·       A short talk by Darryl Clifton introducing some principles of collaboration and cooperation, assessing their potential 'value' and proposing some of Richard Sennet's ideas.

·       What, why and why?

·       Pastrol Man - collaboration.

·       Fundamental feature of our shared existence.

·       Collaboration is usually seen to be a good thing.. but this is not always the case.

·       Knowing how to work alongside other people is fundamental. 

·       Thinking about collaboration and cooperation. 

·       Cooperation = A craft that requires skill.

Cooperation definition: The action or process of working together to the same end.

Collaboration: The action of working with someone to produce something.

·       Altruism: Nobility, Sacrifice, Gift giving. - the desire to do good for others with no obvious reward. Ethical framework..

·       Win-win: Overt reciprocity - I do something for you as I know I will get something in return. 

·       Differentiating exchange: Dialogics - sits in the middle of the spectrum. Dialogics is to name a discussion which does not resolve itself by finding common ground, no shared agreements may be reached. 

·       Zero-sum: I win you lose - one person or groups gain is another loss.

·       Winner takes all: It’s all mine! - I’m seeking to take everything from you in this encounter.

 

“Dialogic exchanges which differentiate individuals and groups can also balance cooperation and completion” - Richard Sennet: Together: the rituals, pleasures and politics of cooperation. 

Director of Graphic design. 

·       Designing makes futures... 

·       Design is unique... 

·       Design opens the way for new material practices.

·       Design criticises the present by making future presences. 

·       Designers must convince their audience…

·       Design is an activity which is fundamental to being human. 

·       Design must be understood as ontological.

·       We are designed by our designing... through our environments. 

·       We design our world while our world acts back and designs us.

·       Design is artificial. 

·       Design affects nature... 

·       Function contains the deeper ideologies and social ramifications. It is decided by those who make such decisions that a particular function is worthy and or marketable and so a product is conceived to preform it. 

·       Once this is given to a product, it continues the ideologies that were initiated with the function, although it will usually mask them.

·       Once a product has been manufactured the forces of culture take over and function becomes redefined outside the designer’s control. 

·       The shiny white layer [of products] has come to stand for the dirty reality underneath it: waste, pollution, exploitation of nature and people, faulty designs and bad quality mechanics, cheap materials, planned obsolescence, scarcity, marketing budgets and monopolies. 

·       The myriad ways in which the dynamics of gender relations operate through materials goods - as do the dynamics of class, race, nation, age and other social relations. 

·       Design is gendered. 

·       The pink & blue project… (childrens toys and colours) 

·       Sustainability - Puma shoebox. 

·       Papanek: The main trouble with design schools seems to be that they teach too much about design and not enough about the social and political environment which design takes place. 

·       The designer must be a communicator and diplomat.

Year 2 tutor on BA Illustration

·       An interview with Luke Best from the Illustration collective Peepshow.

·       Feedback / kitty / support - formed a studio which eventually became a business. 

·       What do you think is valuable about collaboration?

·       The scope of what you can achieve and the type of projects you can undertake within a group rather than as an individual. 

·       As an individual there is limits... 

Able to put my style/ personal approach to one side and see a project as a problem to explore and try and solve. Visual problem solving, keeping the brief, client and audience in mind. 

·       New knowledge

·       New subject matter 

 

Can you give me an example of a challenging situation that you have faced when collaborating? And what steps you took to resolve the problems.

·       The early projects that we collaborated on were disasters. An early office project in particular. An over excitement of working together and presenting their egos.. it didn’t flow. There was no structure. 

·       Assuming roles

·       Taking responsibility 

·       Being committed and professional

·       Sharing / adapting / being flexible 

·       Communication 

·       Awareness - checking in on each other 

·       Giving each other space and respect 

·       Developing ‘remote strategies’ being productive individually and collectively 

People are productive at different times in the day… different working methods. 

Working for create London – with commissions for community 

·      Big Family Press: A child led printing press

·      OOMK – One of my kind 

 

How do you create a situation where children’s opinions are listened to by adults?

The aim of the printing press…

 

·      Representing people of colour, women, working class people, the people of Peckham.

·      They existed as a way to brng the community together around common interests. 

·      A reference to setting up the Big Family Press.

 

·      A printing press in the school and teaching children to use it, that is the educational experience.

·      Working with children who would benefit most from it. 

·      The main activity is children and families making things with the resources. 

·      Drawing a diversity of people to enable children to ask questions and understand that it is good to be different. 

·      Presenting diversity in a positive way. 

·      Art can elevate people’s opinions and experiences.

 

·      Mutual understand and mutual learning as if it is one directional then it isn’t collaboration.

·      Understand what each other needs and each other’s languages - to be able to do this sensitively is a moment of success.

·      The most successful collaboration may not be the final product or outcome but the fact that you can say for example, we got a primary school, university and art gallery to communicate together and for each one of those institutions to come out and say that did something important for them. 

·      What do I get out of the unit?

·      What did the small community within my work group get out of unit 6? 

·      What did the community that I’m hoping to engage together with me get out of unit 6?

Think about the connections between these three.

UAL Chair of Sustainable Fashion and Textile Design.

·      We need to be part of the process to reduce carbon emissions. 

·      Materials we use…

·      Products we are making... 

 

Deforestation: A large problem at the moment as we don’t have the trees to clean the air, as well as losing homes for animals. 

As designers we have to be aware of the consequences our decisions make. 

 

Fashion and textile world…

Fast fashion – cheap clothing moving into our shops, our wardrobes and then into landfills extremely quickly... 

·      Resources depletion 

·      Climate change

·      Animal suffering 

·      Water pollution 

·      Food insecurity 

·      Air pollution 

·      Habitat destruction

·      Human rights abusers 

 

·      Collection systems 

·      Recyclable materials

·      Renewable resources 

·      Carbon control 

·      Animal free

·      Dyeing and laundry

·      Extending use and doing fast better 

·      Consuming less

·      Laundering less and lower

·      Sharing / renting 

·      Labour rights

·      Limited cultivation 

·      Reducing emissions 

·      Limited textile crops

·      New feedstocks 

·      Flow products 

 

Operating at a consumption rate that we cannot sustain. 

The Doughnut of social and planetary boundaries (2017) – collaboration. 

A space in which we can create a balance, where we have an advanced modern world, but one that is sustainable. 

 

Designers have a really valuable role in the earths’ future.

“Decisions made at the design stage are responsible for approximately eighty percent of a product’s environmental and economic costs…” (Graedel et al. 1995)

 

1.     Design to minimise waste

2.     Design for cyclability and circle design 

3.     Design to reduce chemical impacts 

4.     Design to reduce water and energy use

5.     Design that explores new technologies

6.     Design that takes models from nature and history

7.     Design for ethical production 

8.     Design to reduce the need to consume 

9.     Design to dematerialise and develop systems and services 

10.  Design activism 

 

·      Think about my own examples/case studies. 

·      Fashion: Items made for loan... a great way for sustainability. 

·      Design for material recovery.

·      Design for re-use in manufacture.

·      Design for service.

·      Design for longevity.

