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Virtual Reality in College Education
These interactive images look appealing as a learning tool. They pull together a series of short, quirky videos and animations that provide the low down on a collection of human organs. To what end? To some degree a Dorling Kindersley annotated book did this in the past. Stick it on an interactive screen and click on each in front of a class to fill 45 minutes. What is really required as a learning experience is to have students learn the skills to create these themselves, then research and add the links (or to shoot their own pieces). All of the above came from YouTube.
Here’s the link: https://www.thinglink.com/scene/880832510185963521
We use ThingLink.
The difference is that I am using 360 images that can be viewed through a VR headset, or desktop or touchscreen.
Here is my ThingLink VR Tour of Northbrook Theatre: https://www.thinglink.com/mediacard/1073243716732321794
I am working with the College team here to create an immersive experience for induction. Do we add multiple hotspots of information, like this Human Body above, and follow this up with a detailed quiz, or do we clone the tour and get students to add the information themselves? Should we give them the skills to use the 360 camera and get them to annotate it? OFSTED would like us to be developing their Digital Skills and using English.
The VR Tours I have so far initiated include the following. These are being used for marketing purposes so are in the public domain. If you get sent down a ‘blind alley’ or a link is missing or obscure please let me know and I’ll fix it 🙂
Learning Resource Centre (LRC) & Library
Motor Vehicle Workshop : Shoreham
Motor Vehicle Workshop : Brighton
End of Year Fine Arts & 3D show
Creative Industries Theatre Props & Set Dressing Show
To get the education right I need to go back through some of the MAODE modules I did, for example, H818 ‘The Networked Practitioner’.
With my MA in British History of the First World War complete (the dissertation went off on 9 July) I am seriously contemplating the next piece of learning which includes adding to two 30 credit ‘spare’ modules I did having completed the MAODE in 2013 that I could potentially build into an MEd.
That or hunker down and specialise on Augmented Reality & Virtual Reality in learning.
How do MOOCs compare?
|From E-Learning VI|
Fig.1 Unexpanded mindmap using ‘SimpleMinds’ on ‘How do MOOCs compare’.
There are tens of thousands of Massive Open Online Courses available. Their proliferation increasingly requires some means to differentiate types, to standards, and by review. Undoubtedly branding will have a role to play: it being easier to choose because the subject is delivered on a known and trusted platform, such as Coursera, Udemy or FutureLearn.
What are they brands though? Like a well-known publisher such as Dorling-Kindersely? Or a brand of cornflakes? Courses are often the product of a specific university, but does this help when a course will vary also by faculty, and in particular by the role and lead taken by a subject matter expert.
The variables are considerable.
There are a couple of review sites which aggregate MOOC lists, such as MOOC List and CourseTalk. These, like reviews on Amazon, rely upon participants of a course to come in a post. I think of it as the TripAdvisor for e-learning. How reliable are these? It’ll take years to bed in and impact on the product.
Meanwhile, as I still do several MOOCs in parallel I am trying to think about the kind of criteria:
- The Platform Provider
- The Subject
- Platform (Technical features)
- What next?
1. The Platform Provider
There are too many for one person to consider. And ample complexity requiring parameters. Some are not, or are no longer Massive and Open because they are closed, exclusive and paid for. Udemy has many thousands of short courses online, all with a price for participation, self-paced and lacking a sizable cohort to generate valuable ‘connectedness’ and ‘collaboration’, both important, identified theories of learning that have a significant part to play in e-learning. Funded by venture capital Udemy needs cash flow. EdX comes from Ivy League US universities Harvard, MIT and Berkeley offering undergraduate and postgraduate level, term long courses at a demanding academic level. They have no UK equivalent: neither Oxford or Cambridge have come on board. Although Edinburgh is on both EdX and FutureLearn. Whereas LSE and a few other top UK players are yet to have a presence. FutureLearn is a new, though rapidly expanding player: a wholly owned subsidiary of the Open University with partner institutions from around the globe, typically the UK and Commonwealth Countries, though with three partners from China too. It is the platform I am most familiar with having complete six MOOCs with another four on the boil. They make it look easy and I love learning in conversation with others. The Khan Academy is aimed at schools, while the likes of TED lectures, iTunesU and podcasts are all lectures online in one form or another, rather than complete courses with clear steps towards achieving specific learning objectives.
