An open question was left at a former post : Reading Facts. which I wish to revisit. When knowledge is not valued over its ability to be fast or slow what does is become? The issue with fast or slow knowledge rests on the delivery form factor, ie through computation (kindle, ipad internet) or not. The ability for the message to be lost due to the form factor it becomes delivered through has change dramatically due to technology in the past 10 years. Marshall Mcluhan said “the medium is the message” This statement has become widely accepted when discussing media theory especially print material. We are acutely aware of how content delivery changes between tabloid news, newspaper news, and news Television, and that is only taking into account a line of similar content. As content types diversify the ability of the medium to affect the message is compounded. There is a lively debate in academia as to how new media devices are affecting education and to that extent society. The level of pervasiveness within technologies like the internet, smart phones, computation and the like are having on sectors of society across all economic positions remains a huge challenge from both a standard of living access point but also a society & educated populace stand point. Because of that, education is on the head of the technology spear. The ubiquitous nature of information technologies has forced the systems of education to reevaluate their methodologies for better or worse. However I believe there is a massive gaping hole in the collective thinking process of education when it comes to communication technologies. Ubiquitous computation is seen as a barrier to teaching methodologies due to the nature and speed at which computational devices alter and change and access of content especially the content that is attempting to be taught through the teacher. The 19th century education model still dominates a vast majority of theory of education system especially k-9.
I don’t teach in k-9 but I would imagine it would be super difficult to dish out lessons, mandated curriculum and dated textbooks when a majority of that content can be accessed, parsed and delivered at the touch of a mouse. I am not saying that the speed of the information age is a bad thing, I can only imagine how it throws a wrench in to the teaching methodologies of countless classrooms. Similarly I am not suggesting that there should be a free fore all on the Internets access and ubiquitous nature. Many have discussed the difficult bind to which education is in and me rambling on about it is not really the point especially when there are writers & educators like Sr. Ken Robinson. But education has to find a what to establish what it means to be educated in our modern times. Is this going to be based on the old model of memorization and specialization or will it me more the ability to ask the right question and be endlessly curious with the ability to use technology to not only find the answer but contribute back to how the questions are asked?
I do believe that the ubiquitous nature and speed of our current technology has had a profound impact on our ability to tell stories. It is arguable that we have more stories then ever before and I would agree with that, however, it is purely an outcome of access not quality. The saying quality over quantity has never been more appropriate than when speaking about the internet and the amount of content that is added to it knowledge bank daily (to which I am adding with this blog). Therefore I believe that a fundamental piece that is missing in education is truly great storytelling skills, conceptual thinking and lateral thinking methodologies and subsequent devices to assist those skills. The ubiquitous catch all nature of computers is, in my opinion, having a detrimental impact on thinking out side the computer and impacting the skills of students, designers, teachers, and businesses.
I recently took place with the generosity of the AIGA Los Angeles Organization in the Student Portfolio day as a reviewer. Although I did not review hundreds of portfolios, one thing that I was immensely disappointed in was the lack of storytelling when in came to presenting visual ideas and solutions. Students seemed to have a prescribed set of things in their somewhat unimpressive collections of work. It made me sit back and think about what it is that a designer does? In the 5 portfolios I looked at it felt as if I was looking at a predetermined script. It went something like this. 1 to 2 logos with 1 of those logos as a letterhead business card etc, 1 to 3 print posters (just the solutions no context), 1 to 4 ad campaigns (non of them a systems of ads just a single advertisement), 1 to 3 editorial spreads (no context), 1 package (a cd jewel case, no context), and 2 to 3 misc illustrations, photographs, or typography pieces (again no context). Each having between 12 and 15 pieces. Only one person had even the hint of digital competency with an overwhelmingly simple html site but I gave her some slack because she was only a sophomore as USC and I appreciated the gusto to get evaluated at such a early stage in her schooling. However the predicted procedural nature of the portfolios made me stand back for a second and say wait? Is this really how education views the role of designers? Has the system of curriculum’s and dated industrial needs reflected so poorly on the skill sets of designers? Can we as visual professionals be so quickly summed up. My frustration with the lack of story telling lead me to be quite harsh on my last review of the day. I told my student. “Yes you have the required 15 pieces of work that has some how been determined this makes you a designer, however I know nothing about you! You have not told me a single story or lead me along any thinking path that has convinced me that your visual solutions are the correct ones.” I followed it up with “a logo and business card are the baseline of designer however if you can not tell me a story or show me that you have a making and thinking methodology then I really don’t care about your work. Period. I want to know if you draw, how many images you collected how many versions you did, why you chose to do this the question you asked the things you were looking at and thinking about when you made it. If I was going to hire you which I am not, I would want you. Not a prescribed set of 5 to 8 baseline skills, yes they are necessary but not unteachable in industry. If I were you I would find a way to let your portfolio be a mirror of your passion and your ability to think and think as a designer not the curriculum of your design education” After going a bit of a rant I said I was sorry for being overly harsh but without it all the work becomes useless to which he disappointingly agreed.
