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Fig. 1. Poster commemorating the bombing of Hiroshima for Japan, 1985. Ivan Chermayeff, de la warr pavilion, Bexhill.
Trip FIVE to this exhibition, this time with my brother-in-law, is imminent. What I adore about exhibitions here is that they are ‘bitesize’ and smart; they are a perfect ‘mind burst’. They are the ideal repeat show too as with each visit you see more, and see differently … and are influenced of course by the person you are with.
The right image says what each viewer sees in it.
This idea naturally translates into any and every conflict we see today: MH17, fractured and not yet stuck together, the Middle East utterly smashed into dust – I have this visual in my head of Hanukkah Lamp, the smoke from which forms a fractured map of Israel and Palestine.
|From E-Learning IV|
From a learning point of view to start with a poster such as this is to follow Robert Gagne theory of learning design; also the natural skill of storytellers and good communications: get their attention.
Fig. 1 Some ideas from the Ivan Chermayeff ‘Cut and Paste’ exhibition at the De La Warr, Bexhill
As photography isn’t allowed instead of moving from the gallery with my iPhone or camera clicking at everything and anything that caught my eye I was obliged to get out a sketch pad. Just as Ivan Chermayeff says in a exhibition video ‘most people don’t know how to see’.
We risk making everything too easy with e-learning: photos, screengrabs, instant research, transcripts of video, video as audio only or highlights or summaries thanks to others.
The above ideas were for:
a) A School of Visual Arts talk he was giving with a colleague
b) Arthritis – with letters torn from a type font catalogue and jumbled around
c) Mother and Child in modern art – a signal Magritte or Matisse like cut out.
What I would have missed entirely, and I do it no justice here, is a collage of tickets and seating allocation to the inauguration of John F Kennedy on the 20th January 1961. (Before my time, I’d been conceived a few weeks before at a New Year’s Eve party. Not even I can remember that far back).
Fig.2 Sketch of an Ivan Chermayeff collage/poster using bits and pieces from attendance at the inaugurations of US President J F Kennedy
Fig.1 Ivan Chermeyff – interviewed on his life in design
The pleasure from every exhibition I attend at the De La Warr is that they are modest in scope and ambition, engaging and inspiring without being overwhelming and curated in a way that gives you, other visitors, the art works and other parefenalia ample space.
The centre piece for IVan Chermayeff “Cut and Paste’ is for me the short, professionally executed, warming video biography in which Chermayeff gives a potted history of his life, influences and work; about as much as you’d cover in an episode of ‘Desert Island’ discs, though here, instead of music, you can then wonder off and look at examples of his work, works in progress and playfulness.
No transcript is offered so here are some excerpts and bullet points from mine.
Interviewed on two cameras Ivan Chermayeff waxes lyrical, the chronology from childhood and ealy influences, through art school and his early graphic design business, family and beyond; he’s in his eighties. His father emigrated to the US in the 1930s or 1940s I guess from the UK.
“For me inspiration is everywhere; I find it everywhere. I make a lot of visual connections by keeping my eyes and mind open to everything I see. It leads a lot into my design”.
His father architect as the biggest inspiration
“No matter what garbage at the age four, or making messes, he would always say that it was really great. And that was true of everything I did, no matter what. Instead of stopping you doing what you were doing because you wanted to make your old manhappy”.
His father he describes as both an educator and a self-taught architect.
Free spirited and supported. Moved everywhere.
Went to a lot of schools. 24. Andover (four years).
Allowed to do it in a free and open way.
Got to Harvard
Took any classes across the university.
Design School, Chicago
Like a workshop of a school
Experimenting with design problems.
I then spent seven years recovering from my education
Trying to define what design meant
Design is all about seeing
You’ve got to learn how to see
You’ve got to make connections that are not necessarily obvious
“Be interested in training yourself to look around, to notice connections, such as a small colour connection, or the tinniest thing that brings two things together”.
Everybody who I find inspiring are artists who make great connections.
Iko Tannaka – Japanese Designer
We just liked what the other one was doing
Nice to have an inward connection with someone
Recognise that it is worth looking at.
I can’t sit still, so I’m always making things, so I make collages. I just prefer scissors to brushes.
Don’t try to be original, just try to be good.
I never do anything that I didm’ think was damned good.
Completely open understanding that we can contribute to what the other is doing at his desk.
Half the time a company doesn’t tell you what it wants accurately, you have to redefine what it is they want … and turn it into reality.
it can be as simple as finding a relationship between two letters in the alphabet or typeface that are original or say something.
Graphic design is all about audience after all … convince your client … they don’t tell you adequately what it is all about. If they were capable of do that they’d do it all themselves.
Held up extremely well
Business confirmation that we did a good job.
“I have intention of retiring ever”.
The video was created and produced by executive Producers
and directed by
Fig.1 Posing for a scamp at the School of Communication Arts, 1987
H818 Activity 2.1
I will only publish in open access journals.
