The document discusses the value of creativity and creative processes within and outside of design. It explores how creative activity is validated and supported through institutions, education policies, and government funding. It also examines how boundaries between fields like art and design are blurring. Examples are provided of artists like Joseph Beuys who promoted expanded definitions of art and creativity, as well as designers like Anni Albers who emphasized the connections between art and design. The document questions how creativity can be better nurtured and recognized through frameworks that consider both quantitative and qualitative measures of value.
Manuela Aguirre, Natalia Agudelo, Jonathan Romm.
When designers facilitate for generative emergence within large‐scale networks, we think it is important to place special attention to the predesign phases where all stakeholders of the network are together. In complex social systems such as societies planning to receive new influxes of migration or partnering institutions coming together to envision and implement future health services, this is even more challenging. The design field is heading towards these types of domains characterized as polarized environments, with social tensions, conflicting agendas and power inequalities. To facilitate networked collaboration in these landscapes, key considerations to discovery phases like value cocreation of possibilities are important. Here is where many actors come together as cross functional teams (Clatworthy, 2013) and cocreate value by exploring opportunities and desired futures.
The document discusses the concept of a "Hub" which is a social enterprise and business incubator that aims to create an innovation ecosystem. It does this by providing (1) a platform to enhance social ventures, (2) access to multidisciplinary networks and collaborations, and (3) workspaces that respond to the needs of modern workers. The Hub formula brings together hub design, hosting, tools and social innovators to facilitate collaborative innovation. It supports the full life cycle of ideas from conception to market by connecting people from different backgrounds and providing resources and expertise.
This document provides information about Richard Seline's presentations and facilitation services. It outlines his background working in business, politics, and academia. Richard specializes in presentations and forums on topics related to innovation, entrepreneurship, and economic development. He takes a storytelling approach and aims to make the content relevant to audiences. Richard strives to meaningfully engage participants and ensure they leave with clear takeaways and next steps. His goal is to inspire action through customized facilitation drawing on his extensive experience.
This document provides guidance for design firms interested in doing social impact work. It discusses establishing focus by choosing intended areas of social impact, partner types, and project offerings. This will increase the likelihood of working on impactful projects and conserving resources. The document also emphasizes demonstrating value to unfamiliar clients, targeting transformational change, and addressing implementation gaps to maximize impact. Overall, it offers best practices for design firms to effectively engage in social impact work.
We are a strategic communications consultancy. Our speciality is driving culturally relevant content, understanding online/offline communities, using social technologies to drive a conversation with audiences. Work has included The Grammy's, Lexus, Nike, Beats By Dre and The California Endowment
Here's a presentation I gave on 11 November to Renaissance Northwest's Curating the Future Conference, held at the People's History Museum in Manchester.
Cultivating an imaginative culture that behaves creativelyHumanCentered
This document discusses cultivating an imaginative culture that behaves creatively. It argues that organizations need to create conditions that foster organic growth, social innovation, integrative thinking and creative behavior. Design thinking and human-centered approaches can help organizations change how they think about risk, opportunity and defining the future in adaptive ways. Social innovation is a human phenomenon that requires understanding people more than technology or business models.
Manuela Aguirre, Natalia Agudelo, Jonathan Romm.
When designers facilitate for generative emergence within large‐scale networks, we think it is important to place special attention to the predesign phases where all stakeholders of the network are together. In complex social systems such as societies planning to receive new influxes of migration or partnering institutions coming together to envision and implement future health services, this is even more challenging. The design field is heading towards these types of domains characterized as polarized environments, with social tensions, conflicting agendas and power inequalities. To facilitate networked collaboration in these landscapes, key considerations to discovery phases like value cocreation of possibilities are important. Here is where many actors come together as cross functional teams (Clatworthy, 2013) and cocreate value by exploring opportunities and desired futures.
The document discusses the concept of a "Hub" which is a social enterprise and business incubator that aims to create an innovation ecosystem. It does this by providing (1) a platform to enhance social ventures, (2) access to multidisciplinary networks and collaborations, and (3) workspaces that respond to the needs of modern workers. The Hub formula brings together hub design, hosting, tools and social innovators to facilitate collaborative innovation. It supports the full life cycle of ideas from conception to market by connecting people from different backgrounds and providing resources and expertise.