I am attempting to compare platforms, approaches and institutions by comparing delivery of MOOCs on Climate Change. There are probably a dozen, all variations on a theme, though the science shouldn’t be different, even if the delivery is. They are: Exeter on FutureLearn, Melbourne, San Diego, Penn and British Columbia. I studied geography as an undergraduate so feel better able to form a judgment.
Funding is complex, but it matters because ‘he who pays the piper, plays the tune.’ Largely funded by VC money the US MOOC providers are pressured to take fees, seek donations and sell certificates and other services. To a Brit used to the BBC anything with advertising in it, especially in relation to learning, smells of hogwash. On the other hand, branding and open sponsorship may be a necessary way forward. Even Wikipedia cannot do it for free. Once again, my knowledge is in the first instance at first hand as a ‘participant’ who has studied ‘at a distance’ with the Open University and paid for it, who has taken courses as CPD the traditional way at evening and weekend workshops, though also online by subscription. I have even paid heftily for a formal assessment which gained me a distinction and 10 credits towards a university degree.
There is no ‘free’ learning: it is financed somehow. Learning takes time and therefore to plan, produce, put online and support. Even where the cost is carried internally as the learning is seen to have promotional or reputational value, it is coming from someone’s budget. The relationship between the OU and the BBC, and the BBC and other British institutions is an interesting one as the assets the BBC creates by definition are owned by the tax payer so should UK citizens pay twice for something they have already paid for? The BBC though, like many others, create and provide content for use in learning under a Creative Commons licence.
Funding, in tertiary education, comes from many sources, not least government subsidy, grants for research and sponsorship. Creation of Open Learning meets criteria, especially in relation to research, to publicise and share research findings. The dry academic paper is being superseded by, or at least complemented by, online offerings: a podcast at least an Open Educational Resource (OER) at best.
Who decides on the subjects to ‘publish’ as a MOOC? Publishers and broadcasters make choices for commercial reasons, often based on perceptions or demands of the audience. Are MOOCs create in response to student and participant needs and demands, or the product of individuals and faculties simply wishing to ‘give it a go’ or develop and share their pet subject with others. Is everything suitable for a MOOC? Is the subject, title and delivery considered in the kind of editorial committee that exist in TV, Radio or Print … or is to more piecemeal and fragmented? Individuals and departments in universities traditionally operate in silos, indeed, many chose to be in academia, especially research, in order to focus on their niche interest without undue disturbance or interaction. I can see MOOCs that are championed by an individual, by a faculty and by a university. Inevitably some will be less well received than others. In all media there are hits and misses. Understanding what works, and what does not, is fascinating. Often it is like wondering why, in a small French town, one restaurant is packed, while the others are quiet. Though they are yet to produce them, I would expect and hope for MOOCs on art from St.Martins, MOOCs on sport from Loughborough. I would expect to see a MOOC on the First World War from Niel Ferguson. Why has a world leader, such as the Oxford School of Geography and the Environment, a no.1. faculty in the no.1. university thus far stayed away from MOOCs? They have podcast. They’re on iTunesU. They stream some lectures and seminars. The next step is not so great. Or is it a case of a cautious institution taking careful note of research done on MOOCs. They are no panacea and maybe the step towards something that will have a better fit: exclusive, income generating …
4. The Audience
I resist calling those who do MOOCs students because their profile and behaviour of those I have done and studied is not of students, whether from school, at university or postgraduate. They are older, but not ‘adult learners’, far from needing the education, many have a Masters degree … it is telling that discussions are anything but deferential towards the ‘young’ professors and even younger PhD students who present and moderate many of these MOOCs. Often the MOOC participant, who form the kind of TV audience that sits forward and interacts, is an MA student of the subject who may have ten or twenty years applied experience of the subject in business, government or teaching. For example, the MOOCs I am looking at on Climate Change always have vocal participants who have considerable experience ‘in the field’ for environmental agencies or oil companies. The academics are put on the spot, always rise to the occasion, and will surely learn from the experience as much as we ‘students’ do. Where therefore diversity and access? As TV producers know how in a digital world to cater for audiences of different ages and interests, so educators creating MOOCs will need increasingly to engage media professionals who know better how to target, appeal to and retain specific audiences. Whilst those creating MOOCs may wish to attract potential students to their undergraduate courses, I suspect that it is at best the teachers of such students, rather than A’level students who are getting involved.