 

Life cycle thinking…every product has a life cycle of a beginning, middle and end.

However, in circular design there is no end... looping it back into a new life, recycling. 

Not necessarily clothes to clothes... it may be clothes to chair for example. 

 

·      Hermes (2019) – reusable makeup containers. 

·      Finding alternatives to the most toxic materials which are all around us.. 

·      Gobim Gobilab (2015) created bottles to encourage people to keep these bottles going for a long time to substitute plastics, you can also personalise them. 

·      Cotton uses the most water. 

·      Project FLX, Levi’s. Levi’s are working towards completely water free jeans. Rather than stone washing the jeans they are using Lasor finishing to create that affect. 

·      Life cycle assessment…

·      Monitoring water use, electricity and chemicals to point the design team in the right direction.

·      Over production… ensuring quantities are correct. 

 

·      Sweatshop production.

·      How can we work with fair trade organisations?

·      Looking at ways businesses are built. 

·      Elvis and Kresse – example. Make a profit but they give back to a certain community. 

 

·      Reconsidering the ethical dimensions of depleting the earth’s non-renewable natural resources, like oil. 

·      Ethics behind resources, suppliers, production. 

·      Designing stuff to almost look like an art piece so you don’t want another one of the same item…

·      Blackhorse Lane Ateliers – a hairdryer that looks like an art piece.. you don’t want to replace it. 

 

·      Relationship between materials, models and mind sets.

·      Designing for longevity or perhaps short term..

·      Materials need to be recycled at the end of their life. But for the best circle design you are starting with materials which are already recycled. 

·      Feeding into the system and material which comes from waste or has already been degenerated. 

·      Processing/handing materials in a way which can be recycled later on.. 

·      How do we negotiate change with policy makers?

 

Aiming for a circular economy… where it can be regenerated over and over again. 

 

Design for circular speeds: Keeping things going for longer by using creativity:

·      Design for keep: aesthetic, physical and emotional durability

·      Design for change: customisation; multifunction; adaptability and modularity

·      Design for care: washability; repairability; rentability; swappability; returnability

·      Design for compostability: domestic or technical composting 

 

·      A report by WRAP (2012) concludes that extending the active life of garments offers the greatest savings overall in carbon, water and waste footprints when compared with best practices in production and fibre choice, laundry and re-use and recycling. 

·      We need to wear our clothes longer than we do... we tend to get rid of our clothes much more quickly than we do. A button missing for example.

·      More repair cafes, tv programs… upcycling – rather than living in our consumeristic culture. 

·      Items need to have their maximum life before it gets reprogramed. 

 

·      Fast.. medical clothing, trend clothing... don’t need to be made in traditional and heavy weight materials. 

·      Can we design for change? Customisation, multifunction; adaptability and modularity. 

 

Design for care: washability; repairability; rentability; swappability; returnability 

(childrens clothes- when they grow send back that box and get the size up)

Clothes that can be hard wearing, repaired and washed and then go out for a further use.. 

 

Design for speed: 

·      Domestic composting- The Throwaway Dress, Filippa K (2018) Mistra Future Fashion. Wearing it once and then never again.. or only a couple times again.. 

·      Ikea reselling their own stock..

 

(look at the 10 points – relating to my practice) 

Projects John has undertaken as an artist. These were community projects where he worked in a community, for a creation of communal artwork which was about books.

·      Owned by Fife council and it was part of very innovative project whereby Fife council is kind of a rural community in county of Scotland on the East coast about Edinburgh.

 

·      The bus took contemporary exhibitions out around the community and for a period in the 90s, it was curated by an amazing curator called Babs McCall, who had been to CSM and studied sculpture in the 70s, and she knew quite a lot of artists and contemporary artists and she organised a number of these positions, including Damien Hirst. She then decided to do a show of artist books, which John featured. 

·      She invited John to do a community project. After applying for various funding bodies, they eventually got funded by the Public Monuments Committee of the European Community and got a book funded by the committee as a public sculpture (after arguing this point). A bit like a monument. A monument to the unsung heroes of five. 

·      It was about 200 pages long. 

·      In addition to 2000 copies of the book, John put together a series of workshops all over five where we then invited people of five to come in and hand draw bits in every copy of the book. 

·      Found the drawings were quite boring so asked the question – ‘Is there a hero in your family that you would like to commemorate?’ They were also asked to illustrate their stories. The children’s ones were the best, possibly because children are more open with what they tell you. 

·      Interviews and self-portraits of Fife. 

·      They did in in a shop in a semi-durylic arcade and pasted all the stories up on the wall, all hundreds and hundreds of them, so it became a free exhibition for people to visit. 

·      One of these workshops were set up in a rough cancel estate. A police officer was there to ensure the safety. 

·      Lots of community involvement. 

·      The book was so successful they were commissioned to do another book. 

·      In Harrow this time, a year was spent where John photographed Harrow and its community, went to lots of community meetings where he spoke to different types of people. (school, refugees, societies etc..) and he became extremely interesting in handwriting and dropped handwriting. He spent a year collecting handwriting. 

·      Again, John found a durylic shop and posted all of the handwriting up and encouraged people to come and view the exhibition. 

·      Invited people to make a contribution by writing in the books. 

·      Again, a successful project where they sold lots of copies. 

·      Community doesn’t just pop up it is built with work.

·      Many of the communities around us are often stratified; it is not a situation where everyone is equal unfortunately.

·      Any kind of collaboration, peoples own positionalities, background experiences and world views of what even art is or collaboration itself and impacted?

·      Privileges and assumptions about our right to participate in a certain way… with whom and how.

·      We need to think about ethics otherwise it is extremely hard to create something that is stable and durable long term. – The ultimate goal. 

·      Design is fundamental to creating a world which we want to inhabit and be more caring to each other. 

·      Respecting what is already there… 

·      Assumption to innovate or design within briefs- however this is not always the best option. Places have histories and consider this. 

·      Talk about our different traditions of design and art. 

·      At UAL we are working in very diverse communities. This is an incredible advantage as we can represent that and there is a huge strength in these different perspectives and backgrounds and turn this into something that is interesting rather than something we need to ‘fulfil’. 

·      There are different modes of collaboration it can be helpful and harmful. The way we go about things matters. Having respect for what already exists. 

 

·      Explore this notion and what this notion may mean to me through my positionality, through my experience of the world, my background. 

·      Connect and see myself within this notion.

·      We are each entitled to our differences, but we can build on those differences on our commonalities. 

 

Thinking about the brief but also play and experimentation. 

This brief is meant to be philosophical there is a lot of openness and freedom. 

Generate from us. A lot of room for manoeuvre. 

An opportunity to take all of our experiences and combine them.

·      Uses drawing as a way to demonstrate worth. 

·      I see you work... to let people know she seems them and is grateful. 

·      Through illustration Olivia aims to bring the shock of the familiar. Olivia sees beauty in the mundane and as an illustrator Olivia works to capture social history to make it easier for modern communities to look back. 

·      Research is key! When doing her work Olivia spends a majority of her time on site observing and talking to people. 

 

“I care more about the conversations that come from the drawings than the drawings themselves.”