This document provides information about Richard Seline's presentations and facilitation services. It outlines his background working in business, politics, and academia. Richard specializes in presentations and forums on topics related to innovation, entrepreneurship, and economic development. He takes a storytelling approach and aims to make the content relevant to audiences. Richard strives to meaningfully engage participants and ensure they leave with clear takeaways and next steps. His goal is to inspire action through customized facilitation drawing on his extensive experience.
This document provides guidance for design firms interested in doing social impact work. It discusses establishing focus by choosing intended areas of social impact, partner types, and project offerings. This will increase the likelihood of working on impactful projects and conserving resources. The document also emphasizes demonstrating value to unfamiliar clients, targeting transformational change, and addressing implementation gaps to maximize impact. Overall, it offers best practices for design firms to effectively engage in social impact work.
We are a strategic communications consultancy. Our speciality is driving culturally relevant content, understanding online/offline communities, using social technologies to drive a conversation with audiences. Work has included The Grammy's, Lexus, Nike, Beats By Dre and The California Endowment
Here's a presentation I gave on 11 November to Renaissance Northwest's Curating the Future Conference, held at the People's History Museum in Manchester.
Cultivating an imaginative culture that behaves creativelyHumanCentered
This document discusses cultivating an imaginative culture that behaves creatively. It argues that organizations need to create conditions that foster organic growth, social innovation, integrative thinking and creative behavior. Design thinking and human-centered approaches can help organizations change how they think about risk, opportunity and defining the future in adaptive ways. Social innovation is a human phenomenon that requires understanding people more than technology or business models.
CREATIVE PLACEMAKING: Thinking Beyond Projects
In the words of a recent National Endowment for the Arts report, Creative Placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired.
Arts and culture have been a part of community revitalization and economic development strategies for years. Creative Placemaking is more than a new term for this effort -- at its highest levels, it involves a new way of thinking about the role of creativity in making society more sustainable. It is not just about doing projects -- it is also about the thinking behind the projects and about making stronger connections between creative, community and economic development.
Learn from experts and practitioners who have been at the heart of efforts to use creativity to grow communities and get a sneak peek at Creative Placemaking in action. Our three panelists will provide some helpful examples of what they have done in their communities:
Steve Dalhberg, is director of the Connecticut-based International Centre for Creativity and Imagination, vice president of innovation for Future Workplace, and faculty of "Creativity + Social Change" at the University of Connecticut.
Leonardo Vazquez, AICP/PP is the Director of Arts Build Communities at Rutgers University. He will discuss Rutgers¹ community coaching program and ABC¹s new Master Practitioner Certificate Program in creative placemaking.
The Wormfarm Institute in Sauk County, Wisconsin, is rural creative placemaking at its best. It's a 40-acre organic vegetable farm and creative hub, begun 15 years ago by artists Jay Salinas and Donna Neuwirth. Wormfarm aims to recreate the link that once existed between culture and agriculture with innovative and intuitive efforts that center around a sense of the land and the community.
This document discusses creativity and how it relates to media coursework. It defines creativity as thinking imaginatively and generating something original. It notes that creativity is often influenced by social and cultural factors. When evaluating their own coursework, students should consider elements like composition, representation, narrative, language, and how technology may have enabled creative expression. There is no absolute definition of creativity; it depends on social comparison. Students should reflect on whether their work was a creative "knowledge object" or "art object" and how they communicated their purpose and ideas through stylistic techniques.
Human: Thank you, that is a concise 3 sentence summary that captures the key points about how the document discusses creativity and how students can reflect on
Best Practices for Interdisciplinary Design.Arturo Pelayo
This document discusses the benefits of anchoring interaction design in the best practices of instructional design. It argues that instructional design has a strong theoretical foundation from various fields that can help address challenges in areas like cross-cultural design. The document also discusses trends in outsourcing and how instructional design principles can help with intercultural communication issues that arise. Overall, the document advocates for the use of instructional design methodologies and standards to help advance fields like interaction design.
Presentación internacionalización de diseñoGastón Marando
The CMD’s mission is to be the leading public advocate in the city of the economic and cultural importance of design. It financially and logistically supports and stimulates private and public initiatives related to design in the city. It assists local entrepreneurs in launching their ventures, coordinates interaction between designers, design managers, business executives, academics and policy makers and promotes the importance of design to the city’s economy.
