisto.com, www.moovly.com... camstudio.org, www.screencast-o-matic.com... biteable.com, www.animatron.com, www.powtoon.com... • Not all content (images, video, audio) must be original, but your views have to be original, informed, critical, and broad. Credit all your sources in the video, comments section, or in your blog. • Think about these things from your very own personal viewpoint: • Why go to University and why AUT? • Why the Bachelor of Creative Technologies (BCT)? • What is "Creative Technologies" to me? • How do I envision my career in this field? • How to get started? • Sketch a storyboard as a way to plan and organise your content: • http:// www.wikihow.com/Create-a-Storyboard • http:// www.blogher.com/storyboarding-resources-and-vlogging-assistance • https:// www.youtube.com/watch?v=zXtYNdCPKV8 • Look at guides, recommendations, and examples: • https:// www.youtube.com/watch?v=GzNUNnmyjM0 • https:// filmora.wondershare.com/business/vlog-ideas.html • Have fun! • To submit: press the "Write Submission" button in the Blackboard Assignment and paste the URL to your Vlog there. It can be a link to the video (youtube, vimeo, etc), or to the tumblr blog post where your video is embedded. Thank you.
  37. 37. http://learningfundamentals.com.au/presentations/focus/

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