 

·      Wanted to archive stories. At a market she has been going to her whole life. She knows the store holders, but they don’t know her, she is just another face in the crowd.  

·      Aim of the project was to document the store holders that were new in the market as their stalls are at the back of the market. 

·      Document the newer traders who are traditionally the ones who sell cultural fruit and veg. 

·      Linda – Olivia built up a bond with her first by visiting over weeks and months, supporting her business by buying clothes from her and opening up about herself as well. Buying fruit and veg from Lee from her stall as well.

·      The final outcome was a little booklet which was submitted to the Hackney archive. 

·      One of the traders allowed Oliva to pin up her drawings after they built up a good relationship based on their similarities of being from the same country. 

·      Printing a book of these ‘stories’ for Olivia felt important, it felt proper and was an act of demonstrating worth, celebrating the everyday and celebrating small victories. 

 

“If you’re not making with them, you’re not making for them”

 

‘Ernesto Sirolli: Want to help someone? Shut up and listen!’ – Ted Talk

 

345 – formation of communal identity. Inner city thing. 

A project which sparks conversation and builds bonds. 

A nostalgic project. Fed up with how the art school is a bubble... a different world. 

·      Sitting on the back of the 277 bus from 3.15pm-4.45pm 

·      Monday / Wednesday / Friday for 3 months 

·      12 weekly travel cards.

·      36 bus journeys.

·      3240 mins AKA 54 hours.

·      Overhearing countless conversations... 

·      Interviews with students/ young professionals.

·      Collaboration... having a consideration (avoiding rush hour).

·      Stuck the work at the back of the bus, in the chicken shop windows.

·      It was a rewarding moment when Olivia saw children filming the drawings and talking about them, laughing. 

www.hartclub.org

·      A foundation which challenges neurodiversity in the arts.

·      Working with lots of different charities and organisations who have disabilities, dementia, autism and people who have difficulties in communicating. 

·      Often these individuals have a very unique and amazing view of art.

 

1.     To champion neurodiversity in the Arts

2.     To forge working relationships between artists

3.     To build confidence, community and wellbeing

4.     To gain creative and financial recognition for artists

5.     To encourage conversation around diversity and inclusion 

 

Collaboration is extremely important to get the best out of individuals.

 

·      His work was presented at the Hart Club. 

·      He is an autistic 72-year-old who has a photographic memory and has been drawing every day since he was young. He remembers pictures that he hasn’t seen in over 60 years and can draw them perfectly from memory. 

·      The idea that his work may never have been displayed or seen by anyone else due to his differences is the reason the Hart Club exists. 

 

·      A group that offers weekly workshops at the gallery led by an art therapist 

·      This is for both the person for dementia and their carer to come along to. It is lovely as you have people from different ages working together. 

·      Teaching different processes: screen printing collage...

·      Providing stimulation to allow people to explore their creativity.

 

·      They work with people with brain injuries.

·      They have such a high expectation with the people they support.

·      Headway made such a great collaboration due to their interest in doing events such as talks and music performances.

·      A space for people of all ages and backgrounds. 

·      Creating spaces which feel safe.

 

·      Can’t do any group events.

·      A lot of the members are in the high-risk bracket due to age and health issues. 

·      A huge way of panic went through the organisers of these charities. 

 

Hart Club and the Golden Thread project came up with ‘Folk Beasts’ which was designed to keep people connected, especially people who were shielding at home. 17 different artists created make-at-home art pacts (made possible through donation) enabling people to participate remotely in a user generated online art exhibition. 

 

·      Different experiences, different ages, different backgrounds, different ways of seeing the world, different ways of creating art, different interests.

 

·      Creating space for conversation

·      Diverse expressions of visual arts

·      Engaging and insightful events

·      Screenings

·      Talks

·      Music

·      Making

·      Workshops

Community Focused Activities

Community Focused Trips 

 

We are all expected to be good at everything... but that’s not always the case so if we collaborate and are open to working with other people with different skill sets we can achieve great things. 

 

“Everybody is a genius. But if you judge a fish by its ability to climb a tree, it will live its whole life believing that it is stupid.” – Albert Einstein. 

 

“I couldn’t have done Hart Club without the support of other people. We can achieve a lot more with a collective attitude I believe.” – Helen Ralli 

Part 1: Working in a community through collaboration as a process of educating for democracy 

Part 2: What is a community for a sense of belonging?

 

Community is about common activities and purposes, how we interact with one another and practicing/learning together to improve. 

 

Different forms of participation/collaboration, dependent on the level of engagement:

·      Nominal: Contemplating and reflecting on the work.

·      Directed: Participation in the execution of an idea.

·      Creative: Providing content for an element of the work within the structure created by the artist. 

·      Collaborative: Shared responsibility in development of the structure and content of the work, all stages of the process. 

 

Examples of these:

·      Muntadas, Attention: Perception requires participation.

 

·      Yoko Ono - wish tree 1996:

·      Adding wishes to the tree, adding to the structure that is already there…

 

·      Deller Jeremy, Battle of Orgreave, 2001:

·      He reinacted a historic event to reflect on issues taking place.

 

·      Assemble and Granby CLT, 2015

·      Wanted to rescue streets ready for demolishment. They bought a few houses, refurbished them and made them available to the community for affordable prices. Collaboration for a good cause for society. 

 

·      To challenge traditional conceptions of roles and responsibilities which produces a social criticism that destabilizes the power of relationships in the institutions in which we work and live in. 

 

An example of different degrees of collaboration, methods used, and ownership shared: Elephant and Castle:

Home from Home:

·      A project that ended up being a book and exhibition. 

·      A community let project which was based on people’s portraits and stories. 

·      Stopping people and asking for a chat... how the project grew.

·      A portrait of the area and a celebration of its community at the time. A founded project where the book was free of charge.

 

·      Degrees of Citizen Participation.

·      Helps with the progression of a project. 

·      What kind of democracy do we want and why is that important?

 

1.     “Diffuse design” – innate creativity and problem solving. 

2.     “Expert design” – recognising the specific skillset of the designer.

3.     “Co-design” – where designers use their skills to work with others from different fields or with a community to problem-solve.

 

Design contributing to a more sustainable future. 

 

Mind map of what it means to Sharon – a good way to generate ideas. 

 

·      Where you live.

·      Where you work or study.

·      City blocks to rural areas, generally where geography is used to inform your sense of location and identity of your locality of where you are a local. 

 

·      Built on relationships, groups, people, who you interact with and shared relationships.

 

·      Sense of community (belonging)

·      Respect of diversity (people/culture/place)

·      Social justice (equality, equity, participation rights and opportunity)

·      Empowerment (giving visibility and voice)

·      Collaboration (together we are one)

·      Empirical grounding (How communities are measured or observed)

 

How are communities formed? How do communities come together?

·      Action: Communities of people trying to bring about a change.

·      Practice: Communities of people in the same profession or undertake the same activities.

·      Place: Communities of people brought together by geographic boundaries.

·      Interest: Communities of people who share the same interest or passion.

·      Circumstance: Communities of people brought together by external events/situations. 