One way that the CMD is working to draw attention to design as a tool of economic growth is the revitalization of the southern end of Barracas, by turning it into a design district. The Project Design District is still being formulated, but plans have focused on offering preferential loans, tax cuts, and subsidies for the restoration of buildings to design related companies that would install their offices or workshops in the area surrounding the CMD.
The first prototype of our approaches to move beyond design thinking at DNA. Touching on a number of new tools and techniques as well as theoretical positions from a number of sources. Very much the bleeding edge of our current position.
Foossa is a social innovation strategy and community-centered design firm that works with diverse communities and clients. They discover insights through research, advise clients on strategies for community engagement and co-innovation, and build interventions, experiences, and policies through collaboration with partners. Lee-Sean Huang is the cofounder and creative director of Foossa, with experience working on community projects across different disciplines and sectors around the world.
The document discusses the potential benefits of forging an inter-discipline between design, technology, and art. It proposes that this could create new hybrid disciplines by allowing ideas and practices to flow across boundaries, providing fresh perspectives on challenges. Additionally, privileged knowledge becomes commodified over time and spreads, weakening the economic and political power of certain regions. A new inter-discipline could also help educational institutions respond to the independent learning habits of digital students.
Design thinking is a complex concept that has no single agreed upon definition. It can refer to both the cognitive processes of designers ("designerly thinking") and the use of design methods by non-designers to address problems ("design thinking"). While design thinking aims to provide a framework for innovation, some argue it risks oversimplifying design or being used ineffectively by those without sufficient skills. For design thinking to achieve its potential, closer collaboration is needed between fields like management, design, and innovation research.
Vision: The Agents of Change Tour: The Rise of the Creative SpringJa-Nae Duane
Our Mission: Restoring Creativity through small business, social influence, and the creative class to spark innovation within our communities and culture.
The deck serves as the vision for the Agents of Change Tour, as well as the long-term vision for the Creative Spring.
If you would like more information, contact Ja-Nae Duane at janaescamp/at/gmail.com
A few slides from a class session in the Carnegie Mellon School of Design, "Foundations of Practice for Social Design." I'm putting them up for folks who arrived here from my "notes on participatory design' on medium.com.
1) Design has traditionally focused on giving form to industrial, consumer, and information economies within a globalized system. However, this has not addressed broader societal and environmental concerns.
2) There is a need for a new vision of beauty that is unusual, intriguing, appeals to curiosity, and serves to heal societal divides, while being adaptable to the future.
3) Design needs to take a more activist role on behalf of societies and the environment, focusing on building social capital and improving well-being rather than just serving economic interests.
This presentation was developed for a guest lecture at QUT in April 2009 for a subject about cultural futures. It asks the question, 'how are we to live?' and considers urban innovation and creativity. However, it does not really attempt to answer that question.
Slides used to introduce the discussion at the Dangerous Ground event in Edinburgh, June 2013. More info here: http://culturalvalueinitiative.org/dangerous-ground-project/edinburgh-event-28th-june-2013/
DESIGN AND SOCIAL IMPACT A cross-Sectoral Agenda for Design Education, Resea...cigdemir
The document summarizes discussions from the Social Impact Design Summit about gaps and challenges in socially responsible design. Key topics discussed include defining socially responsible design, setting standards and ethics, addressing cultural bias, and ensuring sustainability. Organizational models that were highlighted include hybrid models like IDEO.org, design center models like MIT D-Lab, and incubator models like Ashoka. The summit aimed to help build support for social impact design and identify opportunities for young designers interested in this field.
This document discusses co-design and its use in the PROUD (People, Researchers and Organisations Using Design for innovation and co-creation) project. It defines co-design as a methodology that enables people affected by a designed outcome to participate in designing solutions. The PROUD project aimed to employ design to drive innovation, economic transformation, and sustainable development through multi-sector partnerships. It explored approaches to co-design that foster creative knowledge exchange and developed principles to guide co-design processes in different contexts.
The document discusses design thinking as an approach to innovation that involves understanding user needs through empathy, visualizing insights through prototyping, and collaborating across disciplines. It outlines key principles of design thinking, such as embracing ambiguity, asking the right questions over providing answers, learning through building ideas, and creating change by bringing ideas to life. The document argues that design thinking can help organizations prepare for innovation by creating commitment through collaboration and finding deep insights through diverse perspectives.
