Showing posts with label Thinking. Show all posts
Showing posts with label Thinking. Show all posts
23 Nov 2013
22 Nov 2013
58. MENTORING SESSION ONE
A good time for some fresh response and perspective, this was a chance to re-present my progress so far and thus to clarify some things. The major point of exploration that came from it, to simplify, was the role of the reader. What expectations we hold as readers when presented with print matter, how we use and treat print and the subsequent habits we learn. In turn, how do these expectations shape the way the industry does print?
19 Nov 2013
57. MAGAZINE SPOTLIGHT: THE GREEN
Magazine Spotlight #04
The Green Soccer Journal www.thegreensoccerjournal.com
The Green Soccer Journal is a biannual magazine that takes an innovative, cultured and intelligent approach to the worlds most popular sport. The publication includes an eclectic mix of football culture and is built on a passion for the game, something which is shared by all of our contributors.
Displayed in a creative, visually stimulating format, we have worked with some of our favourite photographers, and writers to create a title that offers an alternative view on all things football.
The Green Soccer Journal www.thegreensoccerjournal.com
When issue number one arrived back in late 2010, I was so excited – a well-done magazine that addressed lifestyle and design in the context of football, or soccer as they have chosen to call. Recognising the diversity of football fans (which you must remember is without a shadow of a doubt the biggest sport in the country) and that we are not all pub-philic, beer-loving, foul-mouthed hooligans, the magazine presents a modern, mature outlook on the hot sport for a design-conscious audience (and indeed created by design-conscious, well, designers). So it was my perfect magazine and I felt that I represented the perfect readership.
I've purchased the first four issues, each of which highlights a theme to explore and includes valuable, journalistic interviews with some of the biggest names in football and accompanied by beautifully shot photography of unique perspectives away from the matchday furore. And it's very interesting to read, perhaps another good example of nailing an appropriately niche subject and doing it attractively.
However, it's not all good, because the writing and language was rather average, yet the price continued to go up from an initial £4 for Issue One to £8 for Issue Four, before doubling the latter for its current 'revamped' issue Number Five. And that's a bit too much for me and I've refused to purchase it. My intrigue is still very much there, I still want to pick up a copy and spend time with it, but I just think the price hike is too high, and certainly given the quality of what it's been thus far (which I reiterate wasn't at all bad, but fair at 5 or 6 pounds). They claim the magazine has taken a new, progressed direction with higher quality printing and denser issues, but I remain unconvinced. A £16 publication can't make grammatical errors in its own About passage, come on now. (I've underlined the childish error.)
The Green Soccer Journal is a biannual magazine that takes an innovative, cultured and intelligent approach to the worlds most popular sport. The publication includes an eclectic mix of football culture and is built on a passion for the game, something which is shared by all of our contributors.
Displayed in a creative, visually stimulating format, we have worked with some of our favourite photographers, and writers to create a title that offers an alternative view on all things football.
I don't disagree with its cultured and intelligent approach (not sure what innovation it's describing) but the second paragraph is frankly boring, just telling us it's superficially pretty – something I firmly believe, whilst of course important, should fruit naturally from its content and aims rather than an independent consideration point.
To summarise, it's a good magazine and one I would have (and have had) no qualms with, had it not called for higher scrutiny with its new price point, for which I do not think it sufficiently delivers. Shame.
18 Nov 2013
55. BACK TO VIDEO
I feel like I've hit a slight wall looking into print, not quite managing to hit any innovation as of yet though fascinating. I haven't looked at video as much yet and think I should reignite that interest and see if can lead me somewhere exciting. I suppose because print and video are so different, it's an interesting juxtaposition of moving image with something that is by definition not moving. I've got my new (ish) camera and I should experiment with video for sure. So let me just go do that, bye.
15 Nov 2013
54. RESPONSE AND REACTION
Territories was good and bad for me. Good because it gave me the opportunity to tell my story so far (and to refine it for myself in doing so), but bad because of the feeling I had afterward (although that too is probably good that it's now and not later). I was basically told that the project wasn't 'Goldsmiths' enough, or that's how I received it anyway. And I don't know what to do with that.
