Showing posts with label Lecture. Show all posts
Showing posts with label Lecture. Show all posts

Friday, 5 May 2017

Start of the final term - Thinking about the final push!

Unfortunately I missed the live lecture by Dr Bailey on the 3rd May, nevertheless, thanks to wonderful technology, I was able to review a video recording of it which has allowed me to make some suitable notes as follows:

Lecture Notes - 3rd May 2017 - The following starts to position the different TYPES of essays and academic writing styles that could be used.

 A useful site to look at for writing up my essay is;


Having taken a peek at this, it is a brilliantly clear and concise / no frills explanation of what should be in a report, and I highly commend it!

Coming back to an accademic report: - Usual format applies, but this is for a business proposition.  I don't think that is appropriate for what I want to do, but for completeness and future records, I've put some notes down here anyway...
  • Title
  • Summary/Abstract
  • List of Contents
  • Introduction
  • Main Body
  •    Market / Market Sector / Share
  •    Competitors / Costs / Growth
  • Conclusion
  • Recommendations
  • Appendices
  • References
  • Business Plan


Practice Lead Research - This needs to be really pinned down as the practice is the research -  Background reading / Reflective logs / The design of the framework


Reflective Extended Essay
A literature review is essential to situate the sources of influences playing a role in your outcomes.
  • A guiding research question
  • A balance between context / Theory & Practice
  • Core reflection on the usefulness of the research for you practice
  •  
  • Identify the key aims and objectives within limitations and boundaries!
  • Bring it within a clearly curated FRAMEWORK! - The foundations have to be stable and in place.  The framework sets the parameters.


Blogs;
  • A word of warning! - Its important to use the reflective blog for EVIDENCE of what you are negotiating on your practice?
  • A formulation of creative methodologies... What are you creating and how can this be improved? / In aa curatorial sense, we are creating and curating our own port-folio.
  • How are we using other people?  How are we reflecting of these methodologies?
  • NO PERSON IS AN ISLAND! - You are situated within the world... Wht is the context and what does your contribution translate?
  • Visual Translation and analysis of features of your work... Thi is ABSOLUTELY ESSENTIAL!... The reflections are sign-posts of WHY we have done research, how we make sense of things and what iterations are made as a result of refinements - e.g. selecting one image out of say 50 odd, - why does this stand out? Colours? text?


A working Brief helps you hit the assessment criteria and helps to put together a schedule of work.

Strengths / weaknesses of intentions and why.

An Academic Essay; - Have an Argument.
How useful has the academic essay been in your own practice?

See KOLBS REFLECTIVE LEARNING cycle!
To account for what I'm doing and why I've been doing it!

The FRAMEWORK! - the total package! - All of this is done in parallel now!
  • What is my research topic?
  • What secondary research do I need to do?
  • what Primary Research do I need to do, why and HOW -
  • What methods might I need to use and why?
  • What will my outcome / output be?


All this needs to take place now.  The refinement over the last month of July is just a refinement only!

I have to do all of this together in order to showcase?

(Exhibitions in September are not part of the submission requirements...)

Don't cut and paste, rephrase / re-read / rewrite, DON'T PLAGIARISE!

Research Ethos...

Your measuring people! - What you want to put in place is a kind of framework of participatory / creative ethnographies.

Make sure you have FIVE methods that could be used for Primary Research, then focus on to what it is YOU will actually use...

PDP Number 3 needs to be completed.  See the core ideas on how to map out your major project and this is what Rowan wants to see as a starting point for discussion. (** See image below
).


When setting up my objectives, take a look at the criteria of the module and set the objectives so that they meet the assessment criteria!

e.g.  the major project is contextualised! Make sure you get marks as one for practice and one for written! e.g. The marking of 60 credits are split.  But some practice and written overlaps.  The currency and relevance...  The presentation in July is critical to show how I have established these objectives around my assessment criteria.

Set the framework up to allow my project idea sits in context / theory and / practice!

The subject contexts sets  boundaries for knowing what's on trend / what's avant guard etc.  I understand my work is current and relevant.  Knowing the audience, - it is communicating to a particular audience.

Its quite straight-forward but I need to interpret what the assessment criteria is with respect to my own work.

An output can be anything! - A book, a website / a portfolio / a product.

The OUTCOMES are the research and what has been revealed as far as "how have things turned out the way they have"..

Allocate time for your PDP

Practice / Theory  Context!

what is my unique angle?

Consider the work-flow diagram?

SUBMIT ALL PRACTICAL WORK BY 19th JULY!
SUMMATIVE PRESENTATION is WEEK Beginning 24th JULY !!!

Take aways...
  • What stage are you at with your FMP?
  • Reformulate your question/brief idea?
  •  Clarify your aims and objectives?
  • Refine your working on methodologies?
  • Revisiting and adding to the literature on your topic?

I need to have a Gantt Chart to guide you through your research process.  Sequence of Main tasks!  A To-do list. Week by week, hour by hour!

Wednesday 17th May is a PDP form and Gantt chart deadline to submit.

GATHER THE EVIDENCE!!!

Be prepared !!!

Thursday, 16 March 2017

Reflections on a lecture regarding entrepreneurialism and innovation and a recap of the presentation requirements for some attentive fulfilment!

We are now in the final phase of this module. The output of the work over the last term will be to produce three artefacts. The first being a portfolio website, the second a reflective blog and the third critical reflective summary presentation based on the assessment criteria overall. It is necessary to actively edit and generate the content for all of these items now.
With regards to the E-portfolio, this is an online platform to present evidence and ideas of group collaboration, including a devised group identity, research and research methods, generation of innovative ideas, thinking and user experience, research and commercial authorship where appropriate, together with substantial evidence of professional engagement in the chosen project.

In reflection of our own site, (which is a Work in Progress) I'm confident that it covers all the criteria pretty well;



With regards to the website, it is necessary to structure it according to the suggestions based on Dr Bailey's recommended tasks at the beginning of the term. This is what will be presented at the summit of presentation which for our own group, (the Rotor group) will be provided on 22 March 2017.


With regards to both this presentation and our own individual blogs, it is important that one should consider the moments of planning and how my feeling was throughout the progress of the project. I need to further define what I have been experiencing and how this relates to my own experience from working with people generally but also in particular of the specific group dynamics of my team that I have worked with over the last three months. This will include identification of where real collaboration has taken place but will also detail any conflicts and difficulties that I have overcome. In essence, the reflection serves to define obstacles and opportunities regarding growth, or for change.

As I have developed a significant body of work based on my existing blog entries over the past few months, it is worth considering whether I should identify key passages or critical blogs and highlight them to Dr Bailey for her specific reading. I recall the quote "Sometimes 'more' conceals the chaos beneath" that Dr Bailey made.

The use of the Share-Point facility in the University's Microsoft Office 360 domain has proved invaluable in team collaboration activities;


The written / output requirements for this module is based on the total output of approximately 9000 words or equivalent. By breaking this down into segments, this would suggest 3000 words on the presentation. 3000 words on the blog as personal reflections. And 3000 words within an E-portfolio is a collaborative works site.