After all the reviews were over the reviewers and educators gathered as a recap of the day. During the discussion a number of reviewers shared the same frustration with a lack of personality and passion and storytelling in their students work. I am convinced that this lack of story telling is based in the narrow minded approach most educational systems are equating to design. Design rather than a thinking approach is a determined set of skills. However the collection of design professionals siting in the room were disgusted with the lack of understanding of what industry is looking for out of our design education systems. It seemed to me the design education systems were looking to teach predetermined skills where industry was looking for creative visual thinkers. Somewhere there is a missing element in the teaching of skills to designers. I believe that skill is storytelling. Design is not making a logo, the logo is the culmination of visual problem solving that requires a huge set of skills including design research, anthropology, biology, visual taxonomy, system thinking, business, drawing, computer skills, history etc etc.
“Design is that area of human experience, skill and knowledge which is concerned with man’s ability to mould his environment to suit his material and spiritual needs.” _archer, B
This lack of story telling could be a vision problem of education to design or it could be something more systemic as I had mentioned at the beginning of this post. Regardless of the root of misbegotten storytelling, I think that until we as educators, designers, professionals, and thinkers articulate the importance of media specific storytelling methodologies and start charting changes in the education delivery systems to meet these new changes, our society will start to see the growing effects and missed opportunities from not teaching and learning from profound stories and storytelling processes.
Craft, quality, longevity, care, sustainable, informative. These words are associated with the experience of well designed books. As a majority of this blog has explored the ideas of design are essential to a experience. Experience is a word that has a wide range of use. It can be broad and specific shallow or deep and short and long. Experience design then has to deal with these binaries at every turn. The video above is an interview with @craigmod at http://www.craigmod.com an great blog and resource for opening the discussion when it comes to the publishing community. I agree with his premise that print material will never go away! and that for existing publishers to compete with digital media they need to reassess the design quality of books. Increasing the craft, quality, and experience which could increase the cost but would establish a different value for the user / readers.
Human beings are very astute creatures and the nuance of quality is probably our greatest skill. The perception of quality is a realm that advertising and design and media has been manipulating for 1000′s of years. Perception of quality is an outcome of communication and commerce. I don’t believe I need to talk about the value of design and quality in an economic system I believe Adam Smith layed it out just fine in wealth of nations. How ever the experience of quality is something that technology has a great impact on. Systems of manufacturing, production and distribution also impact the perception value of an object in society. When Gutenberg was first printing books there the value of such an object was so rare that is had great value this revolution allowed at wave of printing innovation that has made many millionaires and billionaires over through out time. However the advances in manufacturing and production has also degraded the perception of value of print material. Walk through any common book store and the weight of the complicated system that produces books is transparent. The whole system falls away and all that is left is a price tag. It is a huge problem for the perceived value of a book and its experience. This concept occurs in many other place in contemporary society including out modern grocery stores. Business practices of efficiency take the system and infrastructure as unimportant to the experience of an object for sale. However the entire system is the story the context for a book in this case to live in the world. The complication of these system are looked at as too complicated for the simplicity of marketing and advertising of objects. The idea that we only make decisions in the moment. However we know this not to be true! Objects especially well made books become way more interesting when their quality and production are evident on the surface. The most valuable book are those from the gutenberg press. There story and longeivity add to this quality but so does the system that kept their existence going ie libraries. Therefore the quality of a book is the sum of its entire experience. When a book shows up on a shelf is not the beginning of the story is is somewhere in the middle. The story needs to become more evident just as craig mod discusses. Marshall McLuhan once said “we become what we behold …. we shape our tools, and therefore after our tools shape us” for me I hope that that tool is a beautifully design well crafted well written book!
Computation seems to be in a second stage of evolution. As we move into a world where computation power is compact and millions of people are carrying super computers in there pockets, the computer has started to remove us from behind a desk. The potential of mobile computing has started to engage the user and the physical world in exciting possibilities. If the purpose of computation at our fingertips is to allow us connection to the information cloud, then what is the form that that connection should take? Mark Weiser famously quoted in his essay : The Computer For the 21st Century
“the most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from it.”
The interesting part is technologies start to change everyday life. Cell phones are no longer just phones but their ability to be that mode of communication has allowed the access of other interventions and introductions of computers into the hand and away from behind a desk.
A computer can’t be a piece of paper but that doesn’t mean a computer can’t incorporate paper. If books and print material could be used in the same fashion with their simplicity of interaction ie the turning of pages but have the advantage of a social counterpart, then computing would have the ability to become indistinguishable in everyday use by making the use of the book fit with the use of the computer.
he most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from it.