I didn't particularly choose this institution for its perhaps atypical priorities of learning or because of its supposed difference. My application process and interview didn't ask me about such compatibility either. I suppose I felt at the time somewhat confused about what was being asked of me. We were clearly told at the beginning to do what enthuses us ourselves, not to serve the needs or desires of the tutors or institution. But of course I simultaneously realise that this is a weighty project that holds high significance in my attainment for the degree, one that will be marked just as any other piece of work I've ever done in educational context. So to be put on the spot and asked by the anonymous member of staff in the audience "Why are you at Goldsmiths if all you want to do is make a magazine?" (or words to that effect), it seemed unfair. After all, it is my interest while yes I am a student at Goldsmiths. Slightly frustrated, particularly given that the initial response from Laura two weeks ago was positive. All I thought I'd done was to produce work following what was agreed in that previous discussion, and now suddenly I've been made to feel as though I don't belong here (also a personal blow having specifically migrated here from medical school where I'm sure I didn't belong.)
However. Whoever that tutor was, I refuse to believe he's stupid – he must have justification in his response, and to add to that, the other tutors seemed not to disagree. I've had a few days, almost a week, to reflect and I think I understand what was being advised. It's not enough for a final year project at Goldsmiths to simply create another magazine title to sit comfortably in the newsstand. I believe I can deliver that, and make a damn good job of it too, but maybe it's too superficial, not rich enough in original concept? That's not something I'd disagree with, I should absolutely be making innovative steps in the industry and aim to be its spearhead, the pioneer or revolutionary. How, I don't know just yet, but I think that now becomes an acceptable, good project ambition.
So I feel better. But that's not to say I still have further opinion on Goldsmiths' approach. I understand that its priority – dissimilar to other leading institutions – is that work is conceptually strong, stemming from solid foundations of theoretical understanding and societal impact. And I agree with that importance. But I get the feeling that the disciplinary learning, the skill sets and degree of execution are too lowly prioritised, mocked at times. This doesn't make sense to me. Designing something nice and pretty for the sake of designing something nice and pretty has little worth, that I agree with and accept, but the ideologically sound projects that we are encouraged to generate should still be finished to as high a standard as the professional industry (and other leading institutions) do. The priority should be both, no? One or two weeks of Technical Studies per year seems ridiculous. Of course my argument is becoming broader and less focussed now, but it forms part of my response to my project not being sufficiently 'Goldsmiths', whatever that means. Making another publication that is beautifully laid out and aesthetically pleasing is not good enough, for sure (but it's not to say that the outcome shouldn't be a beautiful artefact – it really should). To fulfil my expectations as a student here, and to genuinely produce more exciting work though, I understand there must be something new that I create. That's my challenge. I must still satisfy my own needs and my own interests, but I must also show as much as possible proof of my understanding and learning from my time here at Goldsmiths. There's a challenge I accept, does that sound reasonable to you?
I didn't particularly choose this institution for its perhaps atypical priorities of learning or because of its supposed difference. My application process and interview didn't ask me about such compatibility either. I suppose I felt at the time somewhat confused about what was being asked of me. We were clearly told at the beginning to do what enthuses us ourselves, not to serve the needs or desires of the tutors or institution. But of course I simultaneously realise that this is a weighty project that holds high significance in my attainment for the degree, one that will be marked just as any other piece of work I've ever done in educational context. So to be put on the spot and asked by the anonymous member of staff in the audience "Why are you at Goldsmiths if all you want to do is make a magazine?" (or words to that effect), it seemed unfair. After all, it is my interest while yes I am a student at Goldsmiths. Slightly frustrated, particularly given that the initial response from Laura two weeks ago was positive. All I thought I'd done was to produce work following what was agreed in that previous discussion, and now suddenly I've been made to feel as though I don't belong here (also a personal blow having specifically migrated here from medical school where I'm sure I didn't belong.)