I need to consider the presentation criteria carefully and how we have investigated and analysed the elements of the project concerning the tasks that we have been asked to perform. In this sense, the initial research questionnaires that we completed as individual contributors to the Rotor group discussions come into play. I also need to consider carefully how I have used primary and secondary research, primary research being through interviews such as those conducted by Grete and Adam which were recorded, our own questionnaires and our own group discussions on the Rotor group exhibition.
With regards to secondary research, the group has been very productive, and we have individually supplemented each other's readings with our own research findings by gaining other artists inputs on affected subjects and themes similar to those being expressed and curated by Dr Liam Devlin, together with other cultural inputs and influences.

I also need to explain and delineate the evidence of understanding, particularly in a commercial view with regards to understanding the clients, and the user's needs. The BBC symposiums and workshops have been very useful for us to create material as evidence which can be reapplied here to demonstrate our proof of research and understanding.

I see the presentation next week as being an opportunity to showcase the development of the project.  I need to keep in mind how I can communicate the relevance of our work to the client (Dr Devlin) and showcase what we have done in, for example, the memorandum of understanding.  I created that document for Dr Devlin to comment upon before our presenting anything to him that our initial presentation at the beginning of the month.

Finally, I must not lose sight that everything must be referenced according to APA six edition.

The final date for submitting the E-portfolio and the blog archive is Friday, 7 April. This will be provided to Dr Bailey through the Turnitin mechanism that the University of Huddersfield users for submission of students papers. The links to any E-portfolio and blog can be defined through a simple Microsoft Word document with all the necessary identification of course and student details placed on them.

And finally it is worth re-visiting some of the previous Master's degree students at the following websites
celmagic.wiksite.com/RSAmove.
Christina saw Bracknell.wiksite.com/makecon
Rebekahutch.wiksite.com/creativethinkers
Together with other online resources. Generally, all of the best presentations for previous Masters degree work contained;

  • Research evidence
  • knowledge of the audience
  • awareness of the client and their needs
  • knowledge of the subject, ideation and ideas generation (this is key)
  • a series of identified likely outcomes or possible results.
  • They all confirmed to the assessment criteria.

Conclusions:


In essence, all of this work is about creating evidence! But it is also about defining working processes too! Working in collaboration means clearly articulating and allocating jobs to individuals with clearly defined timescales. It is worthwhile carrying out some form of strength weakness opportunity threats analysis?

I think I might also insert details for areas for improvements and any observations for further development of my own skills and possibly those of others that I have worked with as a group.

I must avoid descriptive narrative both in my presentation on my blog.

In the reflection of the lecture, it is critical to consider the assessment criteria and use that as a checklist to ensure that the progress of both the project and any presentations or blogs conform to the requirements initially recommended.

References;

(These notes and reflections are based on a lecture/workshop presented by Dr Rowan Bailey on Wednesday 15th March 2017).

Monday, 27 February 2017

Reflections on a presentation by Daniel Ainsworth who shared his experiences with the creation of his website "the pupil sphere"

Something that I picked up almost immediately in Daniel's lecture that I thought was particularly poignant was that he said: "it is not really ever been about money". It is evident from this statement alone that it is Daniel's love for photography that has given him success is a good lesson for anybody that passion drives success more than money!

The website is intended for student photos and is a portfolio of their work. In setting the site up, then asked a stock set of questions from each of the image providers and in response, he provides a shop window for them to establish themselves as photographers in their own rights. There is also space so that image providers can place their own web links to the site as well.

A great inspiration for Daniel in this work was a piece written by Harry Rose, founder of "Darwin" magazine. He found this to be an excellent resource. (See http://www.darwin-magazine.com - offline at the moment, being rebuilt!)  or http://darwinmagazine.tumblr.com/

Through the use of the new website that then created, he offered free publication to students and felt that he had found a niche in the market. His pupil sphere site has allowed him to mix with other microcosms of students from other universities all over the UK.

His slides consisted mainly of single lines of text on a white background with simple text font. I found this to be very practical and very elegant way of expressing himself.

Daniel made the recommendation that when choosing a website URL, one should always consider the whole range of social media as this should also link and be the same name as the site. It is vital that it all connects together.

Another excellent resource to look at is ASX, or  AmericansuburbX.com. See http://www.americansuburbx.com/

Dan is clearly very good at network marketing by making contacts at other universities and then getting referrals from users at those locations. Ultimately this is free marketing.

Using a small on-line application called "Hootsuite" allows for scheduled postings in the future, but it comes at a price.  See http://signuptoday.hootsuite.com

Dan admits that he soon ran out of content for his website, so innovatively he started searching for "photographic societies" at other universities. He joined all of them through their Facebook sites and posted a link of advertising to all of them. The result was a tremendous response from all over the UK with a variety of skills coming back and asking to be included on to his site.

Another really useful resource that Dan has used throughout the development of his website originates from the company "Redeye" (). Joe Slack, really helped from that organisation, by providing a really useful critique of Daniel's work through an interview. See https://www.redeye.org.uk/
The Redeye magazine can also help you become "verified" by Twitter, and such references make you a much more credible provider.

On the subject further of social media, Twitter is now becoming seen as a professional platform and is a massive reference for artistic practice according to our tutor Richard M.

With regards to Instagram, there are niche tags that can help you with social media and increase your presence. There is also "Free Range" show which is a postgraduate photographic show. Here there as a huge amount of content which also provides email addresses that can be used in a marketing campaign.

The original website was built on Wix, but then switched from this provider to "square space" quite recently, as they do not have the size limitations

The way that Dan gets new contributors is to visit the universities and making pitches and distributing flyers. Money is earned through these visits. Where possible.

Google AdSense provides an income as does the Amazon Associates affiliate program (which is much easier to establish yourself within than Google). On the Amazon Associates platform, you are able to find niche affiliate's to make your work extend to a further audience.

However avoid advertising on the website as much as possible, because on a clean website they become distractions and take the viewer away from the content of your site.

Google Analytics provides a method to track viewer usage and records each of the mouse clicks that they make. Therefore sidebars are splendid for getting users to make those extra clicks.

Through the proper use of Google analytics and SCO's, it's possible to get very efficient targeting. For example, this can be from specific gender and age demographics. This allows you to make campaigns that are much more productive.

Words are also a key element that you need to understand if your website will be successful.

The importance of "self-promotion". In this regard, Stephen Shaw is a fantastic reference who regularly posts to Instagram. However, good self-promotion means that one should try to use all the digital platforms.

What seems to be key to Daniel's success is that he has separated himself from the product. By doing this, Dan has learned that if his website succeeds or fails he personally should not be affected with regards to reputation.

Part of the Master's study has given Dan space to create his own ideas for the next stage of development. He has learned to recognise his own weaknesses and is able to ask others to support him in these areas. His strings are then able to be focused upon and used to maximum effect. He has just recently got a "plug in" with "village" and also apply to do some curating work and marketing with the website "format".

Conclusions

  • Any good kickstart a campaign for a website should start at least three or four months before a launch. This was one of the main lessons that Daniel learned and regrets not taking time away in the production of the platform before he learnt he launched it.
  • With regards to social media, Dan advised against ever cutting and pasting content. It is not interchangeable, and you should tailor your social media specifically to your message.

Dan also recognises the need to ask customers what they actually want!
In summary,

  • the website production was quite easy!
  • It helps an individual to network with peers.
  • It creates portfolios of other people's work which can be adopted within your own scope.
  • This is a vehicle for duration and productivity.
  • It is an excellent way of self-promotion.


