Alec Dudson
a core belief that, “diversity in the creative industries is absolutely vital.”
If we have a society where only the rich can succeed in design, “we lose that objectivity, that variety in perspective and quite quickly the creative industries just becomes yet another reflection of a very unbalanced world based on a capitalist society.”
Currently mainly exist on the web. Initially came into the world as a print magazine. Creating something tangible, internal, power and legitimacy.
Origin
“Picking a career always paralysed me”
Studied computer science for a year before dropping out. Worked in a packaging house before returning to education in Manchester. Sociology. Graduated with first-class honours. Continued studying for a MA. Saw a magazine called “boat”. Tone of voice, freedom – travel tourism.
Something I am really, really interested in.
How do I get into that industry?
Internship.
Domus magazine – architecture and design. Couple of months.
Boat magazine – unpaid internship
Athens 2012 – upheaval riots
Photojournalism? Liked telling stories.
Saw stories come to life in print.
As a process of self-preservation started a kickstarter. 9 months of internships.
350 backers = >£7000
WB sued by interns who didn’t get paid. Good luck!
Press interest around magazine. (PIC)
Everyone gets paid
Fundamental values
Empty promise of exposure.
Made money from adverts at front and back of magazine.
Physical sales. Direct sales.
A New Chapter
shift focus into web editorial
business model?
Bring content to life.
Opportunity and visibility for advertisers and brands.
Retaining brands
Balance between interrupting editorial and ethics
Still continue with print.
Beyond Editorial
Building a brand
Adapting
Offering a range of services.
https://the-dots.com/projects/a-new-revolution-five-creative-forces-moving-manchester-forward-241670
Event organisation – own and for brands
Evolving / maturing
Youth culture
Podcasts
Young people issues through industry
Talks / workshops
“career-focused creative education”
Flexibility in developing a brand
Practice | Lecture 2 – Social Change UX
Joseph Pochodzaj
Graphic Designer, Researcher and Educator
How might we as gds establish….quote
Inspire transformational change.
Social Design
Socio-economic-political-matrix
Tool for political transformation
Who do you think you are – where you are from and your values of utmost importance.
Bridge divides thinking about the “other” viewpoint
Local issues and global issues.
Look around you – what effects the people around you?
Seek the unseen.
Uncover truth
Discover new perspectives
Contexts and histories
Meaning and history
Understanding history to predict the future
The Great Diary Project
Language and voice
Political manifestos and posters
Visual language and use of words
Language and disconnect between people and politics
Critical discourse analysis.
Publishing research is important.
Developed MA project into actual workstreams. Longer legacy
How people talk
Engage and Participate
Places/sights
People/communities
By walking
Document research
Design as you go
Issue based UX
Age of no retirement
https://www.ageofnoretirement.org/
Age discrimination
Make it personal
Your own voice, values, experience
The way you see the world
Issue you engage with
Transformative projects
Practice | Lecture 3 – Academic Creative Practice
Ben Evan James
Making stuff – academic writing – research driven practice
PhD – guide, influence and conclude
Write, make, conclude, make
Authoring – many challenges
When we write things down, we see new connections but also new problems.
Writing for Phd have own codes and are subject driven in style and tone.
Approaching writing.
Research question(s) attempting to answer or respond to
Definition of methodology
Finding that “you don’t know something” – What you think you know.
Intelligence gathering.
What is the age, sex, and subject specialism of all MA graphic design students in Europe?
True and fair picture
How and why question:
Why are there few female designers in creative director roles?
Comparisons, predictions, evaluations
Add to the body of knowledge of the world – X
Building on what is already out there – YES
Tom Richards – sound
Felicity Hammond – photography
Browns questions-
What did I do?
Why?
What happened?
What results mean in theory?
Practice?
Key benefit?
What remains unresolved?
“Learn, only in order to create”
Doing and thinking
How do people write about art and design? Language / style etc
Don’t overcomplicate it – KISS. Anyone can follow it.
Criticality within writing – not just opinion based.
Argument – considering evidence and counter arguments
Urge emphases protest
Signal verbs
Claim insist
Acknowledge admire endorse
Advocate warning
Be precise
Be more formal
More complex
Perfect Grammar.
Referencing and using these to support points.
Zotero
Practice | Lecture 4 – Design Craft
Robert Green
The Doves press
https://www.bbc.co.uk/news/av/magazine-31534032
Theory | Lecture 1 – Theorised Making
Ben Evan James
South kiosk – Arts council funded
Interested in film within space.
How film is experienced.
Gallery experience is different to cinema
How does narrative change?
How does present of the body and viewer change dynamic?
How do people engage with the film?
Hierarchy of space
Making films – PHD research
Nanouk of the north
Robert Flaggerty
Fictionalises him
Pure fiction?
1920s
Sans solei – chris marker
Essay film – post modernist
Parafiction
Bhopal legacy
Truth = fiction
Real / unreal
Post truth world
Alan Moore
Truth, myth and magic
Science won
Re-entered popular culture
Truth has lost the battle
- what are the properties of parafiction when applied to film?
- why can parafiction be viewed as the most compatible mode of documentary for our time?
- what approaches to the application of parafiction can curatorial practice learn from film?
Parafictions introduce a fiction into the world as fact – well, a lot of the mythic nationalism within Kazakhstan is introduced into the world as fact.
huge area of research and then talk about how my practice, of how making this film has helped me to define some of these qualities that I see is parafiction. And actually, see if they can be used as strategies. Can I make a film based on the things that I think parafiction is? Is it possible? How does that film operate? And is it successful?
A Street Loud with Echoes.
Theory | Lecture 2 – Research Led Report
Chris Lacey and Bec Worth
Theory | Lecture 3 – Professionally / Studio/ Credentials Orientated Report
HAWRAF
NYC design studio
Met at Google creative lab
Digital tech disruption
Closed company Feb 2019
Released google drive link on how they built their company
Outline services you could offer – business plan
Marketing tool?
Discovery questionnaire
Defining goals
Budgets
Which questions are relevant? Which aren’t? Why?
Financial records
brand identities, brand voice and messaging, concept sprints, marketing conception, marketing execution, editorial illustration, visual design, website work and speaking engagement
master services agreement – Legal team? UK?
lost business feedback.
Hawraf’s capability deck, their master deck. This has a lot of supercool projects on.
trap of designing for designers when they usually aren’t our clients
“You should, over time, also end up with something that has a hundred plus slides.”
the project proposal
deliverables
estimated costs
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