I’m not a professional academic. Should I publish then I imagine the calibre of the journal will count for something. As a professional writer (copy, scripts, speeches), with exception of blogging I am used to being paid for my words.
I will share all learning material that I create and own openly online.
From the moment I started to blog I have been part of self-help groups ‘publishing’ openly on everything from blogging to creative writing, swimming teaching and coaching, social media, the First World War and e-learning. My goal over the next year or so is to produce under a Creative Commons module a series of 30 to 1500+ micro- OERs, one minute pieces with Q&A attached, as what Chris Pegler terms ‘Lego Techno Bricks’.
I maintain an online social media identity as a core part of my professional identity.
It lacks professionalism as I don’t edit it or write to a definable audience but I have a substantial e-learning blog that largely, though not exclusively, draws on my MA ODE experiences (in fact I started on the MA ODL in 2001 and blogged on that too). I use Google+, Linkedin and Twitter haphazardly by pushing blog content to actual and potential commentators, participants and followers.
I take a pragmatic approach and release some resources openly if it’s not too much extra work.
I come from corporate communications where created content is closed to employees.
I have concerns about intellectual property and releasing my content openly.
Actual words of fiction I write is my copyright, Factual I care less about. Whilst a blog is largely like a recorded conversation, a formal paper would need to be recognised in the appropriate way.
I will share all material that I create and own openly online, as soon as I create it.
No. I cannot hope to earn a living or sustain my interests if I cannot both charge for my time and my output.
Fig.1. I like spirals. Thirty years ago this was just a photo. For me it is an expression of what learning looks like. (I think this is St.John’s College, Boat House – or is it Balliol?)
At the base are the undergraduates, the first years, as you climb the steps you find the second and third years, then the middle common room the MA and D.Phil students while at the top are the lecturers, senior lecturers and professors.
And when you die they raise a flag.
In 1983 (or was in 1982?) this was the epitome of ‘closed learning’ – the Oxford College boat house.
Not so much ‘dreaming spires’ as ‘dreaming spirals’.
- It was a privilege, but like many of these I’ve been either in denial or trying to shake them off for the best part of 25 years.
- ‘Je suis comme je suis, je suis faite comme ca’ (Jacques Prevert)
- And there’s no going back.
I was up at 4.03am. Back to bed at 6.15am. Then up again 20 minutes ago.
- My body was tired, my head continued to buzz.
Regarding ‘Open Learn’ what’s all this fretting about process for?
Have we all forgotten the purpose of research????
Not ‘how?’ but ‘why?’
Why? Why? Why?
We are seeking answers, not trying to construct a bridge across the English Channel with chopsticks and bendy-straws.
Not to get the process right, but to get answers to problems, to find better ways, to understand and share what is going on so that we can act, or not act on it?
Sometimes I read an academic paper and it is all about the process.
Too often I write an assignment and it has to be written to be marked – not to generate ideas. In fact, my finest few hours, a total End of Module Assignment rewrite was a disaster for a set of marks but is my theory and philosophy of what learning is. It was the culmination of months of work, years even. Expressed somewhere like the School of Communication Arts I would have had the attention of eyes and ears.
Fig.2. Submitted as the hypothesis for an End of Module Assignment the grade was catastrophic – it is of the module, but the examiners didn’t have a grid filled with the appropriate crumbs that would permit them to ‘tick the boxes’. (I did submit more than the image, 6ft high and drawn on a sheet of backing wallpaper).
Creativity doesn’t fair well in a process driven system, either in research or in marking assignments.
This isn’t an excuse regarding a grade or the need and value of process drive, guideline controlled, parameter set research, but rather a cry for some ‘free thinking’ the ‘parcours’ of mental agility and expression.
Fig.3 The cliffs below Roche de Mio, La Plagne
There is value in going off piste.
It isn’t even the democratisation of education and knowledge either, it is the Tim Berners-Lee rather than the Google approach to knowledge – i.e. give it away for free.
It is ‘communismization’ – which is a word, however horrible it sounds, I just looked it up.
This moves me onto dwelling on Creative Commons.
If the idea of openness is to give it away for free what is the reward for the author? Recognition as the author. However, I get the feeling that unless it is published some readers think they can help themselves to the ideas and words of others and claim them as their own.
There will always be theft, but as children aren’t we told that for someone to copy your ideas is a compliment?
We need to behave like the children we still are.
But does even that matter in an open society – theft of intellectual property I mean?
If the spreading of the word is all important should any of us give a fig?
If we have a roof over our heads, food and water, electricity to charge the iPad, the BBC … a health service like the NHS what more can we want?
- Better schools.
- Better roads.
- Better weather.
‘Peace on earth and good will to humankind’.
A better word needs to be found for what is meant by ‘communismization’.
Is is just ‘communization’?
- Is it simply ‘open’?!
- ‘Open’ might do.