Thursday, 23 February 2017

A guest lecture by James Somerville, Vice President of Global Design, Coca-Cola. Monday 20th February 2017.

James opened the lecture with the explanation that he was a local boy! He was taught at the Batley school of art, in Dewsbury. He is particularly interested in connecting with young and emerging artists and designers and the area of Huddersfield has a rich history in developing creative skills.

My first observations were that the slide set that he used all had subtle Coca-Cola brand images hidden somewhere within them, either the bottle logo, or the Coca-Cola text, or even just the ribbon that is often seen in their advertising devices.

James talked about the "7X". That is, the seven secret ingredients which are the constituents of the Coca-Cola product. I have heard this suggestion that there are just seven ingredients before, and also that there are only two people in the world at any one time who know the precise details of what those ingredients are and their respective quantities. They are therefore rarely together, and even less so, do they ever travel together.

James tailored the presentation to reflect his own influences, and the continuing stream through the presentation was that of the Liverpool band "the Beatles". There was in fact a profound quotation from John Lennon, about happiness.

James started his own career with his business partner Simon Attik, through initiating a freelance agency in one of their bedrooms during the 1980s. Indeed he also mentioned to women that inspired him during his early years in the business. They were his grandmother, and Margaret Thatcher. He also referred to the Conservative advertise meant of the time which helped Margaret Thatcher to win the election, in which there was a large banner with the quotation on it "Labour isn't working". The simplicity of that tagline spurred the two on to create their own agency which was actually called "the attik".

Coming forward now some 30+ years, in his role as global vice president, he stated that Coca-Cola, as a corporation, in all its massive identity, is scared the most of "two dudes" working somewhere in an attic, coming up with ideas. It is almost always from these embryo sites that new killer competition starts to develop.

The underlying message throughout James's presentation was "make yourself different from the competition". In his own case, working with Simon, they did this by going to the United States and attempting to engage the music channel "MTV" with a photo shop design that they had created in response to a promotion that MTV were doing. The MTV folk wanted to know if it was part of a motion graphic. It wasn't. But they said "yes"! As a result of this willingness to take a risk, they won the business and neither of them have looked back since then.

Eventually in 2006 they got a call from Coca-Cola in Atlanta who had been looking at some of their designs. After meeting the Coca-Cola team and working with them for a number of years they eventually sold the agency "Attik" to the Japanese firm Dentsu. Knowing that James had recently sold the agency, Coca-Cola offered him a job!

The key to the Coca-Cola brand is that it has never changed its language, that is its visual language. The brand heritage that makes up all the design work for the company is drawn from 130 years of archives.

Originally a designer called William d'Arcy provided the logos and publicity for the Coca-Cola company through his design and advertising agency. William was the owner, and his brother Archie Lee d'Arcy was the graphic designer who came up with the red disc Coca-Cola brand sign which became a very easily recognisable logo, that was placed over the entrance of various vendor's and sellers of the product. Archie Lee also created a "brand identity" called the Visual Identity System, for the Coca-Cola advertising brand. This "Visual Identity System" remains the backbone and reference manual for all of Coca-Cola's future designs. By treating the product almost like an art form in the gallery, new interactions with the logo, and how it is presented have been able to be created.

When James took over his role, just over 10 years ago, he recognised that by this time, the corporation was a huge, complex and amorphous collection of image posters that were scattered all over the world. There needed to be a significant rationalisation, and yet James recognised that each nation has its own cultural heritage and individual identity, which interplays with how Coca-Cola advertises within that society.

James commissioned the designer Jonathan Mac to start creating new logos, based on the original brand identity and visual language which conformed to Coca-Cola's Visual Identity System. Very cleverly, he selected the ribbon logo, which is actually formed by placing two bottles (that is Coca-Cola bottles) head to tail, and then drawing the negative space between the bottles to create the ribbon. Taking the ribbon logo further, Jonathan created a "handshake" out of the ribbon. So he used the original brand devised by Lippincott so many years before, to create something completely new, and yet instantly recognisable.

Somerville has also used the designer "Mr Brainwash". By taking a 1940s poster of a Cuban woman holding a Coca-Cola bottle, (known as The Lady in Red), he modernised and redesigned the image into a new creation and a series that still held the same language brand. That is he created a cartoon, focused down on the red lips of the woman, and within the lips the glint of light is the shape of a Coca-Cola bottle!

Whilst all these designs are really clever use of the visual identity system, there is one thing for certain, there will always be a need for graphic designers and artists to supply innovative ideas in order for consumers to be sold to!

Somerville's best advice is to make sure that as a graphic designer, you make yourself into a jack of all trades when it comes to the business and industry of the future. "Design Thinking" in Somerville's own words "is the hottest topic in the United States right now". Develop the skills of being "a creative problem solver". Make sure that you have the skills or you know somewhere to to get them, to work in this new digital age. Develop a proprietary language, something that can be recognised as your specific work. But equally turn ideas onto their heads in order to get new ideas.

E.g. see Norma Barr, an Israeli designer who lives in London. He has a uncanny knack of being able to create graphic designs where we are able to recognise the familiar but the artwork delivers a surprise! Another in this genre, is Neville Brody, a font designer. He has looked every letter in the Coca-Cola archives that go back 130 years and has come up with a uniform series of fonts for the new millennia. Another artist, Lance Wyman, is a master of wayfinding. Now in his 70s, James Somerville has paired him with Margaret Calvert OBE, who originally designed the United Kingdom road signage system, which is now replicated virtually throughout the world. Between them they have been tasked to create a new "Way Finder" system with the Coca-Cola brand.

Storytelling through your own work will get you much further than the work itself. At this point the film "Evolution" with the Beatles members John Lennon and Paul McCartney, was briefly shown where they were discussing their own music business and the development of what I think must have been the Abbey Road studios, and their desire to create a music making space for other musicians and creatives. They clearly appeared to have an no idea of what they were doing, but the point was being made, that they were prepared to make risks. Furthermore, the message here also is "just start" you never know where your work will lead you to.

Going back to the history of Coca-Cola, it was a meek and mild-mannered chemist called John Pemberton who initially came up with the tonic that we now know today as Coca-Cola. Allegedly there were some 49 failed attempts to get the ingredients just right, with the 50th being successful.

The original Coca-Cola logo was designed by an accountant, who appeared to be bored whilst doing the chemists bookkeeping, and very skilfully wrote the words Coca-Cola in the margin of the accounts book. So the design arguably, was accidental. It gets better. The original bottle design was based on the outcome of a competition. The brief which was textual, was to design a suitable bottle for the Coca-Cola brand. The winning design was wrongly based on a Cacoa pod, that is the raw and unrefined fruit body that cocoa beans and eventually chocolate is refined from. This unusual fruit I have seen for myself, being approximately 20 to 30 cm long and elliptical. There are longitudinal ribs from the top to the bottom of the fruit, and these ribs, plus the elliptical shape of the fruit were incorporated into the design of the bottle, in the misguided belief that Coca-Cola contained either cocoa or chocolate. Apparently it contains neither, but this bottle logo has remained ever since.

The lesson here is that through evolution, and experimentation with somethings heritage, you can take products past and then reinvent it.