 

Other situations which join communities together: George Floyd incident

·      People came out despite covid-19 regulations to come together and stand for social justice. 

·      It was for the empowerment and the collaboration in action.

·      The community is trying to bring about change.

·      How types of communities cross over.

 

Sense of community: community has emotional overtones, implying familiarity, social and emotional cohesion, and commitment. It implies a degree of attachment and belonging which offers a common sense of identity. 

 

·      A reciprocal cohesion that brings people together for a common interest, aim, cause or goal. 

·      Shared emotional connection for a sense of community and a sense of belonging. 

·      For a sense of belonging that lead to community psychology and wellbeing.

·      Wellbeing for growth and positive change.

 

Workshop based work.. feeding into her own practice and engagement within communities. 

 

·      Working with women in local communities, sharing stories.

·      How they identify themselves as practitioners.

·      Specialisms they are interested in. 

·      How they see themselves as black females in industry. 

·      Sharing words which developed into poetry about our appearances and environments. 

·      Creating ceramic pieces in relation to diversity, bringing about change and working collaboratively, turning them into tiles.

·      Looking at particular aspects of their identities. 

·      Sharon’s response to these stories - discussing commonalities and cultures is how she would respond to this in her own work.

·      Ending up with a piece of work that describes communities with having a voice. The ceramic pieces had different coloured lights to represent a shared value, opinion and strength behind them. 

·      This was exhibited with Pem People, a non- profit enterprise, based at Peckham levels. 

·      Increase and promote achievements within disadvantaged communities. 

 

·      Is an interdisciplinary artist based in London. 

·      Describes communities as whatever you choose to make it. 

·      A community brand enterprise working in the UK and Ghana – winder communities, globally.

·      Female led business where they produce clothes.

·      Through working together, the work on transforming the lives of the local community. 

·      How do we define our audience?

·      How do we define our aims when thinking about our projects in relation to audience?

·      How do we consider the context in which an audience comes into contact with our work?

·      Who is my work for?

Initial definition of Audience: A particular group at which a product or otherwise is aimed. 

 

Research and understanding is key to designing something that truly meets an audiences requirements. 

An audience helps make design ideas, however it is important these decisions aren’t based on assumptions, you need to get to know your audience. 

Be as well informed as you can. 

 

·      The consumer: A person who purchases of uses goods and services for personal use. 

·      Community: A group brought together through shared interest, action, practice, place or circumstance.

·      Industry: An industry is a group of manufacturers or businesses that produce a particular kind of goods or services.

·      Client: A person or organization using the services of a person of company. 

 

“Design has lost sight of the difference between offering solutions to the audience and solutions to the client.” - David Rudnik

 

“Increasingly, the way we use our skills is to compensate for the deficit between the audience’s desire for a sensitive, intelligent product or service, and the product itself. The end result is a total breakdown of trust between the audience and their visual environment.” – David Rudnik 

 

·      Sell: Persuade someone of the merits of a product or service.

·      Change behaviour: Change people’s personal habits and attitudes.

·      Participation: Encourage the action of taking part in something.

·      Knowledge: Sharing learning and knowledge. Helping people to learn how to do things and support them to think about what they learn. 

·      Self-expression: A display of individuality. 

 

·      At home

·      In a store

·      On the street

·      At a cinema

·      On a device

·      On television

·      In print

 

We are designing (outcome) for (audience). It will be seen or experienced (context). The project aims to (aim).

 

“Watching the media coverage of the climate strikes, all I saw was white faces – definitely not a reflection of my friends, my community, or the broader diversity of British society.” – Athian Akec, UK Youth Parliament member for Camden.

 

·      Example: The Protect The NHS and Save Lives posters.

·      “It was underpinned by two strong messages, Protect The NHS and Save Lives. This united a huge amount of people from different backgrounds, political views, and areas of the UK. We knew what the most important thing was that we could all do to make a difference.” – Matt Partis. 

·      This messaging, although not alone prompted people to stand in the street banging pans and pots to support key workers. It created the desired response from its audience. 

·      Interesting the design also unites political party colours, presenting a unified approach for the intended audience to buy into and get behind which was required to get the restrictions to work. 

·      As guidance changed so did the design and its relationship with its audience. 

·      STAY ALERT– CONTROL THE VIRUS – SAVE LIVES

·      How does the message ‘stay alert’ receive differently within its audience? 

·      Everything was changing so often that the messages and interpretation became confusing.

·      “What would be really surprising is if any two of the 30% of people who claimed to know what the new slogan means understood it in the same way”. – Tom Cornfoot.

·      The tell us about how we see design.

·      How we overcome problems.

·      How we develop.

 

1.     Problem.

2.     Establishing Needs (Factors, Relationships).

3.     Satisfying Needs (Principles, Forms).

4.     Solution.

 

1.     Exploration (of a problem).

2.     Generation (of possible ideas).

3.     Evaluation.

4.     Communication (the end product).

The middle two often go back and forth. 

 

·      The model has no end… define, prototype, evaluate... the process keeps going until it reaches some sort of solution, or perhaps it never does…

 

1.     Observe (the people, audience, object, context).

2.     Brainstorm. 

3.     Prototype (continuous process).

4.     Refine.

5.     Implement.

 

Yes, mine would be as following:

1.     Research (case studies, surveys, lectures - usually presented in an Indesign document).

2.     Brainstorming (mind maps, notes, conversations, sketches – to generate ideas).

3.     Design development (model making, digital drawing).

 

·      Spending too much time researching rather than prototyping and making.

·      Or spending very little time researching and jumping straight to outcomes.. unsure of a direction. 

 

I feel I spend too much time researching and find it initially hard to begin my design development. However, once I get into the swing of a project I find my work progresses at a fast rate.

General model of design process consisting of four stages:

1.     Discover

2.     Define

3.     Develop

4.     Deliver 

 

·      The first part of the diamond is about exploring the general idea of the problem/challenge.

·      The second part of the diamond is about the development of the proposal/solution.

·      The idea is that we can’t develop the proposal or solution without fully understanding the problem or challenge.

·      Divergent: broad research, being a helicopter over a topic, understanding the brief.

·      Moves in lots of directions.

·      Multiple perspective: Using Miro, Arena (pinning things to a simple page), Padlet (shelf is good for organisation)

·      The goal of the discovery stage is to look at new things. 

·      The most important part is gathering insights, to not just collect things, think about what they are telling me. An effective way to do this is to write a sentence on each piece which describes the key incentive of the idea and what it offers. If it doesn’t offer anything it’s still worthy but it doesn’t help me enhance my understanding of the design problem or challenge.

 

How Divergent search might look:

·      Visual research 

·      Quantitative data (usually related to quantities, usually helpful for understanding the scale the challenge is working at and also potential scales).

·      Qualitative data (quality, things that are related to personal experience).

 

·      Tending to move toward one point.

·      Key ideas and how do they come together? Highlighting main incites, the things that lead to the outcome.

·      Incites help to frame the design challenge. 

·      Develop a clear creative brief. 

