Tag Archives: Creativity

The Past-Age of the Essay

Posted on by under Life, Networked Media

Essay time. Photo: Serdar Kilic

For an interesting look into the history of the essay and how it went so wrong in public education. Perhaps if more people thought like this, the essay would not have such a negative stigma surrounding it? As Courtney points out, highlighting a new method of thought, or set of beliefs regarding a subject is much more exciting than rehashing information about Charles Dickens or Hamlet. Equally important, she also acknowledges that certain subjects require facts and evidence (such as history) for points to be made. This is also perfectly true, however as Adrian pointed out, there are plenty of great essays that use evidence and facts. I think it is more to do with the fact that essays don’t need evidence to be good. We have been brought up to be very wary of information (eg; Don’t use wikipedia as a source, it can’t be trusted– While some of these are marginally valid points, this article in general screams insecure rubbish), everything must have a source, surely we can’t actually come up with our own ideas or thought patterns – or more importantly – trust them?

I also think that the quote she pulled out from Graham’s article really hones in on a sound and integral point.

In a real essay, you don’t take a position and defend it. You notice a door that’s ajar, and you open it and walk in to see what’s inside.

Perhaps if schools taught writing using this stance, we would have generations of much more confident and creative individuals? I’m serious, if we were taught this in school, the world would be so revolutionarily different I can’t even explain it. For instance: How many kids out there are there who fail at english and fall apart because they simply can’t get their head around the rigid and unobliging structure that is forced down our throats in Secondary school? People would be more open to learning, they’d be more confident at it, not only that but they would be more creative about it. This sort of standpoint encourages people to express their own unique thoughts and ideas; but not to persuade through bullying. The idea is to present and speculate, pose new questions and answer it.  It encourages you to show what you know and think, to speculate, to explore and ponder the universe. Wouldn’t that be much more beneficial then learning the art of rehashing, re-mixing and defending yourself?

Your view point is not right, you can’t even give someone else’s statement to back it up. You should be able to back up your ideas with other people’s previous developed thoughts. Oh, but you’re not allowed to use other people’s ideas anyway. That’s stealing. Sound familiar? The best part about abiding by the methodology that Graham suggests, as Georgina points out:

you can start out with nothing- just a pencil, a piece of paper and your thoughts- and result in an answer to something neither you nor the reader had previously known. That’s the way to progress, to evolve.

Creativty. Speculation. Exploration. Recurring themes. They’re all the outcomes of “Model II” style activities and behaviour. The form of “essay” that we learn in school is definitely a “Model I” sort of action. Its all about insecurity, being defensive and not allowing speculation and creativity.

 

Science Vs. Creativity

Posted on by under Networked Media, Theories

Albert Einstein liked creativity. Photo: Sofi

Imagination is more important than knowledge. Knowledge is limited. Imagination circles the entire world. – Albert Einstein

Two age old arch-nemesis’ who have spent centuries being pitted against each other head on the in public secondary education system. Until you leave high-school you’re either an academic (primarily science or maths inclined) or you’re a creative (arts student), then when you get out of school you realise that these qualities can co-exist and that you’ve been living a lie and just wasted twelve years of your life. Well, at least that’s how the school system makes you feel. Most of the time.

So now it’s the next big thing, integrating science and creativity on a pedagogical level and in the industry. This is huge, alarming, revolutionary stuff. It isn’t really, the concept has been around for ages. Lots of scientists were also big “creative” thinkers outside of their crafts. Aside from that, science does require a level of creativity, at least when it comes to scientific advancements and inventions. But this Design Fiction stuff, this is something that’s new and innovative. Even if it’s just the scale that the ideas are considered on.

Science fiction, disgusting, isn’t that what nerds watch? How can that stuff be good for the world, it’s just a way for freaky teenage boys to get off over beautiful blue women and intergalactic princesses (Wiki’s are a wonderful thing, aren’t they). Well Not anymore (if it even was in the past). Design Fiction is the new Science Fiction. It’s professional, has integrity and isn’t based around alien species with voluptuous figures. Thanks to Bruce Sterling, the concept of sci-fi (that is speculation and creativity in regards to possible futures) is now a viable method of design and creativity, one that is increasing our human capacity for creative freedom. I talk about the basics of this here: Design Fiction.

As Simon Grand and Martin Wiedmer discuss in, Design Fiction: A Method Toolbox for Design Research in a Complex World, the manner in which science is treated and utilised is changing and adapting, with a interests invested in how scientific research could be used for creativity and constructive processes. Design processes are being incorporated with this idea to construct what we now know as Design Fiction, and use it to develop and research in our “complex world”.

They argue that Design fiction is a “toolbox” of methods that should be utilised in design research in order to accommodate the future needs of our world. In relation to design research and it’s relation to scientific practice and research, they identify six criteria that are considered important for the functionality of this “toolbox”:

  • (1) design fiction requires methods, practices and tools which allow for the creation and construction of possible future worlds, in relation to the actual world;
  • (2) furthermore, these  methods, practices and tools must allow for materializing those possible future worlds, in terms of images, artifacts and interactions realized in diverse media;
  • (3) in addition, it is important to develop a method toolbox which is characterized by a plurality of different perspectives and approaches, which get beyond ideological premises and allow to map and assemble the pluralities and the multitude of potentially relevant perspectives;
  • (4) furthermore, these methods and tools must be able to represent, visualize and document the experimentation processes;
  • (5) then, we emphasized the importance of understanding experimentation as being generated through an experimental system, which implies a focus on asking a series of questions, allowing for a series of experiments, or the exploration of a series of related hypotheses. Finally,
  • (6) it is important to understand that these multiple methods and tools, visualizations and representations, experiments and questions, will change the design research practices themselves over time.
These six criteria highlight the underlying principles that Design Fiction is based upon and also provides a basis off which future research and creativity should rely. These ideas also form my “take-away” idea from this article.
In order to possess the most power in constructing and creating ideas, technologies and texts, possible futures and future outcomes must be established and explored. It is essential in understanding ideologies and their relations to society and its contents and to explore them until it is possible to deconstruct them and work outside their boundaries. Questions must be asked, speculations must be made in order to attempt to cover all possible futures and outcomes. It is through these questions and speculations that we can address the issues and perspectives that are important and relevant to our work in the future. Most importantly, as highlighted in the sixth criterion, is that through the experimentation, speculation and questioning that is present in design research, the actual processes themselves will change.
Adapting is an important aspect. A system established to encourage speculation and adaption must itself adapt when it’s limits and boundaries are reached.
That was heavy, dense and somewhat challenging to interpret. I think I’ve nutted out what’s truly important in context to networked media, my education, career and future.