Somerville also uses Stockholm designs Ltd for much of their work together with local agencies and designers for other products in the Coca-Cola product range. For example take a look at the Fanta drink and its designs for Halloween which is aimed at 10, 11 and 12-year-olds as their specific consumer base. Compare this with the new "vintage" musical range which includes themes such as Phantom of the Opera, for consumers of the age group 15 to 16 years of age. This was highlighted by James as it is necessary to create a partnership through people's strengths.

Coca-Cola itself is for simple brands 1) the traditional Coke 2) Coca-Cola-zero 3) Coca-Cola-red 4) and diet Coca-Cola.

Coca-Cola recognise that all of these variants need to have an immediate recognition and individual identity they have decided upon a strategy of using the "Rising Red Disc" as their new brand image based on Archie Lee's original disc design. This unwavering colour use of red, together with the original design script of 1886 is still valid. This idea of continued strategic visual images has been taken forward with the idea of using the Coca-Cola brand as part of the World Cup. The response to this massive event is to have kept a systemised and recognisable brand by mashing together both the logos and the World Cup football itself.

It should also not be forgotten that graphic design has been in constant revolution. We now have to think of graphic design in motion, which in turn we have to think of as digital design, which again in turn must now include audio.

Consider also some of the symbols of Coca-Cola that they are regularly attached to. For example the Santa Claus that has been used for so many years by the company has arguably become an old gentleman dressed in a red suit. Allegedly it was Coca-Cola who made Santa red.

Combining the old with the new, consider some of the incredible designs of Norman Rockwell and think of him being collided with technology such as Instagram. This is a direct example of where design meets advertising. [See Norman Rockwell's huge ideas in drawings and paintings, and in particular the way that he asked so many questions through his paintings!]

It was here that James Somerville exposed the reasons why the Beatles had been so fundamental to influencing his development. It transpires that Brian Somerville was James's uncle, the same Brian Somerville who was the Beatles publicity manager and regularly appeared in a number of photographs of the famous four.

Conclusions

The guest lecture by James Somerville was closed with some words of advice;

  •  "think like a big company, then when you are as big as Coca-Cola, start thinking like a small company". Like the dog and the cat, they are both enemies but they both complement each other. 
  • Be strategic in your decisions. 
  • It is not just about the design, it is about why is this design important?
  •  And how will my work make a difference?
  •  Why will this design make a sale for my customer or client?

 Keep asking yourself these questions and it's unlikely that you will go wrong.

References:

Notes recorded by the author at a Lecture by James Somerville, Vice President of Global Design, Coca-Cola. Monday 20th February 2017 at The University of Hudderfield.

Thursday, 16 February 2017

Reflections on a lecture by the BBC, creative innovation and entrepreneurialism, and the art of Pitching.

I've really enjoyed the lectures that the BBC have kindly given to the Master's group over the last few weeks, and these notes provide a review of the final session that we had on Wednesday, 15 February 2017. The lecture was delivered by Mr Dan Ramsden, Director And Head of Creative Experience at the BBC, supported by Tina Connolly, senior UX designer, and Laura Fletcher, a UX designer for "content discovery".

The lecture was entitled "Pitching", or "effective communication and the art of being generous and selfish"!

I liked the style of Dan's delivery of the presentation almost immediately, as I appreciated the first important step of any presentation, which is to get attention!
In his words, the whole experience of a good performance is to "sell the dream, but deliver reality", clearly an example of his vast expertise in the marketing and advertising industry.

The lecture and presentation was split into three sections, which comprised of;
1) understand your audience.
2) have a clear and concise structure.
3) tips of the trade.

In a nutshell and something quite near to my own heart, Dan was saying that before any presentation, "we need to create a plan!" He was saying, "Make all your messages through the presentation, sticky ones", in other words, messages should be easy to remember by the audience, and easy for them to buy into, both logically and emotionally.

Section 1 a) - Consider an approach through Generosity. Focus on the audience.

- As I think McLuhan once said, "the medium is the message" (Marshall McLuhan, 1964, in Understanding Media: The Extensions of Man).

  • Whenever delivering a message, be "outcome oriented". In other words, don't bury a message in reams of text, but make it clear and explicit, have clear objectives or actions that are easy to find.
  • I also like the phrase "you can win minds with logic, and hearts with emotion".
  • Therefore, when considering the delivery of the key message, it is vital to understand the audience to define whether the message is either emotional or logical. Both of these have different methods of delivery. What outcome do you want to achieve?
  • If you're winning hearts, use emotional persuasion, tug at heartstrings, or stroke someone's ego.
  • If you're winning minds, use logic and especially evidence to convince your audience.
An overview of some audience centred techniques was then provided, which relies on the idea of people falling into personality profile types. Choose the correct type of language that suits a particular personality or profile type. For example;
  • Emotive people are usually image orientated. They like change, are usually assertive and sociable.
  • People who fall into the directive category, are usually goal driven, dominant, opinionated, perhaps somewhat intense as they have a keen focus.
  • Reflective personality types tend to be thoughtful, considered and cooperative, but low in sociability; They tend to love the detail.
  • And finally, the supportive personality type tend not to like change; They are loyal, steady, reliable and considerate.
The audience impacts on the message! It's, therefore, vital to work out what personality type they might be, in plenty of time before a presentation commences. How the audience decodes, a presentation, therefore, will affect the outcome.

From my own experience, however, although it is in support of this concept outlined above, in the real world what is important is how we tailored the presentation to each of the audience participants. It is this blend of our interactions, which makes a general approach to satisfy each of the personality types present. Nevertheless, it is just as important, if not more so, to fully understand who the decision-makers are within an audience to ensure that the "pitch" is properly directed to them, and yet also gets the corporate support from the others.

1b) The selfish aim; 

In this section of the lecture, Dan was suggesting that instead of just giving a series of words to make up a full presentation, state your intent early!

  • Open the conversation by saying something like "to give you an understanding of…"
  • Or perhaps start with "to convince or to persuade you that… XYZ".
  • Be explicit in what you want, or alternatively what you want your audience to do, or to believe, or to go away to do, as early as possible in the delivery.

I remembered here, some of the beautiful words of a previous boss of mine, the legendary Scott McNeely, who used also use the phrase "Get all the wood behind the arrow"!

In other words, focus on the vital points you want to get across. Invite the audience to engage by asking "what questions would you like me to address to achieve the aim?"


Which are supported by bullet points, like feathers on the quiver of the arrow, with phrases like "how will you deliver the vital point actually?"
  • Establish early in the conversation what your "vital" point are.
  • Why are these critical to you?
  • What resources do you need to achieve them, or deliver them?
  • What will happen if you don't do this or that?
  • And finally, how will this make life better (for you, for them et cetera)?
  • Give your messages through questions to address each of the quadrants of the personality types.
So, -
In thinking about "my" audience, asking myself three fundamental selfish questions;
1) why am I bothering?
2) whom I talking to anyway (can they make a difference)?
3) what do I want them to do after this meeting/presentation?

An exercise that has been used with some success by Dan is what he calls the squid method. "Sequential questions and input diagram".

We were then divided into our groups to take forward some of the ideas that have begun to emerge in response to this whole module. The outcome of the "squid" session have been documented elsewhere, as it is not important in the flow of this blog. Nevertheless, it was a useful exercise and helped to establish and drill down each of the merits of our ideas.