·      Thing about one sentence to develop the brief: To develop a… About… That… Can use to…

·      Make sure we consider what the thing we are designing is bringing to the life of the people we are designing in for. What will they understand, think or do differently as a result of interacting with it?

 

We now move into the second part of the double diamond…

 

·      Prototypes, test, iterate. (we may have multiple ideas at this point... two of three.

·      Trial and error. (What are the multiple ways we may respond to this brief and see if they may work).

·      Improve and refine.

 

“I have not failed. I’ve just found 10,000 ways that won’t work.” – Thomas Edison. 

 

·      Outcome or proposal is finalised, produced and shared.

 

·      Endless divergence (going on tangents)

·      Getting lost in research 

·      Overwhelmed with possibilities

·      Failing to define

·      Thinking about outcomes straight away.

·      No research.

·      General solution – lacking context.

 

·      Set deadlines to look at everything I have and refine. 

·      Being clear about deadlines, set benchmarks and keep the momentum moving forward.

·      Work smart – set tasks and work to each other’s strengths in smaller ground and then all come together.

·      Manages the playground space.

·      A creative producer and creative arts educator.

·      Has a particular interest in social justice and community development. 

·      Working with people who experience homelessness with youth arts and social enterprises.

·      Work within communities and other designers.

·      Creating social value. 

·      Collaborating with local organisations and community group and with the public outside the university. 

 

Pilot Projects in 2019

Recognising social value.

Recognising the work which has more social value than economic value.

 

The Playground at Camberwell College of Arts is a space dedicated to a community engagement through creativity.

·      The purpose is to make the university more accessible to local people and is part of our purpose as a civic university. 

·      @playgroundual

 

·      A branch of philosophy

·      It deals with moral principles (and dilemmas).

·      Provides guiding principles of correct behaviour and standards of behaviour in professional and public life.

·      Codifies expected practice and behaviour.

·      Helps us navigate complexity and problems. 

·      Ethics provides guidance for ethical behaviour.

·      Provides standard of behaviour in professional and standard life.

·      Provides a code for expected behaviour. 

·      Underpins a lot of what we do. 

 

·      Norms: Unwritten rules of beliefs, attitudes and behaviours considered acceptable in a culture or society. 

·      Values: Personal qualities that guide our conduct and motivate our actions, character forming.

·      Ethics: Concerned with human actions, and the choice of those actions. Ethics are based upon rules (explicit).

 

·      Rights: Legal, social or ethical principles of freedom or entitlement. 

·      Declaration of human rights.

·      Social value: A term for the holistic value generated encompassing social, environmental and economic. 

·      An example of social value goals are the Un Sustainable Development goals. 

Achievement, Compassion, Community Cooperation, Creativity, Adventure, Economic Security, Ethical Living, Efficiency, Friendship, Family, Freedom, Health, Happiness, Humour, Honesty, Helping others, Intimacy, Independence, Inner Harmony, Kindness, Leadership, Love, Money, Openness, Order and Stability, Power, Personal Growth, Partnership, Passion, Peace, Personal Development, Pleasure, Privacy, Recognition, Security, Success, Spirituality, Status, Travel, Trust, Truth, Understanding, Wealth, Wisdom.

 

1.     Family

2.     Health

3.     Happiness

4.     Personal Development

5.     Security

6.     Ethical Living

7.     Freedom

8.     Helping others

9.     Success

10.  Spirituality

 

1.     Family

2.     Health 

3.     Happiness

4.     Ethical Living

5.     Success

 

1.     Family

2.     Health 

3.     Happiness 

 

What does each value mean to me in relation to my studies and design work? 

 

·      Confidentiality

·      Consent

·      Disclosure

·      Competence 

·      Conflict of interest

·      Avoid unethical behaviours (do not harm)

 

 

·      Environmental Ethics (sustainability in materials).

·      Post-humanism (moral philosophy).

·      Social Justice (addressing inequalities of resources such as health, housing, education, work).

·      Anti-racism (social inequalities).

·      Non-harm (looking at the vulnerable groups, power and privilege).

·      Ethics of care (social duties and obligations).

·      Culture shift (change and crisis – emerging fields in ethics that relate to design such as material work).

 

1.     Conscience

2.     Compassion

3.     Competence 

 

·      Respect

·      Responsibility

·      Integrity

·      Competence 

·      Concern for Others

 

Working with communities:

·      We are working with people as audience, participants and collaborators.

·      Communities focused around place, groups who identify as being of the same culture, age or other characteristic.

·      Communities of interest (such as kids who code) and communities of practice (e.g. youth workers).

 

·      Responding to needs.

·      Create and broker the relationships.

·      To work collaboratively, in a way that is iterative and responsive.

·      Long-term outlook and commitment to partnership.

·      Looking for shared vision, shared benefit

·      An ethics framework underpins this.

 

 Our public and community engagement methodology: Our key community and public engagement ethos of co-design that is action-oriented, with equality of esteem for participants perspectives.

 

·      Decolonising public space, workforces and curriculum.

·      Art/content/product: who gets paid to make it.

·      Health and social inequality.

·      Major review of culture in the public realm.

·      Re-evaluating everything in terms of culture BLM, economic recovery, health inequality.

·      A lot of soul searching is happening around values and there is clearly a need for urgent action.

 

·      Build power sharing methods into your planning.

·      Co-design and co-create.

·      Imagine from other perspectives.

·      Include ethics and values conversations in your group discussions/proposals etc.

·      Be aware of power dynamics, ask yourself ‘who is in the room? Who is not in the room?’.

·      Start small and think long term.

·      Document your work including your process.

·      Design Council vision is a world where design, as a force for change, makes life better for all. 

 

·      A mindset and skillset.

·      Critical thinking and creativity combined. 

·      Much more than aesthetics. 

 

Head: Problem solving – The ability to visualise and conceptualise the intangible. 

Heart: Humanity centred – The passion and curiosity to design solutions that are right for people and planet.

Hand: Practical skill – The technical abilities to enable the end goal to be reached.  

 

·      Designing a future economy.

·      Al is important to improve how we design services, business and places.

·      Design is important to improve how we use Al. 

 

“The use of digital technology to create systems capable of performing tasks commonly thought to require intelligence.”

What this means:

·      Machines using statistics to find patterns in large amounts of data.

·      Ability to perform repetitive tasks with data without need for human guidance. 

 

AI :

Allows computers to solve problems that used to only be solved by humans. 

The possibilities of AI are endless…

 

·      Powers search engines 

·      Online shopping recommendations 

·      Digital assistance 

·      Radiologists use AI to calculate the exact volume of tumours, revolutionising treatments

·      Astronomers use AI to find and evaluate ex o planets and distant solar systems 

·      Unhappy motorists are using it to see if they can overcome parking fines

·      Fraud prevention

 

Using vast amounts of data to complete tasks.However, it isn’t able to transfer skills.

Learning abstract concepts 

 

·      Jobs and roles will change as some tasks become automated and new jobs are created.

·      This creates a risk of increasing inequality if some people are proportionately affected and benefits aren’t widely shared across society. 

·      What about social equality and fairness?