However. Whoever that tutor was, I refuse to believe he's stupid – he must have justification in his response, and to add to that, the other tutors seemed not to disagree. I've had a few days, almost a week, to reflect and I think I understand what was being advised. It's not enough for a final year project at Goldsmiths to simply create another magazine title to sit comfortably in the newsstand. I believe I can deliver that, and make a damn good job of it too, but maybe it's too superficial, not rich enough in original concept? That's not something I'd disagree with, I should absolutely be making innovative steps in the industry and aim to be its spearhead, the pioneer or revolutionary. How, I don't know just yet, but I think that now becomes an acceptable, good project ambition.
So I feel better. But that's not to say I still have further opinion on Goldsmiths' approach. I understand that its priority – dissimilar to other leading institutions – is that work is conceptually strong, stemming from solid foundations of theoretical understanding and societal impact. And I agree with that importance. But I get the feeling that the disciplinary learning, the skill sets and degree of execution are too lowly prioritised, mocked at times. This doesn't make sense to me. Designing something nice and pretty for the sake of designing something nice and pretty has little worth, that I agree with and accept, but the ideologically sound projects that we are encouraged to generate should still be finished to as high a standard as the professional industry (and other leading institutions) do. The priority should be both, no? One or two weeks of Technical Studies per year seems ridiculous. Of course my argument is becoming broader and less focussed now, but it forms part of my response to my project not being sufficiently 'Goldsmiths', whatever that means. Making another publication that is beautifully laid out and aesthetically pleasing is not good enough, for sure (but it's not to say that the outcome shouldn't be a beautiful artefact – it really should). To fulfil my expectations as a student here, and to genuinely produce more exciting work though, I understand there must be something new that I create. That's my challenge. I must still satisfy my own needs and my own interests, but I must also show as much as possible proof of my understanding and learning from my time here at Goldsmiths. There's a challenge I accept, does that sound reasonable to you?
6 Nov 2013
50. INJOY JOURNAL
Having decided to adopt the idea of producing a publication tailored for people who love what they do, I wanted to quickly visualise something tangible and achievable. The title of ENJOY developed into INJOY to emphasise the rich state of happiness that passion can provide, being in a world of joy. It's a working title but I quite like it at the minute, ticking all requirements for the vision of my potential product, with an easily adoptable aesthetic, directly encapsulates the rationale and the optimum degree of wordplay. It's usually not very good to be so positive of my own work, I am aware, so let's not get too carried away.
I want INJOY Journal to showcase the joy and reward for people from engaging with their interests, to explore the methodology and reasons behind the interests and to present the existence of one common emotion shared and experienced in all walks of life and all forms of activity. The aim is to advertise the benefits of more positive, proactive, attentive attitudes toward what we seemingly 'love to do', and to portray a perhaps romantic allure for better enjoyment for everyone concerned. From professionals who love their jobs to enthusiasts who live and breathe their hobbies, members of fan clubs and appreciation societies, subject experts and critics, the opportunity for contribution is rather broad. And that should be good for me as a researcher and good for the readership as variety.
Still brewing, but I feel like I'm onto something. For the time being, I reckon I can accumulate some small, individual case studies of research and explore the gathering of information, with Design Research material possibly becoming quite important. Below is an example for a shop owner who runs a local delicatessen.
2 Nov 2013
49. READING WEEK
Reading Week is set to be quite tight as my days will be busy with work (Victate will hold a shop for the seven days) so it's all the more important I have a plan. The Territories presentation is the next major step in our studio work so I hope to clarify further my project intent and to of course put together the presentation for Monday morning. Maybe I'll make a video.
>> More on VICTATE MEETS BOXPARK on Facebook
28 Oct 2013
43. LEGWORK TUTORIAL
A couple of days to refresh my mind after Monday's tutorial, spending full days out on the pitch with my boys (and girl) for Half Term.