In brief, the "squid" method helps to drill down, similar to the "five whys" method, and attempts to expose;
  • what are the features that a client is looking for?
  • How have we responded/done that?
  • Why is that right for the client? What are the benefits, not only for the customer but also to ourselves?
Ultimately what we uncover is what are the unique selling points that we need to address as part of our presentation.

Instead of thinking about the client's brief and then coming up with an idea, think about the idea again and check that it fits with the brief.
  • How are we going to communicate this to the client through the "pitch" (the what, versus the how)?
Some of the ideas that Dan was using were very similar to a simple method that I have been using throughout my professional career, which is based on AIDA, attention, interest, desire and action. The simple graph was shown as follows;

Start, introduction, the body of the presentation, conclusion.

The objective is to reignite attention at the end of the presentation to get action!

I recognised that this is similar to the classic idea of the narrative arc. A further graph was shown which I particularly liked that had the stages of:


exposition, inciting incident, rising action, crisis, climax, denouement, and ending.

Section 2: Structure;

"Introductions and attention grabbers."
choose one approach to grab attention right from the start of the presentation, which can be either
1) unexpected
2) emotional,
3) simple.

Or alternatively this could be through;
1) a quotation by famous author or celebrity.
2) a declarative statement such as "what's in it for me?"
3) a controversy,
4) humour or drama to induce an emotional mode.

Many of these ideas been taken from an advertising book called "Made to Stick" by Chip and Dan Heath, (2008),"Made to Stick" by Chip and Dan Heath, (Publisher: Arrow (7 Feb. 2008), who also have a web presence and website at http://heathbrothers.com/books/made-to-stick/



The Oxford English Dictionary's new word of the year is "post-truth".

2) again thinking about people, people are great at visualising things. Therefore consider, what is the pain that you are going to come to cure with your solution? And also, who will you fix with your solution?

Tell your audience about a problem, something that they can readily recognise and identify with, and turn your own problem into an issue for them; Capture their emotional hearts by tugging at their metaphorical heartstrings.

Relate your conversation to diverse audiences by selecting real or imaginary people who are different, but who the audience can relate to on a personal level.

3) Building a case
Consider the classical Greek rhetorical devices;
  • Bring your facts to life.
  • Statistics and evidence win a logical mind.
Compare statistics and if necessary exaggerate, by making big numbers digestible by placing them and juxtaposing them in context with something familiar and reducing problems down further and further, e.g. Reductio ad absurdum.
  • Use vivid language to build a mental picture.
  • Use visual linking to metaphors through props and images.
  • Create these analogies and metaphors by making hooks to get above the topic or issue, by process of abstraction.
  • Consider the use of third parties; that provides evidence of success, case histories validation, and credibility.
4) Convince!
  • Use rhetorical questions. "Who doesn't love a rhetorical question?"
  • Recap - Through the presentation, especially to if it is a long one, to give some space to the audience to allow them to think again.
  • Use reiteration. Create a series, as a streamed reiteration, list the issues out.
  • Use triples or the rules of three; human beings seem to have an ability to put things together in threes. Exploit this behavioural characteristic.
5) Closing.
  • Never forget to ask what is next?
  • Build confidence around your product or idea by including at least one of these themes as your final slide; 
    • a list of short milestones; 
    • some testimonials; 
    • or a specific question 
    • e.g. "what's next?"

Conclusions;

  • Building a good pitch or presentation can often be quite daunting, particularly if it's felt that the outcome may be subjective.
  • With a clear structure to a pitch or presentation, the tools that have been provided today will help a great deal in bringing confidence not only to a future audience but also to the presenter.
  • Many of the ideas that Dan presented in this lecture can be applied in one-to-one discussions with people, and it should not be forgotten that critical conversations, if structured and planned beforehand can equally result in your own individual desired outcomes.
In my own case, I often fail to think carefully about my desired results before engaging in conversations, and I particularly like the idea of considering your own selfish aims (perhaps this itself is controversial?), before making a pitch.

References;


  • Lecture bt Dan Ramsden of the BBC, University of Huddersfield, 15th February 2017.
  • Heath, C & D, "Made to Stick" (7 Feb. 2008), Arrow, London. ("Made to Stick" by Chip and Dan Heath, (Publisher: Arrow (7 Feb. 2008),)
  • http://heathbrothers.com/books/made-to-stick/
  • See also http://heathbrothers.com/ for a great resource on Decision Making, Change Management and "Sticky Ideas".



Thursday, 2 February 2017

Creative innovation and entrepreneurialism, working with the BBC, Session 2.

Thinking and reflections on notes taken at the BBC, creative innovation and entrepreneurialism Lecture, Wednesday 2nd February:
This part of the talk provided an overview of the design research and reflective practice together with user experience and design methods conducted by the BBC.
The conference was given by:
 Kelly Lothbrook-Smith, Senior Design Research Consultant;
together with Tina Connolly, Senior UX Designer, CBeebies;
and also Laura Fletcher, UX Designer, BBC content discovery.

Kelly started the lecture by explaining that the "user experience" (UX) is a very overused phrase within contemporary media which just about means anything you want it to be regarding how people perceive things!

Kelly's background is in psychology, having studied the subject through university and as a therapeutic practitioner. She was then invited to join the BBC to assist them particularly with design research on the BBC iPlayer.

The first task but we undertook was a little icebreaker where collectively we were asked to record each of the presenters and their interaction with how they engaged in the simple act of eating yoghurt. This was to (or “intending to”) potentially redesigning the packaging of this product, and to try and articulate how the product taste is better than anything else on the market. From a consumer's point of view, this would include recognising, choosing, buying and consuming this "revolutionary taste experience".

Kelly's explanation of marketing reminded me of a story that I have heard before and the idea that "when it is not yours, don't say that your baby is ugly". In other words, Kelly was touching on the idea of Confirmation Bias. This is a direct link to the psychological concept that there is a tendency to favour information that confirms an individual's belief and hypotheses.

Therefore, it is essential that whenever we are conducting research, it is of particular importance that unedited research results are fully presented. We need to ensure that we never inadvertently inject our confirmation bias into research results.
A phrase that is often used is

"design like you are right…
                           But test it like you're wrong."

Use research as inspiration!
A useful meta name or abbreviation when approaching research might be considered as "what is the P.O.I.N.T.!"
Where;
Problem:         is defined as a problem with the current approach and what it is you're looking to investigate.
Opportunity:  how can we change our approach by using appropriate research?
Insight:          what we know already, how do people behave normally?
Needs:           what are the specific requirements of the research? What are our intended outcomes?
Themes:        through which themes can we engage with the general public or the target audience to carry out our research?
[We then conducted the yoghurt test, where each of the conference speakers individually went through the procedure of selecting a yoghurt, peeling back the lid in various ways, and then eating the contents. This was completed with different ways in which to dispose of the packaging.]

Part one: Research Fundamentals.