This document discusses creativity and provides guidance for evaluating one's own creative activities and coursework. It defines creativity as thinking imaginatively and outside conventions to generate something original. Creativity involves purposefully using skills and influences to communicate new ideas or perspectives. The document encourages relating coursework to concepts of creativity, narrative, representation, genre, technology affordances, and intended audience or purpose. Students are prompted to reflect on how their social environment and technical skills influenced their creative processes and products.
Enthusiasm is what a good idea deserves in the first place – and not the question “What do you mean by that?”
Behind every idea, success is waiting. Therefore, the scientific and economic discussion about ideas, their efficient generation and exploitation remains highly important. But: initially, the quality of an idea is not measured in terms of its content – rather, the point is for it to be appreciated as such in the first place. Before the evaluation of an idea comes the idea’s identification as an idea!
Understanding the idea develops the ability to evaluate it or modify it into a still better idea. Misunderstood ideas, however, are always lost potential – sad for the persons having them and hopeless for those needing them. For businesses, both cases can be economically disastrous.
What is surprising is the fact that neither scientific nor practically oriented research offer any relevant statements, research work or methods for semantically optimizing
ideas. With the development of the “d’Artagnan Principle”, this significant gap is now filled and methodically closed.
Work on semantic optimization of ideas
Design Thinking as new strategic tool. Presentation made to spark the discussion about innovation & inspiration and new business opportunities. And how to introduce Design Thinking as a strategic tool in your company.
How Can Society Impact Design? https://designimpactmovement.titan.in/designimpactmovement1
"How Can Society Impact Design? Explore the dynamic relationship between societal influences and design evolution in the context of India with 'Design Impact India.' This thought-provoking exploration delves into the ways in which cultural, economic, and social factors shape the world of design. Uncover the transformative power that societal values and aspirations wield over creative processes, pushing the boundaries of innovation and inspiring meaningful solutions. Join us on a journey that transcends aesthetics, illustrating how the intricate tapestry of Indian society weaves itself into the very fabric of design, leaving an indelible 'Design Impact India'."
Fonts play a crucial role in both User Interface (UI) and User Experience (UX) design. They affect readability, accessibility, aesthetics, and overall user perception.
CREATIVE PLACEMAKING: Thinking Beyond Projects
In the words of a recent National Endowment for the Arts report, Creative Placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired.
Arts and culture have been a part of community revitalization and economic development strategies for years. Creative Placemaking is more than a new term for this effort -- at its highest levels, it involves a new way of thinking about the role of creativity in making society more sustainable. It is not just about doing projects -- it is also about the thinking behind the projects and about making stronger connections between creative, community and economic development.
Learn from experts and practitioners who have been at the heart of efforts to use creativity to grow communities and get a sneak peek at Creative Placemaking in action. Our three panelists will provide some helpful examples of what they have done in their communities:
Steve Dalhberg, is director of the Connecticut-based International Centre for Creativity and Imagination, vice president of innovation for Future Workplace, and faculty of "Creativity + Social Change" at the University of Connecticut.
Leonardo Vazquez, AICP/PP is the Director of Arts Build Communities at Rutgers University. He will discuss Rutgers¹ community coaching program and ABC¹s new Master Practitioner Certificate Program in creative placemaking.
The Wormfarm Institute in Sauk County, Wisconsin, is rural creative placemaking at its best. It's a 40-acre organic vegetable farm and creative hub, begun 15 years ago by artists Jay Salinas and Donna Neuwirth. Wormfarm aims to recreate the link that once existed between culture and agriculture with innovative and intuitive efforts that center around a sense of the land and the community.
This document discusses creativity and how it relates to media coursework. It defines creativity as thinking imaginatively and generating something original. It notes that creativity is often influenced by social and cultural factors. When evaluating their own coursework, students should consider elements like composition, representation, narrative, language, and how technology may have enabled creative expression. There is no absolute definition of creativity; it depends on social comparison. Students should reflect on whether their work was a creative "knowledge object" or "art object" and how they communicated their purpose and ideas through stylistic techniques.
Human: Thank you, that is a concise 3 sentence summary that captures the key points about how the document discusses creativity and how students can reflect on
Best Practices for Interdisciplinary Design.Arturo Pelayo
This document discusses the benefits of anchoring interaction design in the best practices of instructional design. It argues that instructional design has a strong theoretical foundation from various fields that can help address challenges in areas like cross-cultural design. The document also discusses trends in outsourcing and how instructional design principles can help with intercultural communication issues that arise. Overall, the document advocates for the use of instructional design methodologies and standards to help advance fields like interaction design.