Reputations of innovators in e-learning and whose talks go viral in a TED lecture become champions of online learning. Some become a brand that tens of thousands turn to. As free courses proliferate the bluntest and most effective branding is to have a champion, the educator at celebrity. We know that those with a TV profile with a following already will attract the most interest. In TV, even in corporate learning and development, the appeal of the broadcaster or presenter speaking on behalf of the educators is common place. Not all educators are broadcasters. It matters to have someone champion the course. If you want to study, for example ‘Climate Change’ and can choose between a dozen providers of a MOOC, who do you go with?
In formal learning objectives are the goal on which the learning is designed and assessments are undertaken. You are tested on what you are taught, and if you can prove that you have learnt what the material teachers you gain a grade of some kind. This in turn goes towards a qualification, or transferable credits towards a degree or diploma. This may appear clear, but there are other objectives at play: attracting students, even dissuading them if places are hugely oversubscribed. There are obligations to publish research. There are desires to join the ‘e-learning race’ and gain insights through doing even if it is not yet fully understood where the movement is headed. What does the course provider want from a MOOC? More students? Establishing or developing the reputation of an educator or department? Competing with others who are ‘up there’? Because they have the funding? Vanity? Not to miss out?
The digital world is a free for all. It is competitive. Whatever you can imagine, someone is doing it. I was staggered to learn that the MOOC providers couldn’t be named on the fingers of one hand. I think there are over 50 if you’re counting and include various hybrids and anomalies. Many, many more if you venture into MOOCs that are not massive, or open … say content created for internal use across a huge multinational. Sometimes these commercial sites and platforms are the most innovative, and of course, the best funded, for example, in supporting training in investment banking for brokers. Virgin produces e-learning for internal use – it is surely a natural step to create something open and online? The OU, with the BBC and at arms length FutureLearn makes a compelling, reputational sound brand. If anyone knows how to create e-learning that is attractive, appealing and of value this is the team. There are cultural differences though with MOOCs out of North America looking more like a multi-media version of Scientific American to the FutureLearn MOOC that is ‘Look and Learn’ – fun and accessible.
8. Technical aspects of the platform
My expertise does not lie in picking apart and comparing the underlying technologies that support the different platforms. I can however relate to the discussions that have, for example, explained Facebook’s success compared to MySpace … that there were, or still are, underlying technical problems on MySpace that prevented its becoming as attractive as Facebook. I have taken and followed learning online since 2000 – joining the MA in Open and Distance Learning (MAODL) in 2001 while creating online learning through a web agency for commercial, broadcast and government clients. Our understand and aspirations for what was needed or could be achieved fell short of what bandwidths and the technology then could deliver, even if we spoke about ‘stickiness’, collaboration, likeminds and fun.
The OU boasts that a multi-million BBC production such as ‘The Blue Planet’ is the kind of visual extravaganza it can now incorporate into, or complement with distance and online learning, a far cry from the black and white hippy in sandals presenting in front of a whiteboard as lampooned by Smith and Jones in the 1980s. It isn’t as simple as saying costs, like those in the movie business, are divided between creation and distribution, though it is a useful starting point. In this instance the means of distribution is an interactive platform, that has certain affordances because of its underlying architecture and the skills, direction and motivation of the programmers. The content that is made available for, or put into this environment will vary widely based on the experience of the educators, the team they have around them, and how this is structured and led. In TV and print, a producer or publisher is the lead, or chair of such a group … not the ‘creative’ whereas in academia the academic invariably feels they are the lead and should instigate decisions, sometimes without acknowledging that they have no expertise in ‘external communications’ or the platforms and approaches they want to adopt. Money is not set aside to use an external producer or production team, with sometimes, the results being self evident. Fine, perhaps, in a former age, for an internal audience of undergraduate students, but no longer adequate for a far more demanding open audience.