I went into the tutorial with an idea fresh in mind from a bath one night (actually). The idea was as simple as: a magazine dedicated to people who love what they do. For me it makes total sense. My area of exploration thus far has involved the consumer's approach of how they (we) enjoy and how that interest is expressed, as well as how much interest is held – the act of enjoying and appreciating. So to create a document of real people showing real love what they do seems very fitting for my research and for my broader interests too. I saw a clear direction of how the publication would come together, imagining its features, content material, presentation and style.
I conveyed this to a good reaction, certainly as a starting point if not to be something more complete for my project. Key points raised by Laura were to question (and obviously answer) who/what/how my investigation should be conducted. And it's a valid thought to ponder, with it surely insufficient to merely do interviews and have a typical journalistic approach. I must remember my role as Designer throughout.
I went into the tutorial with an idea fresh in mind from a bath one night (actually). The idea was as simple as: a magazine dedicated to people who love what they do. For me it makes total sense. My area of exploration thus far has involved the consumer's approach of how they (we) enjoy and how that interest is expressed, as well as how much interest is held – the act of enjoying and appreciating. So to create a document of real people showing real love what they do seems very fitting for my research and for my broader interests too. I saw a clear direction of how the publication would come together, imagining its features, content material, presentation and style.
I conveyed this to a good reaction, certainly as a starting point if not to be something more complete for my project. Key points raised by Laura were to question (and obviously answer) who/what/how my investigation should be conducted. And it's a valid thought to ponder, with it surely insufficient to merely do interviews and have a typical journalistic approach. I must remember my role as Designer throughout.
27 Oct 2013
42. MAGAZINE SPOTLIGHT: MONOCLE
Magazine Spotlight #02
Monocle www.monocle.com
"Keeping an eye on the world" since 2007, Monocle was launched by the man behind Wallpaper magazine, Tyler Brûlé. It's the one title I am a paid subscriber for, accepting their package of 10 issues + 2 papers + 1 tote bag + full online archive access + event invitations for an annual fee of £90. That price is actually more than what the cost of buying individual copies at the newsstand would be – a challenge to the standard pricing model where in-advance batch subscriptions tend to be better value. This is explained in the confidence placed on their services, a subscription being more than just a sales contract but as an act of buying into the brand. And Monocle's branding is one of the most complete around.
In partnership with sister design studio Winkreative, Monocle has rapidly achieved an iconic status of design and presence. The magazine aims to pioneer the ever-changing print and journalism industries, priding themselves with dense, in-depth and carefully selected content covering what they have identified as today's most relevant topics in affairs, business, culture and design (following a beautifully effective logic of ABCD). Significantly rooted across all parts of the world with offices, correspondents and sources, the work is assured to be genuine and unique, and certainly doesn't lack in quantity either as issue after issue they deliver seemingly larger, book-ish documents that I've currently collected the past 23 of.
Monocle has from the beginning laid out its version of aspirations and represents a high quality lifestyle in collaboration with their readership, and in recent years the company has expanded and ventured into radio broadcasting, physical shops and cafés to supplement the paper product and emphasise their values. Each outlet offers a different, yet equally asset of the brand and has proven to be a fine example of changing the relationship with its followers and the expectations for what a magazine title provides. At the very least, it's a successful challenge on what the relatively static print culture had been in the past couple of decades. Now, six years down the line, the format remains unchanged in its aesthetic design, which clearly reflects said aspirations and framework, using a sure template filled with beautiful first-hand photography and a masterful combination of Plantin and Helvetica.
It's a publication I constantly have much to take and learn from, in all aspects of its venture and one that has no doubt inspired my joy for the revival of print media.
Monocle www.monocle.com
"Keeping an eye on the world" since 2007, Monocle was launched by the man behind Wallpaper magazine, Tyler Brûlé. It's the one title I am a paid subscriber for, accepting their package of 10 issues + 2 papers + 1 tote bag + full online archive access + event invitations for an annual fee of £90. That price is actually more than what the cost of buying individual copies at the newsstand would be – a challenge to the standard pricing model where in-advance batch subscriptions tend to be better value. This is explained in the confidence placed on their services, a subscription being more than just a sales contract but as an act of buying into the brand. And Monocle's branding is one of the most complete around.