Presentación internacionalización de diseñoGastón Marando
The CMD’s mission is to be the leading public advocate in the city of the economic and cultural importance of design. It financially and logistically supports and stimulates private and public initiatives related to design in the city. It assists local entrepreneurs in launching their ventures, coordinates interaction between designers, design managers, business executives, academics and policy makers and promotes the importance of design to the city’s economy.
One way that the CMD is working to draw attention to design as a tool of economic growth is the revitalization of the southern end of Barracas, by turning it into a design district. The Project Design District is still being formulated, but plans have focused on offering preferential loans, tax cuts, and subsidies for the restoration of buildings to design related companies that would install their offices or workshops in the area surrounding the CMD.
The first prototype of our approaches to move beyond design thinking at DNA. Touching on a number of new tools and techniques as well as theoretical positions from a number of sources. Very much the bleeding edge of our current position.
Foossa is a social innovation strategy and community-centered design firm that works with diverse communities and clients. They discover insights through research, advise clients on strategies for community engagement and co-innovation, and build interventions, experiences, and policies through collaboration with partners. Lee-Sean Huang is the cofounder and creative director of Foossa, with experience working on community projects across different disciplines and sectors around the world.
The document discusses the potential benefits of forging an inter-discipline between design, technology, and art. It proposes that this could create new hybrid disciplines by allowing ideas and practices to flow across boundaries, providing fresh perspectives on challenges. Additionally, privileged knowledge becomes commodified over time and spreads, weakening the economic and political power of certain regions. A new inter-discipline could also help educational institutions respond to the independent learning habits of digital students.
Design thinking is a complex concept that has no single agreed upon definition. It can refer to both the cognitive processes of designers ("designerly thinking") and the use of design methods by non-designers to address problems ("design thinking"). While design thinking aims to provide a framework for innovation, some argue it risks oversimplifying design or being used ineffectively by those without sufficient skills. For design thinking to achieve its potential, closer collaboration is needed between fields like management, design, and innovation research.
Vision: The Agents of Change Tour: The Rise of the Creative SpringJa-Nae Duane
Our Mission: Restoring Creativity through small business, social influence, and the creative class to spark innovation within our communities and culture.
The deck serves as the vision for the Agents of Change Tour, as well as the long-term vision for the Creative Spring.
If you would like more information, contact Ja-Nae Duane at janaescamp/at/gmail.com
A few slides from a class session in the Carnegie Mellon School of Design, "Foundations of Practice for Social Design." I'm putting them up for folks who arrived here from my "notes on participatory design' on medium.com.
1) Design has traditionally focused on giving form to industrial, consumer, and information economies within a globalized system. However, this has not addressed broader societal and environmental concerns.
2) There is a need for a new vision of beauty that is unusual, intriguing, appeals to curiosity, and serves to heal societal divides, while being adaptable to the future.
3) Design needs to take a more activist role on behalf of societies and the environment, focusing on building social capital and improving well-being rather than just serving economic interests.
This presentation was developed for a guest lecture at QUT in April 2009 for a subject about cultural futures. It asks the question, 'how are we to live?' and considers urban innovation and creativity. However, it does not really attempt to answer that question.
Slides used to introduce the discussion at the Dangerous Ground event in Edinburgh, June 2013. More info here: http://culturalvalueinitiative.org/dangerous-ground-project/edinburgh-event-28th-june-2013/
DESIGN AND SOCIAL IMPACT A cross-Sectoral Agenda for Design Education, Resea...cigdemir
The document summarizes discussions from the Social Impact Design Summit about gaps and challenges in socially responsible design. Key topics discussed include defining socially responsible design, setting standards and ethics, addressing cultural bias, and ensuring sustainability. Organizational models that were highlighted include hybrid models like IDEO.org, design center models like MIT D-Lab, and incubator models like Ashoka. The summit aimed to help build support for social impact design and identify opportunities for young designers interested in this field.
This document discusses co-design and its use in the PROUD (People, Researchers and Organisations Using Design for innovation and co-creation) project. It defines co-design as a methodology that enables people affected by a designed outcome to participate in designing solutions. The PROUD project aimed to employ design to drive innovation, economic transformation, and sustainable development through multi-sector partnerships. It explored approaches to co-design that foster creative knowledge exchange and developed principles to guide co-design processes in different contexts.