Multimedia, which is what this is, draws on expertise that is a combination of skills that in the past would have been more easily denoted as radio, conference, print and TV. Production values and experience in all of these is required when creating online content because decisions should be taken in the context of the learning materials as to what will work best at different times, for different kinds of content. Also recognising the need for varieties of approach and making these appropriate. I have taken, or tried to take, modules that are back to back presenter to camera, as if listening and note taking for many hours is an adequate or doable learning process. On the other hand, I have been engrossed by an entirely ‘gamified’ Rosetta Stone as an iPad App – rich, complex, repetitive and at times tiresome, but effective as a language learning experience. Not all, or rather few educators, are natural broadcasters. Accepting their strengths in front of a lectern and not taking them out to walk and talk or present on location unless they can clearly do it, requires production skills. There is a language for conducting interviews using a single camera, and for recording multi-camera seminars. If the technician who sets up the kit has no understanding either of framing, or of editing, the result, however good the lighting and sound, will jar. These are all production values that need have to be bought in, or developed to a suitable standard inhouse. Audiences have expectations of certain practices across the media types. Poor practice in use of PowerPoint, for example, is not simply distracting … people will quit a course on a whim.
Increasingly leading players in many fields are coming to see that to offer open learning online is a natural progression from things they have already been doing for a decade: putting content online in websites. delivering short courses face to face, even recording podcasts for release as audio or video. There is less mystery behind how to create content and less need for owning and financing the platform. What we are seeing today, is the same transition that occurred as blogs migrated from do-it-yourself coded webpages in 1999/2000 through the first readymade platforms such as Diaryland and LiveJournal, to the ‘off the shelf’ ease and sophistication of WordPress. Indeed, for MOOCs, the commercial platform Udemy is offering a platform to commercial players.
Institutionally could early adopters trump the laggards? Might the likes of Phoenix and its global reach of associated universities trump traditional hubs of learning like Oxford and Cambridge which are currently proving reticent to engage? Or will inertia, reputation, funding, research and expertise see them grow into e-learning and their substantial foundations?
Whilst it may appear that the Open University was made for the digital age, can a UK institution be a global player? What happens when an Oxford or a Cambridge can do what the OU does? Or don’t they ever want to? Over the last 35 years the percentage of students at Oxford from private schools has shifted from 72/28 to 48/52 …. still not representative of the national split, but moving with determination to being accessible and diverse. Ironic then that staying out of online learning is perceived as necessary to preserve their tradition of tutorial based learning that by its very nature can only be elitist and exclusive.
12. What next?
This is the hardest question and the one everyone wants an answer to. My guess is better than many another’s because I’ve been riding this wave for several decades through linear video-based learning, to interactive and then online. Thanks to the OU over the last five years I now have the language to explain what has gone on and so make a reasonable stab at what comes next. There are several learning theories that can explain the way we learn, but only a few that describe learning approaches that are suited to the online experience: connected and collaborative learning are what makes MOOCs work. Although there are platforms too, such as QStream and Rosetta Stone that are in effect old-fashioned learning by rote or immersion with repetition constructing meaning. There are subjects, such as medicine and languages, which are suited to this approach. There will be increased fragmentation. We are, if you like, where the printed book was five hundred years ago. The book had yet to develop into multiple printed forms from the novel to the pop-up book (!) or diversify across every subject. Though change is far swifter, the variety of forms, by audience, by subject, by approach and duration is yet to flourish into the thousands of types I can envisage until there is a plethora of MOOCs as there are, or have been, magazines in the past. Some affordances are yet to be realised: feedback into FutureLearn, by way of example, is one way to measure and act upon ideas offered ‘by the crowd’. Reasoned responsiveness will see the platform they have now move in regular steps into a different, and different forms. Logic suggests, to suggest an extreme example, that the tools, approaches and affordances of a platform catering to primary school children will be different to one aimed at PhD students. On the other hand, both of these groups find something on TV. With the exception of Ragdoll’s ‘In the night garden’ which is loved by infants and PhD students in equal measure
There will be unforeseen consequences. Will ‘leasure learners’, a stalwart of the OU migrate to MOOCs where there are no fees, just as much learning and a far greater sense of community engagement? Will MOOCs, as the OU does with an MAODE module, be something that runs in parallel with a formal module. In this instance students in the closed learning MAODE being joined by an open MOOC audience for a period of months. I can envisage an enlightened educator using his/her MOOC to support self-directed learning online, while also acting as the backbone for a formally taught series of classes where they use the readily package content of the MOOC to support their delivery.
Those who want and need the kind of learning the MOOCs offered do not make up the bulk of the audience. How will those young people coming out of higher education who crave a university degree learn at this level when they don’t have the funds to attend in person? How, when it comes to assessment, can they afford what remains an expensive process – sitting an exam or submitting a paper for formal scrutiny and grading under stringent criteria relating to potential plagiarism and to sustain standards?