In partnership with sister design studio Winkreative, Monocle has rapidly achieved an iconic status of design and presence. The magazine aims to pioneer the ever-changing print and journalism industries, priding themselves with dense, in-depth and carefully selected content covering what they have identified as today's most relevant topics in affairs, business, culture and design (following a beautifully effective logic of ABCD). Significantly rooted across all parts of the world with offices, correspondents and sources, the work is assured to be genuine and unique, and certainly doesn't lack in quantity either as issue after issue they deliver seemingly larger, book-ish documents that I've currently collected the past 23 of.
Monocle has from the beginning laid out its version of aspirations and represents a high quality lifestyle in collaboration with their readership, and in recent years the company has expanded and ventured into radio broadcasting, physical shops and cafés to supplement the paper product and emphasise their values. Each outlet offers a different, yet equally asset of the brand and has proven to be a fine example of changing the relationship with its followers and the expectations for what a magazine title provides. At the very least, it's a successful challenge on what the relatively static print culture had been in the past couple of decades. Now, six years down the line, the format remains unchanged in its aesthetic design, which clearly reflects said aspirations and framework, using a sure template filled with beautiful first-hand photography and a masterful combination of Plantin and Helvetica.
It's a publication I constantly have much to take and learn from, in all aspects of its venture and one that has no doubt inspired my joy for the revival of print media.
15 Oct 2013
27. MAGAZINE SPOTLIGHT: OFFSCREEN
Magazine Spotlight #1
Offscreen www.offscreenmag.com
First up in my spotlight series of good publications is Offscreen, a magazine exploring the people behind websites and apps – a smart concept looking at the offscreen lives of those who are behind the work we see on screen as well as more literally being behind screens all day for a living. I'm no coding enthusiast nor app developer, but it's still really interesting to be presented with how these people operate and to hear their outlooks on the broader notion of design and lifestyle.
Originally a web designer by trade, Kai Brach launched the first issue of Offscreen in early 2012. Feeling disconnected by the fast pace and the ephemeral nature of the digital world, after ten years of freelance work Kai wanted to create something more tangible. With Offscreen Magazine, he combines both his love for technology and the web, and the unique experience of printed magazines.
In the span of three months, Kai "converted" from a UI designer to an editorial art director, not only publishing and editing Offscreen but also designing the magazine from the ground up. As such, Offscreen is still a one-man operation, and a proudly authentic indie magazine supported by amazing contributors and curious readers. Kai hopes to reinvigorate printed magazines as a choice of media that provides a welcome break from our always-on society.
The words here, extracted from Offscreen's own About page, are eloquently put and provides a perfect introduction to the project's aims and purpose, which resonate with my feelings towards print as both an industry and as a reader who can appreciate good content. Printed magazines being a "unique experience" is vital to note, as an experience I am eager to find in its creation as well as the experience I feel as a reader. I think that Offscreen's statement of intent or self-instigated value is well communicated and on point for fitting into our lifestyle. It's therefore one of my favourite publications in the market, and has thus found itself first in my series of upcoming 'spotlights'.
Offscreen www.offscreenmag.com
First up in my spotlight series of good publications is Offscreen, a magazine exploring the people behind websites and apps – a smart concept looking at the offscreen lives of those who are behind the work we see on screen as well as more literally being behind screens all day for a living. I'm no coding enthusiast nor app developer, but it's still really interesting to be presented with how these people operate and to hear their outlooks on the broader notion of design and lifestyle.
Originally a web designer by trade, Kai Brach launched the first issue of Offscreen in early 2012. Feeling disconnected by the fast pace and the ephemeral nature of the digital world, after ten years of freelance work Kai wanted to create something more tangible. With Offscreen Magazine, he combines both his love for technology and the web, and the unique experience of printed magazines.
In the span of three months, Kai "converted" from a UI designer to an editorial art director, not only publishing and editing Offscreen but also designing the magazine from the ground up. As such, Offscreen is still a one-man operation, and a proudly authentic indie magazine supported by amazing contributors and curious readers. Kai hopes to reinvigorate printed magazines as a choice of media that provides a welcome break from our always-on society.