The document discusses design thinking as an approach to innovation that involves understanding user needs through empathy, visualizing insights through prototyping, and collaborating across disciplines. It outlines key principles of design thinking, such as embracing ambiguity, asking the right questions over providing answers, learning through building ideas, and creating change by bringing ideas to life. The document argues that design thinking can help organizations prepare for innovation by creating commitment through collaboration and finding deep insights through diverse perspectives.
This document discusses creativity and provides guidance for evaluating one's own creative activities and coursework. It defines creativity as thinking imaginatively and outside conventions to generate something original. Creativity involves purposefully using skills and influences to communicate new ideas or perspectives. The document encourages relating coursework to concepts of creativity, narrative, representation, genre, technology affordances, and intended audience or purpose. Students are prompted to reflect on how their social environment and technical skills influenced their creative processes and products.
Enthusiasm is what a good idea deserves in the first place – and not the question “What do you mean by that?”
Behind every idea, success is waiting. Therefore, the scientific and economic discussion about ideas, their efficient generation and exploitation remains highly important. But: initially, the quality of an idea is not measured in terms of its content – rather, the point is for it to be appreciated as such in the first place. Before the evaluation of an idea comes the idea’s identification as an idea!
Understanding the idea develops the ability to evaluate it or modify it into a still better idea. Misunderstood ideas, however, are always lost potential – sad for the persons having them and hopeless for those needing them. For businesses, both cases can be economically disastrous.
What is surprising is the fact that neither scientific nor practically oriented research offer any relevant statements, research work or methods for semantically optimizing
ideas. With the development of the “d’Artagnan Principle”, this significant gap is now filled and methodically closed.
Work on semantic optimization of ideas
Design Thinking as new strategic tool. Presentation made to spark the discussion about innovation & inspiration and new business opportunities. And how to introduce Design Thinking as a strategic tool in your company.
How Can Society Impact Design? https://designimpactmovement.titan.in/designimpactmovement1
"How Can Society Impact Design? Explore the dynamic relationship between societal influences and design evolution in the context of India with 'Design Impact India.' This thought-provoking exploration delves into the ways in which cultural, economic, and social factors shape the world of design. Uncover the transformative power that societal values and aspirations wield over creative processes, pushing the boundaries of innovation and inspiring meaningful solutions. Join us on a journey that transcends aesthetics, illustrating how the intricate tapestry of Indian society weaves itself into the very fabric of design, leaving an indelible 'Design Impact India'."
Similar to Design Presentation, Grad Seminar F'11 (20)
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Design Presentation, Grad Seminar F'11
1. +
0
VALUE
(in design: how we define it/how it defines us)
∞
-
2. (or)
CREATIVE PROCESS: HOW IT’S VALUED WITHIN AND
OUTSIDE OF DESIGN
THE VALUE OF CREATIVITY CULTURALLY: NOT JUST AS A
COMMODITY;
AS AN ACTIVITY
AS A MEANS OF ENGAGING THE WORLD
AS A VALID FORM OF COMMUNICATION
HOW CREATIVE ACTIVITY IS VALIDATED, ACCEPTED AND
ENGAGED WITH, AND THE BLURRING BOUNDARIES
BETWEEN FIELDS
CULTIVATING CREATIVITY, AND GROWING RECOGNITION
OF NEED FOR IT.
3. 3/22
It’s un-debatable that design offers much of value While on the one hand, we seem to be recognizing,
to others today; “design thinking” has been suddenly, that creativity is a valuable asset in
championed as the new magic ingredient in buisness employees across fields, and that people have “unmet
schools; design is oft-equated with innovation, and needs” to be creative, on the other, what meager
of course the power of design to influence consumer support we’ve had in place for the arts–in schools
and viewer behavior hasn’t fallen from favor either. and at large–is being cut away at even more; we
have a very poor system, it seems, for nurturing the
But “value” itself is less-easily defined. We can kind of creativity that’s in apparent demand. This
certainly pinpoint specific contributions design conflict of needs is confusing, and perhaps leads to a
has made to the evolving sphere of culture and larger question of how we define our values now. As
communication, and to ways it’s assisted endeavors designers, we are in the luxurious position of making
in other fields. However, in quantifying design’s creative activity valuable in the world. It seems, in
bright potential, I believe there are valuable aspects order to give creative process its due, however, we
of design process–more broadly, creative activity need not just more funding and support, but a more
itself–that too easily slip through the cracks, benefits holistic framework alongside quantitative measures,
that perhaps don’t register on the radar of certain or an entirely new model for understanding “value”
broader value systems. altogether.
