Right in step with Mercedes Benz Fashion Week,the Independent Fashion Bloggers Conference takes place in NYC from 08- 12 February at Milk Studio. Want to know what’s next in fast paced landscape of fashion blogging then join IFB, they’ll bring together some of the best and brightest personalities in the fashion industry to discuss the issues, challenges and exciting future of fashion blogging and social media.
GLIDE’12: Consumed is accepting CFP abstract submissions for virtual conference to be held 07 November 2012. Be part of this major partnership with the GLIDE team and Iridescent, the Icograda Journal of Design Research. Audrey Bennett, will serves as guest editor, she’s the founder of GLIDE, and Associate Professor at Rensselaer Polytechnic Institute in Troy, NY. For more about GLIDE click: http://glide12.org/
In need of some cultural nourishment, then head over to SVA MFA Design Criticism Spring Lecture series, starting next week February 14, the Spring line-up jumps off with an intimate Q&A with The New York Times’ newly appointed architecture critic Michael Kimmelman. For more information on D-Crit’s lecture series click D-Crit.
Design Indaba:29 FEBRUARY 2012 – 4 MARCH 2012 Interact/Design Indaba 2012. This year’s venue includes the Design Indaba Conference and Simulcast from 29 February to 2 March 2012, and Design Indaba Expo from 2 to 4 March 2012.
GLIDE’12 rev’s up planning for the next symposium promises to surely be loaded with stellar presenters and topics. If you are interested in receiving information just leave me a comment, I’ll add you to our contact database. For now you’ll just have to settle for reading advisory board member Gloria Gomez’s review on GLIDE’10. The compelling and exciting work that was presented at GLIDE’10 can make designers feel proud of the powerful design contributions we can make to society on a global scale. The presentations mainly represented work on the facilitation, consequences, and challenges of cross-cultural collaboration in indigenous and underserved communities, and the effect of such on human/user experience. This review summarizes the conference facts, the conference schedule as well as discusses the presentations, blogging comments, and the virtual conference format. The review ends with concluding remarks and a summary of each presentation, photographs, and a hyperlink to the video recording published on YouTube –http://www.youtube.com/user/glideconference.
Table 1: Presenters and Topic Descriptions of GLIDE’10
GLIDE biennial virtual conferences disseminate cutting-edge research on global interaction in design. The virtual format bridges cultural and geographic divides in an eco-friendly manner. Truly interdisciplinary, GLIDE’s review committee invite submissions from design and design-related disciplines including: art, architecture, human-computer interaction, communication, information technology, computer science, and STEM disciplines. The first GLIDE’08 conference was held on October 22, 2008 and details can be found at http://www.glide08.org/.
Living in NYC ones days tend to be overloaded, so this weekend was no different with events from ICFF (International Furniture Fair) to Socialmedia weekend at Columbia School of Journalism organized by Sree Sreenivasan the dean of the School of Journalism and host of volunteers. And this event was organized in just two weeks. At first I wanted to play spin the bottle to choose, but instead opted to try something new after all I’ve attended numerous ICFF’s over the years. Despite recouping from tumltous two weeks of finishing my second Masters in Design Criticism at the School of Visual Arts, I managed to stay alert through several informative sessions, chat up lots of exciting new people, and tweet about the proceedings throughout the two days. Luckily, things paid off, Doug Cret one of the attendees followed my tweets, wrote an article on Fastcompany blog about Socialmedia Weekend and mentioned my culturalboundaries blog. Totally unexpected, but much appreciated hit from Douglas Cret. More on the wonders of tweeting.
Here’s an excerpt by FC expert Blogger Douglas Cret.
We Are Content. We Are Curation. Open the Doors And
See All the People Does the headline sound familiar? It’s a play on that funny nursery allegory they used to do with their hands when you were in day school. “Here is the church, here is the steeple, open the doors, see all the people.” It amazes me that as a tow-headed latchkey kid, I thought that little rhetorical device was magical.
The tools of discovery really are multiple on the web, and in a real way, the tools are its people.
After spending hours tweeting, listening in on social media forums and connecting with some really intelligent media people, I spent a few minutes inside the Cathedral of St. John the Divine on Saturday evening and contemplated the full day’s data stream.