For all their openness and credentials to support access and diversity do MOOCs simply ‘preach to the converted’ – refreshing an interest for those with a degree, or two, already? Where might a degree taught online be achieved instead of a set of A’Levels. Will it become normal to have more than one degree so raising the bar even higher for those who simply wish to get to first base?
Is there, as was in the earliest stage of the Internet, a language bias with most MOOCs invariably delivered in English?
Restricted access. Poor broadband. Lack of resources to run the MOOC. Lack of means, either time or money to do them.
Looking at it another, perhaps more subjective way, I’d like to know about:
- The Wow factor
- Changed Behaviours
- Whether people act upon the learning experience
- Learning Objectives achieved or not
- Stickiness: Are people suitably engaged to stay with it and beyond?
The Oxford Theatre Group on the Edinburgh Fringe, August 1982
Thirty years ago I took a Sony Betamax kit to the Edinburgh Fringe and shot all the action around the Oxford Theatre Group as they set up, rehearsed then put on five productions: Titus Alone, Edward II, The Thirteen Clocks, The Oxford Review and The Hunger Artist.
The clips above are random grabs from the video. The playback quality suffers from drop out. There are several hours of rushes – putting up the stage, putting up posters around town, rehearsals in a sunlit hall for Titus Alone and the Oxford Review, and rehearsing Titus Alone outside on Arthur’s Mount. The cut ‘documentary’ features several copyright music tracks that I need to replace before the entire video can be shown, for now those featured can view by providing their email address.
For three decades the original Betamax tapes have been in a box, carefully stacked, in an attic or garage.
Nicky King, who produced Titus Alone wrote and voiced the ‘documentary’ with Matthew Faulk the editor – all achieved mixing between a Sony Betamax and VHS player.
I’m keen to put together the complete crew and cast list – I had or have programmes and posters somewhere in a large box.
The above include:
Patrick Harbinson, Nicky King, David Tushingham, Nigel Williams, Humprey Bower, Mark Ager, Rebecca Rosengard, Jack Latimer, Carrie Gracie … Stefan Bednarczyk.
Other productions I have from Oxford include: The Taming of the Shrew (OUDS) – hours of rehearsals, Abigail’s Party (Directed by Anthony Geffen) – the entire production, as well as various clips from other Oxford productions I am yet to identify.
Where do I stand academically? Where and what next? And the madness of being.
Masters in Open and Distance Education (MAODE) with the Open University, UK (OU)
H800: Technology-enhanced learning: practices and debates
H807: Innovations in eLearning – Learning outcomes
H810: Accessible online learning: supporting disabled students
B822: Creativity, Innovation and Change
H808: The e-learning professional
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.
H809 Practice-based research in educational technology
I joined the #H817open MOOC for one component of this module. I will register for 2014
H817: Openness and innovation in e-learning.
- 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)
I cannot through words share with my mother our collective memories, I cannot do a ‘mind transfusion’.
Fig. 1 My parents – and a fraction of the record we have of left of them now that they are gone.
My mother had a stroke.
She would die within three months and after a second stroke very poor comprehension and ability to communicate will get very much worse. I cannot become an expert in care for a stroke victim overnight, but I read enough and ask questions. We find two ways ‘in’ – song and images. The images are never of people – various sparks of joyous recognition come when we are seen in the flesh and behave like children rather than adults in our 40s and 50s. I cannot through words share with my mother our collective memories, I cannot do a ‘mind transfusion’. I cannot even talk about things we did a year or ten years ago – I sense the time is irrelevant, she is as likely to recall her first doll as she is our last visit to the Royal Academy of Arts to enjoy Van Gogh’s Letters. A visit where she gently nurtured the interest of her 13 year old granddaughter, sharing insights between the letters, sketches and paintings from the point of view of an artist and art teacher and art historian, to a bright girl who liked to draw.
A mouthful of the food from the Fortnum and Mason’s restaurant might have triggered her memory – we did treat her to various foods.
What worked, in defiance of the medical reports that essentially said ‘there is nothing there’ was an iPad loaded with images grabbed from a number of hefty art books – 20th century art, the Van Gogh exhibition book and pictures from the Louvre. I spoke to that part of her that I might work. I challenged her as I showed the pictures to say when the letter had been written or why was Van Gogh so keen to tell his brother what he was up to. And what was the name of Van Gogh’ s brother? I got through Van Gogh and contemporary artists then moved onto the Louvre.