The words here, extracted from Offscreen's own About page, are eloquently put and provides a perfect introduction to the project's aims and purpose, which resonate with my feelings towards print as both an industry and as a reader who can appreciate good content. Printed magazines being a "unique experience" is vital to note, as an experience I am eager to find in its creation as well as the experience I feel as a reader. I think that Offscreen's statement of intent or self-instigated value is well communicated and on point for fitting into our lifestyle. It's therefore one of my favourite publications in the market, and has thus found itself first in my series of upcoming 'spotlights'.
25. MATERIALS WORKSHOP TWO
The following task for the workshop required us to use our selected materials to make words, but maintaining its primary function for which it is intended for. Or something like that? The explanation sounded awfully 'wishy washy' and I'm not sure I quite 'got' it but I gave it a go. With tracing paper my choice, I wanted to create the word "trace". However, by definition, tracing paper needs to remain as unhindered as possible to retain its transparency that allows the tracing to happen. So my challenge was to manipulate the material in a way that didn't tamper with its physicality, or by as little as possible. I didn't find that easy, but I did decide to use folding techniques to create shapes for letters so that it could still be unfolded to again be a blank sheet for tracing with. Not sure it fulfils the brief but in some ways I have at least overcome what I saw as an initial problem to have an outcome at all.
> Read the first entry here.
24. UNIQUE HANDWRITING
So it occurred to me whilst tracing that handwriting is rather interesting. I write this with no research undertaken, but there are a lot of traits that make up our handwriting. Different qualities and tendencies constitute how our hands move and how this in turn reflects in our writing, naturally. What is it about each of our handwriting that makes it unique? Sure there can be similarities between people, and indeed dissimilarities between one's own writing, but I'm sure there are fundamental characteristics that make up our own handwriting fingerprint, if you like – just like a typeface does. It's fascinating to me how letters of completely unique shapes to each other (A to Z) can be designed to be recognisable as a font family, whereby all characters so successfully 'fit' with each other. How?
11 Oct 2013
20. THIS
This arrived in the post along with my magazine subscription today, the Christmas Collection booklet by Monocle. I've done a couple of booklets for Victate, the layout and content of which I'm greatly satisfied with, but the final print has been lacking in my opinion. This, however, is absolute perfection. This little booklet is precisely what I want to recreate in form and weight. I'm not sure what paper type it is but I'm sure it's some sort of wove paper and its heavy weight just adds to the texture – it's goodness objectified.
10 Oct 2013
17. CONTEXTUAL STUDIES
Not exactly frightened, but it certainly seems a big task that clearly we have to take seriously. I see it as a chance to get deep into my interests through active research and engagement, but also as an opportunity to create something really worthy as a product. I like that we've been encouraged to make this a design artefact itself, and my vision is instantly pointing towards making a beautifully printed object in the form of a well-made publication that has been so attractive to me over recent months and years.
9 Oct 2013
15. CURRENT AFFAIRS WORKSHOP
Perhaps this craving for people to pay closer attention and show higher appreciation simply comes down to the fact that I personally just want to have interesting conversations about something I am interested in myself. "I like listening to this artist and I want to talk about it with someone who also likes it and has an opinion.""I like football and I have lots to say about that game the other day and want to converse with somebody who also watched it, has things to say about and is happy to listen to my views too." To that extent, we should all be 'critics' really, certainly about subjects we are interested in. The review in the culture section of The Observer on JAY Z's recent concert (page 3/4 of my work above) actually doesn't include anything special to distinguish it from the views of any other fan who may have attended the show; I could have written that in terms of background knowledge, language fluency and insightful opinion. And just to make clear this isn't an attack on critics but a positive argument for more general people to form valid thoughts and reflection.