Knowledge is embodied in people gathered in communities and networks. The road to knowledge is via people, conversations, connections and relationships. Knowledge surfaces through dialog, all knowledge is socially mediated and access to knowledge is by connecting to people that know or know who to contact.
Denham Grey
Print material including books, magazines, periodicals, newspapers, and comics have all come under the threat of being relegated to the trash due to networked screen technologies. Technologies such as the Kindle, Nook, future tablet PC’s and smart phones have greatly diminished the market share of print material. As technologies move forward and interaction with print material becomes lessened, the question should be how did this happen? it should be why has print material not adapted and become a link between ink and screen?
Reading is a uniquely a singular interaction, but knowledge and comprehension are communal. Hybrid Plus will be a design platform and series of prototypes that incorporate the communal aspects of reflection, knowledge, and comprehension into the experience of the individual act of reading. The prototypes will engage the social interaction and ecology of book clubs, study clubs, and educational groups. Hybrid Plus will give interaction to the physical pages of books and build shared spaces within the margins for reflection, passive communication, and collective comprehension. When the margins of books and literature are shared what does the margin become? a communication space? A passive location to challenge a social exchange? A reflection space for many? A space to engage the content deeper with in a group? The prototypes will engage both built and speculative outcomes. Physicality is an essential experience to books and literature and the prototyping of conductive inks and networked pages builds upon this affordance .
The project rather then replacing the physical book with intangible data, incorporates the technological advances of networked pages, shared margin spaces, and physical interaction into the experience of the printed artifact as a way to explore the space between printed material and the screen.
As technologies progresses and rumors of tablet computers continue to circulate through out the Internet and hardware prediction sites, companies like Coursesmart (http://www.coursesmart.com/) a digital textbook company has attempted to prototype and show the potential of these new systems and their impact on education. The textbook industry and subsequent educational materials have been dominated by print industries and through this process have created an ecology of textbooks for student and an experience that prepares the students for the upcoming semester of learning and education. The purchasing and exchange of books at colleges and universities is a tradition that is unique in its own right. The system of textbook sales and resales is one that encourages reuse and resale depending on the print industry who sees the opportunity to reprint new additions as a way to bolster profits. Personally I loved buying used textbooks and would peruse the pages to see how studious the prior student had been. I always felt privileged to have the extra marginalia knowledge that was left behind by particular students. This marginalia is sometimes damaging to the text book but other times helped me work though difficult challenging questions about the material. Take the physics textbook from the tablet demo, at Colorado State University where I went to undergrad, all students were required to fulfill a science credit even for majors of Fine Art to which I completed in 2004. As a student I am not strong in mathematics this lead me to know that physics was going to be a challenging course. I remember being the first student to the used physics 101 books and made sure that I got the best used textbook with the most useful notes in the marginalia. The existing use of the text book allowed me to access a alternative knowledge space that was extremely helpful when studying. The Coursesmart prototype shows the ability to leave notes and highlight but neglects the notion that notes and marginalia are not always a singular action. At the time of being made they are for the user engaged in the content but once left they have an impact on future users as a extension of the knowledge within the textbook. Now if the CourseSmart system could be networked with other classmates and the notes and commentary could be shared over a social network then that might make the use of the tablet system more engaging. Studying is a unique interaction because it requires the ability to move both from singular action usually memorization to the more complication comprehension which can and sometimes require a social aspect. How do you know you understand something? Ask someone else who is trying to understand the same thing if you both come to the same outcomes than comprehension has occurred barring the person you ask has come to the correct conclusion. Answers have a much different dimension depending on the subject but take simple math you either conclude that 5 x 5 is 25 or you don’t but you can test it over and over and then define that it is indeed true. There is the saying the you really understand something when you can teach it (help someone else comprehend it).
Comprehension of knowledge in a textbook is understood through testing within pedagogy. However the route to the comprehension is individual like a snowflake. In my education, testing ie choose A, B, C, D was never a great metric for comprehension of the material, but when I was asked in written form what do I understand about the subject I used much more information to which was gather through not just memorizing answers but synthesising both lectures, studying and conversations with fellow students. When I was asked to explain the process or show my comprehension that is where I was more successful as long as I comprehended the content. Now comprehension is a complicated notion of education and the scientific method would suggest (and can be seen in current educational trends) that memorization is the precursor to comprehension. If you can memorize facts then you can eventually follow the right procedure and develop comprehension, hopefully. For me I always considered the experience of memorization a fleeting education because the process never stuck, I have a hard enough time remembering peoples names, but can for some reason recall obscure facts about the conversation we shared. I believe this is due to the fact that my individual process of comprehension deals with an experience and I will remember more when engaged in remembering the experience rather that a specific element with that whole. I have had a number of experiences where I can recall the how, where, when, and what happened, but can remember the name.