1) what do people need?
2) what people want?
(If we think of these as desirables.)
3) can they use the things that we give to them? Furthermore can we "delight" our users, without overwhelming them?
We can conduct research of user experience (UX) usually through the following interventions;
  • User interviews
  • focus groups
  • ethnographic studies
  • diary studies
  • email surveys
  • competitor analysis.
Also, there are further research models that we may choose to use, such as;
UX blueprint diagram; journey mapping; user stories; personas;
analytics review; expert reviews; web surveys; system user acceptance et cetera et cetera.
Research is always useful, but it must always be balanced against:
cost: time; the stage of the project; user availability; the questions that you are asking!
There is a theory by the NN group that suggests that you only need to use five people to test the product to get approximately 85% of the expected failures and answers. If one was to draw a graph of user problems found: versus number of test users, the optimum number of test subjects at 85% can be shown as follows;
See the website HTTP://www.NNGROUP.com/articles/why-you-only-me
Active research is valid only when
  • you are asking the right questions
  • you employ active listening
  • you engage with efficient problem-solving
It is simply wrong to test ideas in silos: however, it is imperative to contextualise things. Beware of Digging into a Rabbit Hole.

Part two: Listening!

One of the fundamental qualities of effective research requires the researcher to be an active listener. Questions, right questions are what is important.
We listen to some examples of radio interviews; some are good, and some are bad! The good ones tend to employ the following steps;
Step one) establish rapport; get down/get up to the respondents level. Talking a secure manner and make the interviewee at ease.
Step two) Ask reasonable questions that are open! Use Rudyard Kipling's classic aide memoir, I had six honest serving men they taught me all I knew, they are what and how and where and when and then finally why and who.
Step three) allow the respondent to go off on tangents and talk about what they want to talk about, but gently give them time to answer.
Step four) steer the conversation back from any tangents they may wander down, steer them through the context as a guide, but do not force answers.
Step five) everything is useful. Record what the respondents have said and how they say it. These sometimes have insights into what the respondents might be thinking, even though, at first, some statements might be confusing.
Step five) be interested in listening. Lean forward and make eye contact. Nod your head regularly, try to mirror the respondent's mood and body language as appropriate. Overall you're trying to convey a sense of warmth and engaged interest.
Step six) replay some of the sentences the respondent has given, this helps with mutual understanding and shows that you are listening. Qualify and ask for further meaning if there is an unusual word that may be used. In this case, only ask "what do you mean by that word XYZ". It is important to ask these questions with a sense of warmth, gentle enquiry. Do not intimidate the respondent by exclaiming "what do you mean by that" on its own, as this can be misconstrued. Ask specifics.
Leading questions that are closed (that is issues that usually have an answer of yes or no) are extremely dangerous as they not only close down respondent if asked to quickly they become intimidating. The interviewee is likely then to give answers that they think you as a questioner wants to hear, rather than their true feelings or desires et cetera.
Keep questions open.
And finally make sure that the languages appropriate to the respondent, regarding intellectual capability, age groups, context, and avoid eccentric or esoteric questioning that might be difficult to understand.

Active listening;
shut out distractions, pay undivided attention, lean forward and observe the respondent body language.
Start with open questions, such as; "tell me about…" Or perhaps "could you explain a little bit about…"
Provide effective prompting; especially when the respondent is stuck for words

Planning;
  • Flow-explain introductions, warm-up, context. A logical order of themes. And on a positive note.
  • Depth-include key prompts and probing questions at the appropriate time.
  • Layout-keep the conversation uncluttered, well spaced, and for written enquiries, make it understandable at a glance.
  • Focus-ensure that the key research objectives are covered.
Make sure you have a plan!

Methods:
Guerrilla Testing: this is a phrase that is becoming more popular, and relates to direct approaches to people when you find them within their natural habitat.
Get into the user's domain, a cafe or the street; into their office's, garages and workplace if it's permitted. Another useful place to find respondents is in areas where they are waiting and don't have much to do, such as stations, bus stations, clubs, queues for events and so on.
Catch people when they're killing time.
It works well when you work in pairs together.
Always give the respondents and incentivisation as a thank you, something simple such as a bar of chocolate or sweetie: but never use this as a bribe to influence.
Guerrilla testing is a good way to get "quick data".

Lab Testing: - this is testing in a controlled environment.
-The best way to achieve "lab" interaction is through the use of multiple cameras, with facilitated prompts. It is necessary to observe respondents in great detail, seeing their manner of address, body language and overall movement: et cetera. Watch their every pause, every utterance. With the proper reflective analysis, a whole brain dump of ideas can come from this work.
Learning should be then applied to future lab tests. Any sessions of lab testing should then include iterations of what has been learned from previous meetings. The objective here is to keep improving the quality of the research.
However in lab environments exercise caution, particularly be on the lookout for "double negatives" or "double positives" which can blind your results. These are often seen when interviews are being conducted where there are additional people, superfluous to the exercise within the room. The respondent is psychologically influenced by what they perceive those other people might want to hear.

Remote Testing: - This is dependent on the technology that is available to you and is often a way of helping a researcher find "the journey" that the user might have when interacting, especially with a piece of software.

There are many models of remote testing that are available on the open market to the researcher such as for example:
  • Userzoom. 
  • Optimal Workshop: 
  • loop 11: 
  • user testing.com: 
  • WhatUsersDo
One of the latest forms of research for visual feedback is a method known as "Eye Tracking" which is a new type of analysis in which users can be critically observed.

Top tips:

Always remember that research is not a test! Any answers are right! There is no right or wrong answer from a respondent.
Silence is golden! Listen to the Focus!
Avoid all bad language! Equally, don't mirror or replay bad words!
Plan! Make a structure.

Good intentions:
  1. Avoid recruiting experts. There will just only tell you a narrow band of answers.
  2. Test small, test early, test often.
  3. focus on what needs fixing (or what needs refining)!
  4. Rotate the order of tasks and questions. This keeps people fresh and stops the effect of priming.
  5. Your prototype's fidelity is what matters, but it is not critical. When creating a prototype, it does not need to be perfect. Anything can be a prototype, providing that it just needs to be representative. It is a model.
    Prototypes can be remade, readjusted and re-formed. Get as much "representation" as possible into a prototype, rather than just features. When using whiteboards or display walls, use colour coded sticky notes to help navigate.
  6. Isolation; be aware that the presence of other people can influence the outcome, even if they don't speak or give answers at the time. People sometimes give answers because they think they "should" choose appropriate solutions, based on social hierarchy and other influences when in the presence of other people.
  7. Never take notes on what people are saying, but take notes on what they are doing!
Where to next?
Note taking: cover key themes and research objectives.
Why does one observe? What people say and do are very often different. Observations actually see what happens in reality, rather than relying on self-description, which is often biased (remember confirmation bias?).
  • Analysis: there is no magic or science in research.
  • Organise your findings and issues into key themes or further research questions to answer.
  • Take
  • Include background details, methods employed and so on.
  • Provide coding: create verbal tags; metadata tags to group research together.
  • Create themes: use the metadata tags of coded data to develop ideas.
  • Theorise: -build a hypothesis to take forward for further work so that new ideas can come out from your research.

And finally…
Always remember accessibility and colour blindness. Always consider the disability discrimination act in your activities, but also bear in mind that there are other motor based limitations, that are sometimes hard to qualify and quantify. For example, consider mums with babies! Invariably they only have one hand free to facilitate tasks if they are carrying a baby!

Saturday, 28 January 2017

Experimental photography, a lecture by Stella Baraklianou.