 

·      Social equality

·      Job prospects

·      Justice system 

·      Classification and clustering: grouping customs or citizens with certain habits, needs, products, different types of shoppers

·      Natural Language processing: Automatic email responses, chat boxes, auto correct. 

·      Ranking and recommendations: through preferences, prediction if someone will like something new, or not. 

·      Computer vision: facial recognition, making sense of pictures. 

·      Regression and prediction: broadcasting on historical data such as air processing.

 

Often seen as one of the other. Either in a Dystopia way ‘AI is here to take over our jobs and control the human race’ or a Utopian way ‘AI is here to save us and transform our lives for the better’.

A more balanced nuanced approach is needed, considering ethics and eco-system around AI. 

 

Negatives of AI: Easiest to understand through examples of where it has gone wrong

·      UK exam algorithm debacle

·      Alexa’s that do not recognise female voice. 

 

·      More efficient and tailored services.

·      Infrastructure systems that predict when they need repairs (or event repair themselves), reduce supermarket waste and help verify the provenance of the supply chain.

·      Detect early-stage illness and predict who might be more at risk for health conditions, etc. 

 

·      Persuasion is required before people see that the disruption and expense caused by AI, precisely altering procedures or adopting new processes, will be worth the benefits.

·      Huge amount that is still unknown about the role AI will have to play in the future.

·      Often people fear the growth in the gap between the human workforce and decisions made by computer algorithm.

·      For some it can be difficult to predict and understand what AI is doing. 

 

·      Shortage of data and technology professionals with experience and training needed to implement the required infrastructure and organizational change. 

·      Lack of management buy-in especially in terms of onboarding.

 

·      AI initiatives often are not planned at a strategic level. 

·      Fail to address business objectives/models.

·      Doesn’t consider or address the organization’s overall plans for growth.

 

·      Thread: Online stylists - Combining AI and machine learning, creating a personal way to shop, they also bring in human stylists. The more information you give the more personal response you receive. Very useful/popular at the moment as no shops are open in the UK.

·      Morrison’s: Using AI to reduce food waste. 

·      Mantle Labs: During the start of covid-19 they have been offering AI driven crop monitoring solutions to retailers free of charge to provide additional resilience in supply chains. The technology works to assist satellite images of crops to notify potential issues to farmers early on so they can better manage the supply and inventory planning.

·      Helping a user who is suffering with mental health issues due to stress (as a lot of people are at the moment during Covid times.

·      The user is trying to get help. So, we asked them to create a day in the life and then looked at what parts of AI were being included; analysing sleep rhythm, heart rhythm, blood pressure etc, then gave the systems advice such as meditation, physical exercise. Then looking at the negative and positive effects of including AI into the experiment. 

 

AI is not just a touch point but also becomes an active part of a service itself. 

 

·      The need for simplification of AI, making it accessible for those who aren’t AI experts, in simple terms so that everyone can make informed decision), ‘Making the invisible visible’

·      Widen understanding and transparency of why and when AI is useful with positive consequences, and why and when AI can be scary or misused or have unintended consequences.

·      The increasingly dynamic role of AI as an actor in a service, not just a touchpoint in a service or system. 

·      The responsibility of designers to ensure that human needs and community needs come first, and that the technology comes next, as an enabler to address the needs identified.

·      The need to re-prioritise ethics and AI as a core part of design education. 

·      The need for common principles and an ethical code of conduct for designers.

·      The need to increase fore sign, scenario building prototype and testing algorithms before implementing. 

·      The need for governance, clear rules, procedures and steps to follow to ensure AI considered at the outset. 

·      The need for designers to think about sustainability. 

 

·      Data Ethics Framework: designed to provide guidance for appropriate date use. Overarching principle – transparency, accountability, fairness. 

·      Alan Turing Institute Ethics Principles: Fairness, Accountability, Sustainability, Transparency. 

 

·      User research and testing 

·      Communications design 

·      Testing and feedback and speculative design

·      Communications design 

 

Dr John Fass is leading ongoing research on design and AI. He points out the lack of consideration of the ethical, moral, and political implications for designers involved in creating AI driven systems. 

 

·      Quality and profit 

·      How can brands inspire people to make for sustainable and ethical choice?

·      How can my generation influence this?

·      How can designers influence this?

·      What kinds of AI do I interact with on a daily basis now and in the future?

·      Storytelling as a skill is essential.

·      Talking about story telling in a general sense, not just writing. 

 

·      Narrative and storytelling are relevant within the project and relate to two aspects of it. 

·      First: There’s the critical and reflective presentation – this is the element of the unit that is assessed. 

·      Second: Story telling is vitally important in the process of communication the collective outcome that my group produces in responds to the brief. 

·      Storytelling is a sense making process

 

·      Consider the way my group is telling our response to our audience. 

·      The individual response, my reflection and our collective response is connected but separate. 

·      Different but bound together by my lived experience of the unit. 

·      Reliant on storytelling to bring that experience to life to my audience. 

 

·      Narrative identity 

·      Cosmological time (time as a linear succession)

·      Phenomenological time (time experienced as past / present / future)

·      Human time (complex integration of cosmological time / phenomenological time)

·      Narration a key part of that integration.

 

·      Receptivity

·      Representation

·      An act of expression

 

·      Ricoeur suggests as time passes, we have new experiences, and those experiences offer new opportunities for reflection such as my evolvement with unit 6 an opportunity for reflection.

·      He also says that we are able to re describe our past experiences (personal reflection of unit 6) and that through this telling we can recognise previously unrealised connections between agents and actors (the people we have met and that had an impact on our experiences, the circumstances we found ourselves in).

·      We can draw connections between events that have previously been recorded and events that have happened since. We can highlight previously untold event (such as my experience of unit 6). So, the process of narrating and re telling the past can shape our experience in the present and has the potential to re imagine the future. 

 

How will I use the reflection of my experiences to forward my own process and practice and develop as a designer?

 

·      Who?

·      What?

·      When?

·      How?

·      Why?

 

How did the project move through time? The narrative is between the then and now.

Part 1:

Putting a video into a pdf document within Indesign.

Other applications to use are Acrobat and Figma which are also good.

 

1.     Go to the ‘windows’ tab – ‘interactive’ –‘buttons and form’. Or right click on the object and go to ‘interactive’ from there and then ‘convert to button’. 

2.     Then it will show the types of item/button. Re name the button so I know exactly what it is. 

3.     Add an action/event (means release so it will complete an action for me). A variation of options to do – add url, go to previous, go to first page, sound, video, show/hide buttons and forms etc. 

4.     Example of pressing go to next page – action will roll over. However, pdfs don’t all react the same in different readers due to different browsers etc so need to make sure it is accessible for my audience.

5.     Roll over effect – use selection tool and select the letter graphic and change the colour. So, when rolled over it will change it. Add as many colours / changed if you like. This will only work on a browser or on some pdf readers so don’t put a lot of energy on roll over effects as there is not much point.

6.     Now I have done this I don’t need to do it again. I can copy and paste the button onto other buttons where its required.  

 

1.     Apply a place holder, grab media file and drag and drop in. click on the object and it should appear on the media panel.