Straying to a different issue slightly, it does make me wonder who that JAY Z article was intended for. I would struggle to accept that JAY Z fans would have awoken that morning and rushed to the corner shop to purchase the paper and read the review, no matter how hardcore a fan he or she is. And equally, the regular reader of the paper would likely not be such a fan of JAY Z to care strongly about what this writer had to say. In fact if anything, this would likely be the only thing he/she reads about JAY Z and thus could very possibly form an inaccurate and invalid opinion of the artist. That's a worry for me too. And now, sticking with the subject of 'fans', what makes somebody a worthy fan? The news that the BBC are investing in more coverage of the arts (page 2/4) should be cause for excitement for fans, as I know I do my utmost to expose myself to everything I possibly can for whatever/whomever I am a fan of, and increased coverage increases my access to it – great news. But how many people really make sure to tune into every TV and radio appearance, interview and performance for people they are so-called fans of. I'd be pessimistic about the results of that survey.
And yet there is a big big contrast to all this. The back pages – sport.
I wouldn't hesitate to acknowledge that sport fans are indeed fans. They (we) tend to have extremely good knowledge around our sport and it's very common to have well-informed and interesting conversations with sport fans. Every kick of the ball receives full attention in a football game, and subsequently some sort of critique from everyone in the room. If we can't watch a particular game, it's almost a guarantee that we will be watching the highlights later that day, eager to catch every moment and participate in every debate almost religiously – and that's how it should be. We should feel so interested that our emotions get heated and that we are strict with ourselves to take in as much as there is that is accessible. And our lives are better because of it, I really believe that.
Design's overarching aim is to improve our lives, to make things better. If we're not doing everything we can to enjoy ourselves ourselves, then there must be a role for the designer to step in and change that. That's a fucking big task. I hope I've not just outlined my brief... But it was a workshop that has no doubt developed my thinking further so that's good.
7 Oct 2013
12. INITIAL REACTION
We gave our first presentations today on our interests and possible avenues of exploration and direction. Rather than expressing my joy for print and video, I chose instead to talk about joy itself and we tend not to appreciate as much as we could. Allow me to expand.
I wrote in Entry 2 about the idea of a 'Listening Club', whereby we enjoy music for music and give it our full attention to give ourselves a fair opportunity to listen to it and understand it, and to subsequently form a valid opinion of it. I have a hypothesis to say that by doing this, we can reach higher levels of enjoyment and indeed appreciation. Appreciate in order to appreciate, you could say. So anyway, I spoke for 2 minutes questioning the reasons behind our apparent lack of fair treatment towards music (or indeed anything else, really) and the possible incentives behind choosing to do so, choosing to give more time and effort into enjoying it.
The feedback wasn't negative – that's always reassuring. There's definitely a suggestion of this 'appreciation' that I talk about holding a more critical eye towards the subject, which of course raises further questions of whether we're all critics (or whether we all have the right to be) and whether we need to concern ourselves with it. For many, such subjects are a mere form of entertainment or pastime (in its most derogatory sense) that don't necessitate our valuable time, saved only for 'experts'. Perhaps it's something of a niche, like how actual existing appreciation societies tend to be. Relatively small collectives of people who converse about pretty much anything to relatively unique depths and enthusiasm. Reading Clubs may just be the commonest example of all. That's certainly a research area to delve into.
I wrote in Entry 2 about the idea of a 'Listening Club', whereby we enjoy music for music and give it our full attention to give ourselves a fair opportunity to listen to it and understand it, and to subsequently form a valid opinion of it. I have a hypothesis to say that by doing this, we can reach higher levels of enjoyment and indeed appreciation. Appreciate in order to appreciate, you could say. So anyway, I spoke for 2 minutes questioning the reasons behind our apparent lack of fair treatment towards music (or indeed anything else, really) and the possible incentives behind choosing to do so, choosing to give more time and effort into enjoying it.
The feedback wasn't negative – that's always reassuring. There's definitely a suggestion of this 'appreciation' that I talk about holding a more critical eye towards the subject, which of course raises further questions of whether we're all critics (or whether we all have the right to be) and whether we need to concern ourselves with it. For many, such subjects are a mere form of entertainment or pastime (in its most derogatory sense) that don't necessitate our valuable time, saved only for 'experts'. Perhaps it's something of a niche, like how actual existing appreciation societies tend to be. Relatively small collectives of people who converse about pretty much anything to relatively unique depths and enthusiasm. Reading Clubs may just be the commonest example of all. That's certainly a research area to delve into.