As the air we breathe …
P.S. I worked the season in Val d’Isere in my gap year and returned a decade later and stayed in La Plagne from December to May researching a book and a couple of documentaries for Oxford Scientific Films. None saw the light of day, though after several weeks thinking about it I came down that cliff face. I made a big mistake by slowing down at the edge and nearly didn’t have enough distance to clear the rocks. I no longer have a death wish. And it wasn’t even fun. It focused the mind though. In fact, the best way to stop yourself thinking about other stuff is to take such risks. Racing Fireballs in the English Channel has its appeal – I have a tendency to end up in the spinnaker or under the hull though.
- Web Inventor Tim Berners Lee Shares £1m Prize (news.sky.com)
- Fostering Creativity – The Use of Open Educational Resources (classroom-aid.com)
- Tim Berners-Lee: The Web needs to stay open, and Gopher’s still not cool. (boingboing.net)
- Tim Berners-Lee: ‘You can do anything with a computer that you can imagine’ (venturebeat.com)
- Inventor Sir Tim Berners-Lee says web neutrality crucial (radionz.co.nz)
- What I wish Tim Berners-Lee understood about DRM (guardian.co.uk)
This completes the Masters Degree. I graduate on Saturday 27th April 2013
Currently (March 2013) I am taking H809 as a bridge towards doctoral research or professional consultancy. Complete in June 2013.
I joined the #H817open MOOC for one component of this module. I will register for 2014
- Why skiing is my metphor for life and learning (mymindbursts.com)
- Martin Weller and the MOOCers (mymindbursts.com)
- Openness in Education WK1 MOOC (mymindbursts.com)
- Making swim coaching a tad easier with SwimTag (mymindbursts.com)
- How to visualise learning – think Lava Lamps! (mymindbursts.com)
- How more deeply embedded is a visual memory if you crafted the drawing or painting that is the catalyst for its recall. (mymindbursts.com)
- No. 5 aha moment: the Web as a universal standard (downes.ca)
Fig. 1 The D & AD Auction
50 creatives – designers, art directors, illustrators, photographers, film makers and typographers offered 50 pieces of art for a special edition D&AD book.
(What is D&AD?)
An auction started online on Sunday went live today at The Hospital Club in Endell Street at 7.00pm.
See them all here
If you had £10,000 to go on a good cause, which would you have bought? Would it have been selfish to bid for several?
Great work inspires. Great work for a good cause inspires even more. With the money raised D&AD will start a fund to support emerging creative talent in the early months of their career hoping to keep some of them in the business.
There was additional inspiring work from:
David Adjaye – Architect
Miles Aldridge – Photographer
David Bailey @Kiosk – Designer and Art Director
Daniel Barber – Commercials Director (Film, TV idents … )
Paul Belford – An Art Director and Creative Head … with a PhD in Biochemistry
Quentin Blake – Illustrator
Derek Birdsall – Graphic Designer
Neville Brody – Graphic Designer and Font Designer
Wim Crouwel – Graphic Designer and Typographer
Neil Dawson – Urban Artist
Tony Davidson – Head of Big Ideas, WiedenKennedy London
Mark Denton – Designer, Director, Photographer … and he blogs
David Droga – Art Director
Dave Dye – Thinking up ideas. Problem solving. Making things look nice.
Daniel Eatock – Designer
Eine – Urban Artist
Fabrica – Sam Baron & Co ?
Bob Gill – Bob Gill
Stephen Gill – Photographer
Terry Gilliam – IMDB
John Hegarty – himself
Wayne Hemmingway – fashion designer
Nadav Kander – photographer
Peter Kennard – artist
Rich Kennedy – Senior Designer at BBH
Nick Knight – Fashion Photographer
Michael Johnson – Johnson Banks
Danny Kleinman – Director
Mary Lewis – Designer (Brand Packaging)
John Lloyd – Graphic Designer
Ed Morris – Creative Director
Nick Park – Well Aardman
Grant Parker – Head of Art DDB UK
Parra – Artist
Harry Pearce – Designer
Rob Reilly – Chief Creative Officer
Rankin – Photography
Mark Reddy – Head of Art BBH
Paula Scher – Graphic Designer
Richard Seymour – The Violence of the New
Paul Smith – Fashion Designer
Philippe Starck – S+ark
Daljit Singh – Digital Design
Alexandra Taylor – Art Director
Storm Thorgerson – ‘Legendary’ Graphic Designer
Justin Tindall – Executive Creative Director – Leo Burnett
Mark Tutssel – Global Creative Officer – Leo Burnett
Simon Waterfall – Creative Director – Industrial Design and the language of all things.
Graham Watson – Art Director
Michael Wolff – Design
Fig.3. D&AD Heads (backs of) … or so I thought.
Who were the couple, say age 27 and 26 who hung and clung onto each other for the duration as if we were on a raft going through the Skull Rapids of the Westwater Canyon, Utah?
- D&AD 50th Annual: original cover artwork by 50 design legends up for sale (oddstuffmagazine.com)
- D&AD 50th Annual: original cover artwork by 50 design legends up for sale (telegraph.co.uk)