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
4. 4/22
Some Questions
How do we value creative activity, and what can we do to foster support
for creativity
- as designers?
- as educators, and/or with educational policies?
- culturally: through our institutions and/or government support?
And what other structures are set up to “nurture” the arts/creative
activity?
How fluid with boundaries between art and design are we? How do dif-
ferent disciplines inform each other?
Can art (as an approach: exploration, latteral thinking, intuitive ideation,
etc.) provide extra steps in innovation and/or “problem-solving” that we
need if we are basically re-defining what “graphic design” does?
How do we foster recognition of creative value, and encourage par-
ticipation in creative activity: generally, as designers, as educators and
culturally?
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
5. 5/22
1. STEM into STEAM
John Maeda:
“Great science happens because of great creativity.”
“Be the artist inside the scientist.”
“We believe that creativity is a right.... art and design create... innova-
tors.”
http://vimeo.com/26901487
http://vimeo.com/30624307 (1:30)
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
6. 6/22
2. Liz Sanders: Participation Design
“An unmet need that has emerged repeatedly in the past three years...
is the need for everyday people to be more creative. We see this need
expressed both at home and at work.” (2:17)
“People need... above all the freedom to make things among which
they can live, to give shape to them according to their own tastes, and
put them to use in caring for and about others.”
- Ivan Illich, in Tools For Creativity (3:24)
http://www.knowledgepresentation.org/BuildingTheFuture/Summaries/Sanders_summary/SandersQuick-
time/SandersMovie.html
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
7. 7/22
2. Liz Sanders: Participation Design
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
8. 8/22
3. Government Support: Arts funding cut in Netherlands
“State support of Dutch culture within and outside of the Netherlands
has generously and actively contributed to the vital development of
global artistic practice, presentation, and discourse. Given the Nether-
lands’ role as an exemplar of cultural cultivation, we believe that this se-
ries of events signals a dramatic turn and sets an unfortunate precedent
in the international cultural landscape.”
“... the government itself... keeps on repeating that art should take care
of itself and better start looking at the market instead of the state for any
kind of financial support.”
“The solution posed—to cut-off certain institutions (especially non-exhib-
iting ones where the measure of cultural value is not in property but in
processes that build culture) and to close academies is unacceptable...”
http://fillip.ca/content/responses-to-recent-dutch-arts-cuts
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
9. 9/22
3. Government support: Arts funding cut in Netherlands
If art as it stands today can’t take care of itself without external support,
is it a viable practice? What is the relationship of artistic activity to
commerce?
Is arts practice an inherently elitest activity? Or at least, a luxury of more
wealthy economies?
How might art/creative practice be useful in defining the future? What
do we gain from it?
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
10. 10/22
4. Design School: Blurring boundaries between art & design
“More than anything, these distinctions are devices of disciplinary convenience. ...Graph-
ic design stopped looking like graphic design, as we once knew it, several years ago...
I have met many people in graphic design who might just as easily have studied art,
photography, digital media, or film and whose interests span all these activities—as mine
do—without drawing strong distinctions among them.”
“...everyone’s workload is broader now, and design’s vanguard has moved to a more
open and less definable location—a place that looks more like what we see going on
at the Sandberg Institute.”
“Yes, it does sound close to art, since artists engage in similar activities, and the design
M.F.A. explicitly sets out to develop individuals with a strong personal position and voice.
As design evolves, there is a need throughout higher education to rethink some no
longer black-and-white aspects of the art/design relationship.”
- Rick Poynor, A Report from the Place Formerly Known as Graphic Design, Print Magazine
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
11. 11/22
4. Design School
Jen Bracy,
http://www.jen-driven-
bydesign.com/?p=456
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
12. 12/22
5. Challenging notions of “Art,” connecting Art & Design, expanded models
of communication.
Joseph Beuys - Performance Art, “expanded notion of art”
Sol Lewitt - Challenging the authority and ownership of the artist
Bauhaus Philosophy / Anni Albers - the connection between art and design
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
13. 13/22
5a. Beuys
“... connection between object-based work and an ‘expanded conception of art”
An expanded definition of material that included “will, speech and thought.”