Experimental photography can generally be discussed and termed as "anything that is outside of the ordinary."... In this lecture, we will explore the idea of "the moire" (this expression is taken from a French textile method and is pronounced 'M-war-ey').

In essence, the description of moire is, an overwhelming interference of meshes, concentric rings, grids and so on that are overlaid on one another, so as to create an optical pulsation.
The artist Liz Deschenes exploits this, but instead of using digital techniques she uses analogue, camera-less, traditional film techniques, in other words, photo-grams.

https://www.sfmoma.org/watch/liz-deschenes-on-her-cameraless-photography/

The effect of changing the angle of meshes. Image
This moire effect, however, is an enemy of digital sampling. Because when a digital photograph is taken of certain items, say for instance a mesh drawn on a television presenter's clothing or suit, then depending on the speed of sampling within the digital camera, a moire effect may be produced when the photograph is replayed. This occurs especially on television. However, most digital cameras have what is called "anti-aliasing" filters to actually stop the moire effect.
Liz Deschenes work is all about exploiting and playing with the viewer's perceptions. This artist is playing with the experience of understanding and exploring the unintended.

Stella Baraklianou also investigates similar themes. In her recent international exhibition, in Banff, Alberta, Canada, where she was the artist in residence, Stella experimented with the properties of the material mylar, where it was used as a reflective substrate and is a sculptured reflector of both silver and gold. (This reminded me of some of the work that I have seen before by Joseph Kosuth).

Stella's enquiry was… How are these installations going to manifest themselves together with the ceramics, the tassels and the everyday objects?

By creating abstract "projected stage sets" as she called them, she was able to create new sculptures. The idea of light mirroring the piece in the centre of the stage set, changing the refraction and reflection of light to become an unknown projected object.

Clearly, there are two sides to the mylar sheets, one that stellar terms as a "cool" side and the other a "warm" side. These two sides of the mylar different effects. This has led to Stella coming up with the phrase of "Constructive Reversibles".

Stella has more recently displayed her art at the "Photography Is Magic" exhibition and also at the "Aperture Foundation" in New York in July 2016. At this event, the curator of the Photography Is Magic show was Charlotte Cotton. Further exhibits of refraction were provided by Sonja Thomsen and other artists, the website can be found here.  http://aperture.org/shop/photography-is-magic-3340/

Conclusions;


  • the idea of using the moire effect is an interesting concept.
  • My own ideas of trying to visualise the peregrines perception could possibly incorporate the moire effect?
  • Further studies into visual optics of other animals is going to be useful
  • Already reading the work by Tom van Dooren entitled Flight Ways: Life and Loss at the Edge of Extinction, and in particular the symbiotic relationships that humans have with other birds, and in this book, circling vultures and mourning crows provides good reading material.

Thursday, 26 January 2017

Innovation and Ideation. A Workshop with Auntie Beeb...

In this module of creative innovation and entrepreneurship, we were lucky enough to be able to attend the workshop which was held by members of the user experience team at the British Broadcasting Corporation (BBC).

There will be three workshops over the next few weeks, and these will be attended by;
Paul Crowley, Head of User Experience:
Dan Ramsden, Director of Creativity:

The three workshops will cover;
A) ideation; that is, coming up with ideas.
B) testing; validating the ideas and finding assurance through screening.
C) presenting; pitching to customers and selling your idea.

The BBC has always been the front of commercial communication, and as such, they adopt some methods to help them both facilitate and generate new ideas.

A presentation was given and referred to the work of Prof Eddie Obeng, concerning the difference between knowledge and learning.
https://www.ted.com/talks/eddie_obeng_smart_failure_for_a_fast_changing_world
Filmed June 2012 at TEDGlobal 2012

Eddie Obeng: Smart failure for a fast-changing world


Our ability to learn has been outstripped by the amount of knowledge that is available to us. We, therefore, live in what is called a "foggy environment" and this was articulated through a simple quadrant table as follows:

                                   

In this sense, the BBC suggest that the only way to deal with the wealth of information that surrounds us is to what in their words is a mantra for their group which is "run confidently into the fog."

In a way what is being said, is to avoid over-planning. In my case it's about avoiding the Gantt chart and thinking from a fresh point of view;


To have an excellent idea it takes lots and lots of bad ones first. We learn from our mistakes better than we learned from doing something correctly once. The great ideas that have emerged in the last 500 years, in fact in the last 200 years since the Enlightenment, have usually been a product, even a by-product of many many years of struggling failure.

Let's explore the idea of divergences to convergent to divergent and convergent thinking.



We can talk about this as four separate steps.

Start as an "explorer."
engage with the outside world to find stuff that interesting, be a collector but don't judge anything that you've witnessed or collected.

Then become "an artist."
Turn the stuff that you have found into other stuff by combining them. Just create things, but do it without any constraints!

Then become "a judge."
it is in this mode that you critically evaluate your ideas and start to find out through verification and testing what actually works or is likely to work.

Finally, make the step to be "a warrior."
In this step you press ahead regardless with your chosen ideas beating your chest, banging the drum, and selling the idea to everybody come across. This gets momentum behind your idea and starts converting others to your way of thinking.
-----------------------------------------------------------

We then conducted a short icebreaking session where we were shown a picture of a paper aeroplane, the typical paper dart. The facilitator stated that the next few moments would be spent by the group in designing the best possible way to get those three clean sheets of paper across the room.

Everybody started making paper planes, the typical bear trap. In my case, I suggested to the group that we brainstormed what the actual objective was and how we were going to do it. To get these three sheets of paper as far as possible, we need to compactness tight as possible and also a small surface area that we can. It may have been appropriate for us to only screw up the three pieces of paper into a ball. This would have met the objective, and having seen the outcome of this exercise before, this would have second-guessed the facilitator's demands. But I went one stage further by thinking about the actual objective a little deeper. My solution was to compact all the paper as tightly as possible, and also to reduce the surface area to a minimum, without the use of Sellotape or anything else to hold it together.  The idea gave me the inspiration to simply roll the paper in as tight a formation that I possibly could, and then to tie it into a knot.

Sure enough, this design actually won. It ricocheted off the back wall with a thump, whereas the paper planes fell short, and the screwed up piece of paper while travelling a little further, was unable to hold and sustain momentum. I was well chuffed!

The lesson of this session was the importance of "reframing" the challenge. What does the project need? Really and truly?

The next exercise was what the BBC called the "red ant man". This was a method to reframe your challenge as problems, blockers, constraints and goals.

Step one, define your opportunity by breaking things down into component parts so that the limitations, blockers can then also be broken down.
(I felt this was a similar exercise in the swot analysis, strengths, weaknesses, opportunities, threats: but perhaps with a new name).

Again by using a simple quadrant diagram, one can position the elements as follows;

Goals versus constraints
issues versus blockers

It was pointed out that a "blocker" is something where it is possible regarding overcoming and obstacle or getting inertia and momentum for example. Whereas "constraint" is a continuous limitation that is immovable and cannot be overcome.

We should be asking you "what does success look like?"

For example, if one is to create a website, is that in itself a goal, or is the real goal to reach an audience?

The "five whys" method.

Why is this important

Why is this important

Why is this important

Why is this important

And finally why is that important?