4 Oct 2013
6. FINAL PROJECT
The two main draws of design discipline for me have been print and video. As different as they may be in form, these are my two equally strong avenues for my enthusiasm and fascination; my interaction with each of the media formats have been pretty constant and from a young age too. We've all grown up with printed matter surrounding us throughout all stages of life, from colouring-in books and the Mr Men series, studying with GCSE textbooks and revision guides, to of course reading newspapers and magazines each day. And as for video, if daily television isn't enough to justify familiarity, how about movies, home video footage or YouTube. With such overwhelming exposure to each of them, I suppose it makes sense that I've picked up interest in them.
I particularly like the element of storytelling in both of them, and the role of the designer to choose what story and how it is told. The spread layout of the magazine, the selection of imagery and style of writing are key components in determining the impression and even message left for the reader. In a similar way, video footage can be cut and sequenced differently to tell entirely contrasting stories, where again the power of the editor has huge effect on the viewer. One might call that manipulation, but whatever the terminology, it's pretty cool. Maybe it's this power, control and responsibility that I am attracted to, I'm not yet sure.
So my feeling right now is that I would be rather happy if I could spend my time exploring this.
I particularly like the element of storytelling in both of them, and the role of the designer to choose what story and how it is told. The spread layout of the magazine, the selection of imagery and style of writing are key components in determining the impression and even message left for the reader. In a similar way, video footage can be cut and sequenced differently to tell entirely contrasting stories, where again the power of the editor has huge effect on the viewer. One might call that manipulation, but whatever the terminology, it's pretty cool. Maybe it's this power, control and responsibility that I am attracted to, I'm not yet sure.
So my feeling right now is that I would be rather happy if I could spend my time exploring this.
5. FINAL YEAR
I came into Design from a rather different background, having studied Medicine for a year straight before. That means my schooling was very much focussed on sciences (although I did continue Fine Art until A-Level). My first year at Imperial College was the first time in my life that I had zero creative output in my schedule, and it was a withdrawal I simply didn't expect would make me so unhappy. Now to be fair, I could easily have gone and done creative things to solve it, but I wasn't quite mature enough to just do things for myself. Coming straight from the education system where every day I had to attend this class and had to submit this homework on time, I was probably too comfortable doing as I was told. I didn't think much beyond that. Now, I'm slowly coming to realise that I hold sole responsibility for what I do and what happens in my life, that I must motivate and discipline myself to achieve goals. Without going too far off topic or discussing bigger philosophical questions, what I mean is that I was smart enough to realise what I wanted but not smart enough to go ahead and do it. So I dropped out and turned to Design. And here I am now beginning my third year at Goldsmiths College, perhaps the ideal place for me to grow and mature.
So. The small matter of deciding a final project for me to undertake for the next 10 months or so. I've come a long way from being the kid who needed a guidance figure to tell me what to do, to now as I'm essentially design my own brief. I came into the programme with high interests around anything design – it was a subject area I'd spend my time reading about and engaging with anyway – but actually bringing with me little skill or experience. I was hoping to pick that up in my first couple of years and to find a discipline or field that I would feel passionate for. Now is as good a time as any to reflect on whether or not I've succeeded in doing so. Which neatly brings me to my initial thoughts on the project.
So. The small matter of deciding a final project for me to undertake for the next 10 months or so. I've come a long way from being the kid who needed a guidance figure to tell me what to do, to now as I'm essentially design my own brief. I came into the programme with high interests around anything design – it was a subject area I'd spend my time reading about and engaging with anyway – but actually bringing with me little skill or experience. I was hoping to pick that up in my first couple of years and to find a discipline or field that I would feel passionate for. Now is as good a time as any to reflect on whether or not I've succeeded in doing so. Which neatly brings me to my initial thoughts on the project.
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