Saw social sculpture & education as one of his greatest artworks.
“The whole process of living is my creative act.”
Joseph Beuys repeatedly said... it was his role to provide “the means to point out that the
human being is a creative being.” ... for Beuys, “Art is not there to provide knowl-
edge in direct ways. It produces deepened perceptions of experience. . . . Art is
not there to be simply understood, or we would have no need of art.”
http://www.walkerart.org/archive/5/9D43B5DB685147C46167.htm
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
14. 14/22
5a. Beuys
Beuys,
I Like America and
America Likes me
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
16. 16/22
5b. Sol Lewitt
“In conceptual art the idea or concept is the most important aspect of the work. When an
artist uses a conceptual form of art, it means that all of the planning and decisions
are made beforehand and the execution is a perfunctory affair. The idea becomes
a machine that makes the art.”
http://www.blackbird.vcu.edu/v8n1/gallery/smith_e/lewitt_541.shtml
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
17. 17/22
5b. Sol Lewitt
Sol Lewitt,
Wall Drawing 793B1
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
18. 18/22
5b. Sol Lewitt
Sol Lewitt,
Wall Drawing
Instructions and
Certificate
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
19. 19/22
5c. Anni Albers, from “Work with Material”
“Life today is very bewildering. We have no picture of it which is all-
inclusive, such as former times may have had. We have to make a
choice between concepts of great diversity. And as a common ground
is wanting, we are baffled by them...
... We have useful things and beautiful things -- equipment and works
of art. In earlier civilizations there was no clear separation of this
sort...
But most important to one’s growth is to see oneself leave the safe
ground of accepted conversations and to find oneself alone and self-
dependent. It is an adventure which can permeate one’s whole being.
Self-confidence can grow. And a longing for excitement can be satis-
fied without external means, within oneself; for creating is the most
intense excitement one can come to know.”
-- Anni Albers, “Work with Material,” from “Black Mountain College Bulletin, no. 5, November 1938
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
20. 20/22
5c. Anni Albers
Anni Albers,
Second Movement II,
1978, detail.
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
21. 21/22
5d. Questions About Artists
Can we apply Beuys’ philosopy to communication today? Is this method of communicat-
ing “indirectly” something that needs to be valued/recognized today in a larger cultural
sphere?
Can investigation of authorship and process, as exemplified in Lewitt’s work, be valuable
to expanding the role of the designer and common models of communication? How is this
sort of activity cultivated and valued in design schools, in design practice, and/or cultur-
ally (at large)?
How relevant is Albers’ philosophy to now? Do we still recognize/concur that there’s an
inherent connection between process across arts disciplines? How might we shift our per-
ception and view these separations in a more holistic way?
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011
22. 22/22
Bibliograpy and Resources
Amsterdam Budget Cuts William Morris, Art Wealth and Riches
http://fillip.ca/content/responses-to-recent-dutch- http://www.chanceprojects.com/node/283
arts-cuts
Can You Measure Design’s Value?
Manifesta Art Mediation (Businessweek, 2007)
http://manifesta.org/network/manifesta-art- http://buswk.co/ew38tm
mediation/
Education: Documents of Contemporary Art
What’s in a Name? Felicity Allen, Ed.
http://www.jen-drivenbydesign.com/?p=456
Art School: Propositions for the 21st Century
STEM into STEAM Steven Henry Madoff (Editor, Introduction)
http://stemtosteam.org/
(more videos: http://vimeo.com/26901487, Liz Sanders
http://vimeo.com/30624307) Creative culture
http://www.maketools.com/
Sol Lewitt What is Creativity?
http://www.blackbird.vcu.edu/v8n1/gallery/ http://bit.ly/uBELtY
smith_e/lewitt_541.shtml A Social Vision for Value Co-Creation in Design,
w/ George Simons
Joseph Beuys
http://www.walkerart.org/ The Relevance of Critical Theory to Art Today
archive/5/9D43B5DB685147C46167.htm J.M. Bernstein, Lydia Goehr, Gregg Horowitz, and
Chris Cutrone http://bit.ly/dIiXI1
Anni Albers
http://www.albersfoundation.org/Home.php
Value (in design: how we define it/how it defines us) | Frances Pharr | Grad Seminar | Fall 2011