Up comes the Mona Lisa.
‘Where is this painting? We’ve seen it. It was so small?’
And she replied, ‘Louvre’.
‘Where’s that?’ I asked.
‘Paris’ she said.
Perhaps had my mother been in her sixties we and she could have seen a way to perceive with this.
Would a lifelog have got to this point in under 15 minutes? Might a screen of fast moving images offered in spaced-out way, with eye-tracking identify that ‘glimmer’ of recognition that would then prioritise images in the same set? Though who would know why a set was being favoured? We associate images with feelings, and people, and places, not with a set book or date or necessarily a genre of work.
Fig. 2. I think in pictures. But have to communicate in words. I wonder if a stream of pictures, as Tumblrs do, is a better record of our thoughts?
I think Bell has shown how we can freeze content from the digital ocean without knowing what value it will bring.
Perhaps from such an iceberg or glacier, at a later date, we can mine such event sparking artifacts that call up a memory as indicated above. But this artifact is not the memory and never can be. We should applaud Bell and others for going beyond thinking about such massive data collections, the ‘world brain og H G Wells or the Memex of Vannevar Bush.
- ‘We are not made of wood’: Van Gogh’s apocalyptic letter up for sale (rt.com)
- What Van Gogh’s Famous Self-Portrait Looks Like as a Photograph – Megan Garber – The Atlantic (theatlantic.com)
- Automatically Augmenting Lifelog Events Using Pervasively Generated Content from Millions of People (mymindbursts.com)
- Digital content, like its liquid equivalent in a digital ocean, has an extraordinary ability to leak out. (mymindbursts.com)
BLOGS ON ACCESSIBILITY
Jonathan, who has a degenerative spinal condition which means he uses a wheelchair and has carers to assist him, has first hand experience of the challenges faced by people living with disabilities – especially in the business world. “I used to run multi-million pound companies and I’d go with some of my staff into meetings with corporate bank managers and they’d say to my staff, ‘it’s really good of you to bring a service user along’, and I’d say, ‘hang on, I’m the MD – it’s my money!’
Michael Janger has a passionate interest in products and technologies that enable people with disabilities to enjoy a better quality of life, and works with businesses to effectively market and sell these products to the disability market.
I think there are two basic assumptions that you need in order support inclusion (in any context)
- All human beings are created equal (you know the American way) and deserve to be treated as such.
- All human beings have a desire to belong in a community and live, thrive and have a sense of purpose.
The important takeaway…when you assume people want to belong. Then is it our duty as educators, parents, and advocates to figure out how we can make that happen.
Institute of Community Inclusion
For over 40 years, the Institute for Community Inclusion (ICI) has worked to ensure that people with disabilities have the same opportunity to dream big, and make their dreams a fully included, integrated, and welcomed reality. ICI strives to create a world where all people with disabilities are welcome and fully included in valued roles wherever they go, whether a school, workplace, volunteer group, home, or any other part of the community. All of ICI’s efforts stem from one core value: that people with disabilities are more of an expert than anyone else. Therefore, people with disabilities should have the same rights and controls and maintain lives based on their individual preferences, choices, and dreams.
Cerebral Palsy Career Builders
How to deal with the following:
#50Auction D&AD 50th
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.
A Paula Scher went for ever £2k. I needed to leave before the Terry Gilliam or Quentin Blake came under the hammer.
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.
Fig. 2. Quentin Blake for D&AD 50 2012
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)
Here’s your 2013 reading list – one a week for the year.
Where does corporate video production fit in our digital world?
Fig.1. Where does corporate video fit in a digital world?
I’ve had ample time to reflect on this. If you’d like me to talk it through just. I’ve used this to present a couple of times now. There are plenty of opportunities out there – just listen, integrate and look for ways to get your audience to sit forward and take part, rather than sit back and nod off.
- How to Create and Share Video Posts for Rewarding Results (techjaws.com)
- Corporate Video For Business Marketing (ruralstops.blogspot.com)
- Corporate video makers: Here’s the difference between YouTube, and you, Boob (writingboots.typepad.com)
- 5 Reasons Every Business Needs Corporate Videos (salterent.wordpress.com)
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