2.     Preview section with ‘mute, play and scrubber button’. Click to confirm I have the right media file I want to share. There are options that follow – an option to confirm if I want the audio to play straight away. Often leave this blank as it is quite annoying to hear unwanted audio when you are trying to read through content, leave for the viewer to control. Looping: don’t want it to execute a loop while it’s loading as it can be quite annoying.

3.     Press from current frame – it becomes the place holder. Press refresh and it appears.

4.     Controller is the play, mute, scrubber etc button.

5.     Can add caption and no caption etc. Full screen or not etc. 

6.     Show controller on rollover.

7.     Preview option – so I can preview the page to see what it looks like.

8.     Exporting the document – export (Command E) name the file – make sure the format is adobe PDF (interactive) – save. 

9.     Create acrobat layer – enables the document to be edited after.

10.  Height is important to ensure the view is correct. If its portrait press fit height and if its landscape press fit width.

11.  Layout – handy for different styles. One page, two pages side by side etc. 

12.  Image resolution – good quality – 72DPI.

Part 2: 

1.     3 photos – photo 1,2, 3

2.     Firstly, convert the three images into buttons 

3.     Click on the first image and convert - click on the image - convert to image - re name from button ( ) to photo 1 so it’s easier to navigate and remember what is what. 

4.     Click on the second image and also convert to button – name photo 2 – then repeat with the third image.

5.     So now I make the image which are not buttons a state, so when one is in view the others are not. 

6.     With the main image (the one where when the document is printed the viewer will see). Make sure the image is clear and visible. This image will be at the bottom then the other images will be layered on top.

7.     Click actions – add an action – ‘show and hide buttons’ – now we have some options where we can make the items visible. 

8.     Bring photo 1 and 2 into the scene (on the paper/spread).

9.     When they are together on the spread, I can see what I can make visible or not. 

10.  When I click on photo 1, I want to see photo 2. So, hide photo 3 and make photo 2 visible. Click photo 2 and do the same thing, but hide, unclick visible as I don’t want it to be the place holder for the printed document. Photo 1 will be the place holder for the printed document. 

11.  Add the same action but hide photo 2, ignore the other objects and make photo 3 visible. When I click photo 2 photo 3 will appear and everything will appear on photo 1. 

12.  Hide photo 2 and 3, therefore it should go back to photo 1. (2 and 3 will be hidden).

13.  Click on photo 1, get photo 2, click on photo 2, get photo 3.

14.  Make sure all photos are only visible when clicked. 

15.  Arrange it how I want to appear – placing the photos on each other. 

16.  Go to spread – preview to see the arrangement. 

How to blend images together.

 

·      Horizon line can be adjusted using rotation.

·      Vanishing point.

·      Perspective lines.

·      Try avoiding the transform tool as it can course distortion.

 

Ask yourself:

·      Where is the light source?

·      Where is the darkest point?

·      Where is the lightest point?

·      These will help determines where the shadows should be placed. 

·      Also consider the type surface the shadow the light will be hitting – matte? Shiny? 

·      When you get the perspective right and the lighting wrong it can make your whole photo look off. 

 

·      To ensure the tones of both images blend and don’t look alien to each other. 

 

Background image and the image you want to blend.

One way…

1.     When you have your image, you want to blend selected, go to edit and press free transform (command T).

2.     Right click image to see options (warp, distort etc). 

3.     Press distort (with my free eye)

·      Do not apply the transformation. 

 

There is a quicker and easier way!

1.     Go onto the layer panel and command click on the layer I want. 

2.     Then press edit copy or (Command C). 

3.     Then deselect the image and go to the panel and create a new layer. 

4.     Select that layer and go to filter – vanishing point. This will be useful for creating a perspective. 

5.     With the guides selected create straight lines in the place you want the image. It will then create a grid. (Command C) is the action to past the image in the grid. 

6.     Re size the image Command T) to bring up the transformation box and then position it where I want it to go, then press okay when I am happy with it.

7.     When the poster has been applied to the image it might still not fit – so I need to correct the light levels. 

8.     To do this I need to apply a black and white adjustment layer. If the panel isn’t visible go to adjustments – panel. 

9.     Once the black and white layer ill see its too bright. Apply a levels adjustment and drag the slider down. It will affect the whole image, but I just want it to effect one layer. So, what I do is drag the levels down so it is above the layer 1 (the one I want) then apply the icon in the bottom left corner (clipping mask) it will apply the levels adjustment to the image I want it to. Continue to adjust until I’m happy. I can turn it on and off when necessary. 

10.  The image might look flat on the wall, so I want to create a new layer just under layer 1. Select the frame (Command click on it) then press M on the keyboard for Markie and drag it a little bit up and left. 

11.  Once I’m happy with that selection go to the Brush Tool or press B on the keyboard and take that selection from that frame and paint in my new frame. Zoom in to connect the bottom (L or lassue tool) to map out the corner. 

12.  Then press (Command D) to deselect.

13.  Repeat on the top. The corners should now be painted in and the image has more depth.

 

 

14.  Add in a shadow. Add in effect – drop shadow. Applying a shadow is going to have multiple layers to it. Take a colour sample by the clock. Play around with distance, spread and size and the opacity. Play around until happy. 

15.  Also apply a drop shadow and play around with the distance, size etc. Add as many as needed.

16.  Adjust the levels to decrease the levels of darkness. 

17.  Create a new layer – brush tool (B) change the hardness and size of the brush and paint over the picture. Clipping mask.

18.  Change to multiply and decease the opacity. 

 

1.     Quick selection tool (W) paint around until the whole image is selected. 

2.     Then press mask. The mask tool removes any of the background and shadow around the box itself. 

3.     Go to edit – perspective warp. Click and drag out a frame and take each corner and move to the corners of the image, being as accurate as possible. 

4.     Click on the point you want to manipulate – move around to where I want – I can also use the shortcuts for straight on, gridded layouts etc.

5.     Once I’m happy with how it looks, I click on it and it will apply it.

6.     On a real-life image lock down one side of the image and then drag a box on the box image I want to manipulate. 

7.     Once I’m happy with it click on the warp option. Because I’ve locked one side of the image it won’t manipulate that, just where I want to. Move around until happy and then apply. Crop (C ) down to size. 

 

1.     (Command 0) will bring my image to full screen. 

2.     Click on the quick selection tool – select subject – it will select the person in the image for me. However, it may select part of the backgrounds that I don’t really want so to get rid of the brush them away. 

3.     Press mask and it will remove the background around the person. 

4.     Press properties – select – mask it will give me options to refine he picture further. Smooth edges for example of if there is part of the persons arm missing paint back in. Then press okay.

5.     Hold down shift and press the mask layer to see the original image. 

6.     If I want to bring in additional imagery – re size the person. Transform (Command T) move size of the image. 

7.     If I would like to remove the background of a photo (sky for example) use quick selection or magic wand. Using magic want – select colour range which will give me the option to select the blue of the sky (how much is included or not) once I’m happy with it press okay.

8.     Select inverse selection (to swap what gets removed).

9.     Adding a solid layer – solid colour – select the colour I want. Once I’m happy with the colour drag to the bottom and apply. 