So what is stopping us?



The next part of the method is finding ways that we might reframe the question or a problem and its solution through the phrase "how might we…"


Give our problem a perfect frame for creative thinking, but without suggesting a particular approach. In deconstructing these three words,
"how" invites us to think about many solutions
"might" suggests that there are many possibilities and solutions,
"we" is a collaborative address, which means that as a team we all own the problem together.

1) As an example, how might we appeal to the widest audience?

We brainstormed this idea and came up with creating banners with details of the website to be posted throughout Huddersfield and the University; get a publication in the Huddersfield Examiner, the local newspaper; develop and create posters with details of the website with links and URLs; establish and print leaflets with details of the website et cetera

2) how might we see what success looked like?

  • Ask the curator's opinion:
  • get opinion polls in the leaflets through some sort of voting:
  • ask the public verbally who visit the exhibition, or people in the street:
  • build a model and get feedback on it:
  • communications with other groups:
  • promotional and marketing events in the street, interactive handouts.

--------------------------------------------
The second session after lunch started with an icebreaker, where we were asked to use sheets of paper with 12 preprinted circles on them. We were all asked to fill each circle with anything we can possibly think of, over the next five minutes. This was an exercise in creative thinking. There is an infinite series of ideas for any given problem, and nothing is a stupid idea because it could lead on to something else.

Another method used in the creation of ideas was what the BBC called their "crazy eights". This was an exercise again to create quantity not the quality of ideas and was solely based on folding a sheet of A3 paper into eight segments and then drawing possible ideas in each of the eight sections. Anything goes, and nothing is wrong or stupid!

In our own team, which had been tasked with creating a website for the new rotor event commencing in February, we need to think about roles and responsibilities and how the site will develop.

We thought in terms of:
pre-event during the event, and future post event.



Each of these phases of the website would need to be managed in different ways, such as the first phase would be about promotion and marketing as to "what will be happening".
During the event, web updates should show "what is going on now".
And the future post-event website should show "what happened".

Therefore content for each of the three phases should be something like 1) static photos. 2) videos of current activities. 3) video archives and interviews together with transcribed discussions and records of debate.

So roles and responsibilities seem to be emerging in the form of;

  • content creation
  • Web design and layout
  • ongoing management of the website and updates.


The third method that the BBC team suggested that we could use is known as the "Beetle" method.

In this process, we come up with a simple idea name to insert in the Beatles head, which in effect, becomes a brand-name for the notion. Keep it simple, so that people can readily identify with it, and conversations can be had with anyone in the team.

In the body of the beetle, we create what is called an elevator pitch; this is a short summary of the idea and its objectives; to open up new possibilities: for example the gallery, learning, attendance, and wider audience.

On the legs of the beetle, six in total, we can either use why, how, what, where, who and when. Alternatively, on each of the six legs, we can use them as a mind map style, an aide memoir, to ask ourselves six tough questions. Such as why would anybody care? Why is this important? And so on.

Once we have gone through the first three methods, we can then map the ideas against a cost versus impact grid. Again this uses a simple four-quadrant grid, with one axis showing "Cost" ranging from low to high, and on the other axis the expected "Impact" from low to high.




And finally considering the "the Warrior mode" remember how the original Olympiads used to think, before starting a battle. They visualised their best possible successes. What is the maximum vision of success? If we were to read a national newspaper headline about our success what would it be? Write this down in as bigger letters as we can find and broadcast it to as broad an audience who are prepared to listen!



So to recap:

1) we thought about methods concerning the fish diagram, as diverging convergent and then divergent and convergent thinking.

2) the red ant man method. Break up the challenge.

3) "webbing or the five whys" this is about dogeared resilience, asking ourselves at each stage why is this important? And then replaying it to ourselves by asking "so what is stopping us"?

4) use dot voting. Democratically select the strongest ideas and avoid any arguments at this stage.

5) reframe the solution and the problem. "How might we…?" Reframe the challenges and the briefs for a fresh approach.

6) the crazy eights. Here we want to come up with a quantity of ideas and solutions to the issues. Quantity, quantity, quantity!

7) the beetle map. This helps the switch from the artist and explorer mode and into the judge. Judge and make the idea practical.

8) needs and impact plotting. Map your thoughts onto a quadrant set to highlight and show up the relative merits of each idea. This facilitates clarity in finding the right solution.

9) write your news headline. Become "the Warrior". What does success truly look like? What would an Olympiad see in victory?

Conclusions:


  • The above tools are a useful inclusion into my toolkit for facilitating creative thinking, ideation, setting goals, and thinking about outcomes.
  • By coupling these ideas of methods and tools together with other instruments that I have become familiar with in previous work, you should be able to build a flexible set of tools to implement good micro-projects over the coming months.
  • It is worthwhile for me to review these tools periodically and make sure that I'm exercising them in the most appropriate way.


Thursday, 19 January 2017

Creative Innovation & Entrepreneurialism; Lecture by Dr Rowan Bailey on Wednesday, 18 January 2017

The options for the various activities for term two were put forward in this lecture.

Mostly, this next semester will focus on our individual practice; how we manage our practice, experimentation and trials and ultimately reinforce good behaviour to practice, practice, practice in an entirely immersive state.

At this stage, it would be useful to update my personal development plan and outline my new learning objectives from the feedback I gained from Dr Bailey.

I am currently asking myself what goals I need to set for myself to achieve the self-directed study, and what do I plan to achieve a tangible outcome during this term?

I'm pleased to understand that following the submission of the next PDP, there will be one-to-one meetings with Dr Bailey and other academic staff, however, to achieve that the PDP must be completed by 1 February.

As part of the submission for this module, a new website will be used to demonstrate evidence of collaboration with other students. Also, my blog must continue to reflect my own development and provide a platform for my thought processes.

The lecture continued with an overview of Dr Tina Selig's creation engine. This is something that I came across last year at my undergraduate study, which is based on a Mobius loop, and describes the six elements of creativity which include:
 Imagination; to encourage play. This can be continued through reframing a problem, in a playful way such as how a joke may switch an outcome from the anticipated. Imagination is about connecting and combining ideas. Putting things together that aren't obvious. Challenging our assumptions and opening our minds.

The next element concerning "knowledge" is our toolbox of innovation. For this, to work, it is essential to pay attention to everything that is going on around us to find new points of view.

The third element is an attitude. Creativity requires a mindset, the motivation and drive. This is about engaging with vigour, and is not just about being a puzzle builder, but making and adapting constantly, and leveraging the resources that you have available.

On the inner level of the Mobius loop the three elements essential for creativity are "environment, resources, and culture. With regards to the environment, the habitat in which we immerse ourselves whilst creating require items that are easy to manipulate. Dr Selig calls these "easy manipulatives". It is essential for rules and constraints to be flexible, which also includes our ability to find the necessary resources. Moving on to resources, clearly it is critical that this element plays a massive part in what is created. The more resources available and the more of what you need will undoubtedly help in generating desired outcomes. Perhaps this element itself is the most important. However, it should not be forgotten that adaptation of resources that are to hand is perhaps an essential quality rather than the resources themselves. And finally, the culture in which the creative individual finds themselves within is equally important. The background influences on work produce future ideas through the combination of all the above elements, underpinned by a cultural foundation.