 

Three Weeks of Building

Posted on by under Networked Media, The Unlectures, Theories

The night sky is a great platform for speculation and imagination. Photo: SpeakerX

The unlecture is now sitting comfortably in its third week of running, perhaps not comfortably, but I’m hoping its going to settle. This week, I was a little disappointed, as I was impressed with the direction the sessions were heading in. The redeeming factor was the discussions and elaborations during the second half of the unlecture.

I don’t blame the unlecture for this stumbling block (although I’m not sure it was a stumbling block, more of a learning curve), I don’t blame the pessimists and haters either, it’s just unfortunate that some people are defensive towards change and won’t begin to explore and accept new horizons and possibilities.

To think that such a valuable time for learning and personal growth was spent addressing a question such as “Why should I attend this irrelevant spiel” is saddening to say the least. I was a little bit disappointed at the fact that Adrian’s response had to happen, I feel somewhat responsible, being part of the student body, but I think it was something necessary. Hopefully now after this happening people will loosen up a little and let Adrian and his methods swim around in their brains for a little while.

That’s the first really negative thing I’ve had to say about the course. That’s promising. But it wasn’t really a negative, maybe a blessing in disguise. With that in mind the discussion, by Elliot in particular, was a great platform for reinforcing what we talked about in our tutorial. That the aim of the course is not to teach a specific skill-set, but rather teach you how to learn and adapt to the new skill-sets required to exist not only in our contemporary world, but into the future and beyond.

Furthermore, the discussion from Elliot, Jasmine and Adrian about Design fiction and its relevance in our world was positive in helping reaffirm the idea of planning for the speculative future. The example of mobile phones really but into perspective just how widespread the effects and possibilities of technology can be as well as touching on exactly how different the advancements in technology could possibly be if the speculation happens during design, rather than after it.

Obviously this speculation is something that occurs, particularly with new technologies such as the mobile phone, smart phone, etc, but it is often not as liberal and free as the fictional world. This presents shortcomings and delays possibilities from becoming realities, as these new uses and methods relating to the technology are reactive, rather then proactive.

Right. That was a rather large one. I feel sound in my understanding of the concepts explored so far. Let’s wait and speculate as to what the future of Networked Media will hold for us all.

Design Fiction

Posted on by under Networked Media, Theories, Theories and Philosophy

Startling Stories from the land of fiction. Photo: G. Crombrugg

Design Fiction has an important role to play in learning and enhancing our mind’s ability to adapt and create in the present and future. It can best be described, as Bruce Sterling said in this interview with Slate.com, as: “the deliberate use of diegetic prototypes to suspend disbelief about change”.

While this idea has been around for a while and has played a major role in the Sci-Fi genre over the years (Think 2001: A Space Oddyssey), the idea of incorporating design fiction in a pedagogical (educational) sense is something that is relatively new. There seems to be many arguments for utilising this sort of design in education. It teaches students the fundamentals concepts behind design, rather than teaching them the skills required to design. With these concepts, students are capable of designing and constructing medias and ideas well into the future. This is a perfect example of equipping individuals with the ability to adapt to change and any skills or disciplines they wish to partake in, rather than simply teaching them a skill-set that must be advanced when it expires, or is replaced by new technology.

Networked media at RMIT seems to allign very closely to the goals and reasoning behind design fiction. It’s obviously something that Adrian has looked into and watched closely.

After reading Matthew Ward’s, “Design Fiction as a Pedagogic Practice“, there was one point I took away that really stuck with me. I think it’s something that is important in all aspects of life if one is to be creatively free and possess freedom:

“1. All design is ideological

The social, cultural and political basis of those ideologies need to be exposed, interpreted and explored. In DF the ideological drive is laid bare for all to see. Deconstructing the economic and political underpinning of design is an essential skill to develop.”

The deconstruction and analysis of ideologies allows a proper understanding of why people act the way they do and why the world operates in the way it does. Understanding this allows you to break free of these boundaries and the shackles that are chained to your wrists and feet as a prisoner of society, and with this comes extraordinary creative freedom and possibility. That is not to say that ideologies are not important parts of society. They are. It is impossible to live without ideology. But it is important to understand and explore the possibilities that ideology presents.

Adrian Miles and Networked media aren’t the only things heading in this direction though. In my second semester (1st Year) at RMIT I have already been exposed to this idea of exploring and interpreting ideologies through the class Communication Histories and Technologies.

Aside from this idea, the other message that I am absorbing is to freely experiment and speculate. There’s no way to be innovative and creative without the freedom to speculate or explore new and untested ideas. There is a certain element of risk that needs to be accepted if one is to be creative.

The future of media and communication professionals seems to be pointing in a direction based around this sort of education and schools of thought. The people of the media will have a greater mental capacity for creativity and design that has never been experienced in such force. I’m excited to be part of this movement.

 

 

 

Disclaimer | Background image: Emma Gawen
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