Education is really about comprehension and tools that engage the understanding of content should be more versed and in my opinion should be realized through making tools and services that engage the experience of comprehension not just a singular element of the educational access with apparently starts with the textbook and memorization.
Now that I have gotten an ink that can conduct an current over a relatively decient distance, I have started to play with the notion of what can a circuit look like. Can it be anything you want it to be as long as there is a positive and negative in and out. Can the form start to speak about it functionality, can the forms be unique and artistic rather than function based. Most circuitry disappears and becomes invisible. To most who use electronics and understanding of the work, skill, craft, and planning that has gone into a majority of the things they operate on a daily basis is pretty minimal. Electronics work and we rarely pay attention until they stop working. An interest in involving conductive ink is to challenge the expectation and visibility of otherwise invisible things. The mixed media piece of conductive ink, copper tape on paper is an experiment into changing and evaluating the expectations of electronic conductivity and use.
As I research and explore the ideas of conductive circuitry that could start to engage print media as a platform for interactive based computational experiences, I have started to explore the ideas of interactivity and affordance.
Interaction is based on the assumption that a user understands the applied action to accomplish a task. Something as simple as turning a light on can be made incredible complex by not hinting at learned and understood experiences. In Donald Norman’s book – “the design of everyday things” http://www.jnd.org/ he talks at length about the importance of visible interfaces and interaction parts know as natural mapping which comes from proper and natural arrangements for the relations between controls and their movements to the outcome from such action into the world. The real function of natural mapping is to reduce the need for any information from a user’s memory to perform a task. (http://en.wikipedia.org/wiki/Natural_mapping) Essentially when a user participates in a task that action is the out come of a plethora of learned, cultural and socio-economic process that have been ingrained into the users understanding. The idea of natural mapping techniques allow things to be perceived as being intuitive. Objects that need no prior instruction. With contemporary electronics the cultural and social economic inundation of computation has started to become learned and performed by cultures at an extremely high rate and at younger and younger ages. The importance of this technology revolution is that artifacts like the cell phone etc have started to be perceived as naturally mapped artifacts with interactions not that unfamiliar to a user than the interaction of a door or a tea kettle.
The question is are the interactions that we engage with our computational electronics the right interactions? Can we engage naturally mapped ideas from culture to engage new and innovative products that rather than force the user learn a new system, are engaged to the perceived natural mapped system?
A series of experiments documented in my process is my attempt to make, learn, and understand conductive inks and electronic circuitry. Through exploration in a number on materials from graphite to gold leafing, I have started to gain an understanding of the principles of conductivity. My assumptions that things that are shiny should conduct has been refuted and my background in science understanding and learning has been challenged.
This series of experiments was made successful through mixing graphite drawing powder and clear acrylic gesso for painting canvas. The concentration in the graphite is as a high enough percentage that the electric current from the 9 volt battery is not dispated over the span. Graphite ink is being used as a test model to help me move my usage for paper that has a computational affordance.
Multimedia: media and content that uses a combination of different content forms. The term can be used as a noun (a medium with multiple content forms) or as an adjective describing a medium as having multiple content forms. The term is used in contrast to media which only use traditional forms of printed or hand-produced material. Multimedia includes a combination of text, audio, still images, animation, video, and interactive content forms.
Multimedia has become a popularized notion for aspect of what designers make. The nomenclature for our craft exists in the many rather then the specific. A designer who applies their craft to a variety of mediums may it be print and animation, photography and interaction, etc etc. could be considered a multimedia designer. The ability for a designer to call themselves multimedia was a distinguishing aspect at one time, this distinction has now become less relevant in a world of ubiquitous computing and homogenized tools for design and media making. A designers ability to use the tools, not the it is not important, becomes background chatter in the face of design thinking, methodology, and creative problem solving. Multimedia has then been wrapped up in design and the distinction of the new role of designer is left open. The question is: what is a designer when everyone knows how to use Photoshop, Illustrator, Indesign, Quark, AfterEffects, Final Cut, etc?
Ubiquitous computing and the rise of the personal computer has dropped the level of entry for design so low that anyone who can buy a computer and software can say they are designers. The creation of the distention of a multimedia designer was to emphasize the ability to perform on multiple platforms of making. The new designer has to be able to move beyond the aspects of designs current roles and place their thinking and process in new and innovative aspects. Designer as curator?, Designer as futurist?, Designer as hybrid-maker? Designer as Creative? Designer as Systems thinker? maybe there isn’t a distinction yet but if multimedia designers continue to see their value as the tools they can access and use they will relegate their role to the spit and polish of industry rather then the innovator of new forms of media and design.