10.  Window – adjustments –   Apply a clipping mask.

11.  Black and white – if I want it only on part of the image make sure I apply a clipping mask before changing the colour. 

12.  Can also add it shapes – add in a new layer, add in an ellipse, change the colour. Use the direct selection tool (A) manipulate the shape. Once happy with it position it where I want it to be, re size, re scale, rotate etc. If I want to duplicate (Command J) on the keyboard. 

13.  Holding down the alt key it will hold it so I can just rotate from one point.

14.  Brush work – use the brush tool – range of spacing and size which I can play around with. Ensure I am using different colours, so I don’t confuse things. 

 

1.     Light on the right side and window on the left side with the camera straight on. 

 

2.     Same again on a bench – cleaner view of the shadow and it doesn’t fall. No shadows of yourself.  Take into photoshop after the make more white, remove shadows etc…

 

3.     Natural light flat surface birds eye view shot. Window on the left side. Edit to sharpen up the image. 

 

4.     Light (directly above) flat surface birds eye view.

 

5.     Natural light on the wall – artistic approach. 

 

6.     Think about what time of day to shoot. Flat and neutral – afternoon. More contrast – evening when the sun is going down or really high up (golden hour). 

 

7.     Flat surface to shoot on and in birds eye!

·      Design Council vision is a world where design, as a force for change, makes life better for all. 

 

·      A mindset and skillset.

·      Critical thinking and creativity combined. 

·      Much more than aesthetics. 

 

Head: Problem solving – The ability to visualise and conceptualise the intangible. 

Heart: Humanity centred – The passion and curiosity to design solutions that are right for people and planet.

Hand: Practical skill – The technical abilities to enable the end goal to be reached.  

 

·      Designing a future economy.

·      Al is important to improve how we design services, business and places.

·      Design is important to improve how we use Al. 

 

“The use of digital technology to create systems capable of performing tasks commonly thought to require intelligence.”

What this means:

·      Machines using statistics to find patterns in large amounts of data.

·      Ability to perform repetitive tasks with data without need for human guidance. 

 

AI :

Allows computers to solve problems that used to only be solved by humans. 

The possibilities of AI are endless…

 

·      Powers search engines 

·      Online shopping recommendations 

·      Digital assistance 

·      Radiologists use AI to calculate the exact volume of tumours, revolutionising treatments

·      Astronomers use AI to find and evaluate ex o planets and distant solar systems 

·      Unhappy motorists are using it to see if they can overcome parking fines

·      Fraud prevention

 

Using vast amounts of data to complete tasks.However, it isn’t able to transfer skills.

Learning abstract concepts 

 

·      Jobs and roles will change as some tasks become automated and new jobs are created.

·      This creates a risk of increasing inequality if some people are proportionately affected and benefits aren’t widely shared across society. 

·      What about social equality and fairness?

 

·      Social equality

·      Job prospects

·      Justice system 

·      Classification and clustering: grouping customs or citizens with certain habits, needs, products, different types of shoppers

·      Natural Language processing: Automatic email responses, chat boxes, auto correct. 

·      Ranking and recommendations: through preferences, prediction if someone will like something new, or not. 

·      Computer vision: facial recognition, making sense of pictures. 

·      Regression and prediction: broadcasting on historical data such as air processing.

 

Often seen as one of the other. Either in a Dystopia way ‘AI is here to take over our jobs and control the human race’ or a Utopian way ‘AI is here to save us and transform our lives for the better’.

A more balanced nuanced approach is needed, considering ethics and eco-system around AI. 

 

Negatives of AI: Easiest to understand through examples of where it has gone wrong

·      UK exam algorithm debacle

·      Alexa’s that do not recognise female voice. 

 

·      More efficient and tailored services.

·      Infrastructure systems that predict when they need repairs (or event repair themselves), reduce supermarket waste and help verify the provenance of the supply chain.

·      Detect early-stage illness and predict who might be more at risk for health conditions, etc. 

 

·      Persuasion is required before people see that the disruption and expense caused by AI, precisely altering procedures or adopting new processes, will be worth the benefits.

·      Huge amount that is still unknown about the role AI will have to play in the future.

·      Often people fear the growth in the gap between the human workforce and decisions made by computer algorithm.

·      For some it can be difficult to predict and understand what AI is doing. 

 

·      Shortage of data and technology professionals with experience and training needed to implement the required infrastructure and organizational change. 

·      Lack of management buy-in especially in terms of onboarding.

 

·      AI initiatives often are not planned at a strategic level. 

·      Fail to address business objectives/models.

·      Doesn’t consider or address the organization’s overall plans for growth.

 

·      Thread: Online stylists - Combining AI and machine learning, creating a personal way to shop, they also bring in human stylists. The more information you give the more personal response you receive. Very useful/popular at the moment as no shops are open in the UK.

·      Morrison’s: Using AI to reduce food waste. 

·      Mantle Labs: During the start of covid-19 they have been offering AI driven crop monitoring solutions to retailers free of charge to provide additional resilience in supply chains. The technology works to assist satellite images of crops to notify potential issues to farmers early on so they can better manage the supply and inventory planning.

·      Helping a user who is suffering with mental health issues due to stress (as a lot of people are at the moment during Covid times.

·      The user is trying to get help. So, we asked them to create a day in the life and then looked at what parts of AI were being included; analysing sleep rhythm, heart rhythm, blood pressure etc, then gave the systems advice such as meditation, physical exercise. Then looking at the negative and positive effects of including AI into the experiment. 

 

AI is not just a touch point but also becomes an active part of a service itself. 

 

·      The need for simplification of AI, making it accessible for those who aren’t AI experts, in simple terms so that everyone can make informed decision), ‘Making the invisible visible’

·      Widen understanding and transparency of why and when AI is useful with positive consequences, and why and when AI can be scary or misused or have unintended consequences.

·      The increasingly dynamic role of AI as an actor in a service, not just a touchpoint in a service or system. 

·      The responsibility of designers to ensure that human needs and community needs come first, and that the technology comes next, as an enabler to address the needs identified.

·      The need to re-prioritise ethics and AI as a core part of design education. 

·      The need for common principles and an ethical code of conduct for designers.

·      The need to increase fore sign, scenario building prototype and testing algorithms before implementing. 

·      The need for governance, clear rules, procedures and steps to follow to ensure AI considered at the outset. 

·      The need for designers to think about sustainability. 

 

·      Data Ethics Framework: designed to provide guidance for appropriate date use. Overarching principle – transparency, accountability, fairness. 

·      Alan Turing Institute Ethics Principles: Fairness, Accountability, Sustainability, Transparency. 

 

·      User research and testing 

·      Communications design 

·      Testing and feedback and speculative design

·      Communications design 

 

Dr John Fass is leading ongoing research on design and AI. He points out the lack of consideration of the ethical, moral, and political implications for designers involved in creating AI driven systems. 

 

·      Quality and profit 

·      How can brands inspire people to make for sustainable and ethical choice?

·      How can my generation influence this?

·      How can designers influence this?

·      What kinds of AI do I interact with on a daily basis now and in the future?