Architect Craig L. Wilkins, design scholar Carol Tulloch, and art historian Kymberly Pinder at the Parsons conference (photos by Jonathan Grassi, courtesy of Parsons
Last weekend March 26 Parsons School of Design presented Black Studies in Art and Design Education addressed arguably the the disproportionate number of students and faculty of color in Design Schools not just in the United States but across the globe in countries likes England, Canada and South Africa. This major event was organized by Coco Fusco and Yvonne Watson professors at Parsons School of Design. I was not only in attendance, but I also spoke on a panel addressing the troubling gap that persist within the classrooms of design and art schools. Bill Gaskin, of Parsons moderated my panel Curricular Reform in the Foundation and Advanced Studio Courses presenters included Janice Cheddie, from UK, Van Dyke Lewis from Canada, Mabel O. Wilson of Columbia University and myself. It was such an exhilarating experience for me to interface with some of the best black scholars in design, architecture, art history and fashion, it is not often that such opportunities happen in one setting. I must commend Coco Fusco and Yvonne Watsons for taking a strident position and challenging the needs for an overhaul in the academe of design and art schools which is seriously long overdue for revision. Many of the big design and art schools had major showing of faculty and administrators from Pratt Institute, Yale University and MICA.
As reported in the Chronicle of Higher Education by By W. Ian Bourland
Although many of the themes discussed by panels composed of veteran educators and practitioners were not new, Black Studies was notable for its emphasis on concrete and pragmatic solutions for educators. The timing, moreover, could not be better: On the one hand, humanities and arts budgets within higher education have been roiled by recent economic challenges; on the other, the wider marketplace has capitalized on work by black and other minority practitioners during the past five years. The Phillips de Pury’s 2010 “Africa Auction” was highly lucrative for the auction house, and artists such as Glenn Ligon, Kara Walker, Yinka Shonibare, and Julie Mehretu have been the subject of marquee exhibitions in major global institutions, including the Whitney and Smithsonian museums.
Coming in March Black Studies in Art & Design Education Conference at the The New School
March 26th-27th 2011. Two Day Conference on interdisciplinary conference on Black Studies in Art and Design Education, featuring speakers from art, fashion. architecture, urban planning, art and design history and theory. Organised by Coco Fusco and Yvonne Watkins, Parsons The New School for Design, New York. Presenters include: Craig Wilkins, University of Michigan; Mabel Wilson, Columbia University; Noel Mayo, Ohio State; Carol Tulloch, Chelsea College of Art and Design; Jennifer Gonzales, North Carolina State University; Michele Y. Washington, School of Visual Arts; Kim Piner, School of the Arts Institute of Chicago; Noliwe Rooks, Princeton University; Clyde Johnson MICA are amongst the list of designers, cultural and design critics, and educators presenters.
The conference is intended to be a forum for reflection on the troubling gap between the notable significance of Black creativity in global culture and its lack of presence in art and design education. The goal of the conference is to elaborate and assess strategies of reform that would diversify curricular offerings and thus improve education for all art and design students while simultaneously generating a more supportive environment for Black students and faculty.
Scholars and practitioners in Fine Arts, Industrial Design, Fashion Design, Architecture, Urban Planning and Art and Design History and Theory will engage in an interdisciplinary discussion about the challenges involved in rethinking curriculum, engaging with historically disenfranchised communities, and recruiting and retaining Black students and faculty. The conference will also feature two keynote speeches by prominent members of the fields under figures whose efforts have been central to diversifying the many fields that comprise art and design studies. Panels will address the following topics: rethinking art and design theory and history courses in light of the global influence of cultures of the African diaspora; curricular reform in practical courses of art and design; strategies of engagement with black communities; Black student experiences in art and design schools; and the specific challenges of recruiting and retaining Black students and faculty in school of art and design.
by Michele Y. Washington Click to hear Ron Eglash’s presentation.
Our final keynote speaker brilliantly closed out GLIDE10 on his continuous investigation on Culture and Science in the sphere of indigenous and vernacular cultures existing within the United States ethnic communities such as Asian, Latin American and African American. Ron gives an in-depth explanation of global indigenous cultures to dispel numerous myths that exist of such groups as being backwards, primitive and illiterate. This raises several fundamental issues of cultural sensitivity, and he provides specific examples from one project featured on his website on the process of mapping out Native American asymmetrical and symmetrical beading systems. For another project you can sample an example of African Architectural typology replicated through the application of African Fractals, an organic branching structure referencing nature.
This African Fractals project offers clear cut examples of his teaching methods applied in the cultural significance of the ancestral origins of cornrows for Black American students in high schools. His goal was to challenge the students to investigate the issues that surrounded the Black Transatlantic Slave Trade to the Americas and Caribbean, students were able to identify hygiene, resistance, retaining ones culture identity linking their own cornrow hairstyles to its origins. Other examples of paring the musicality of Hip-hop provide a broader sensibility of the connection as to why they wear this hairstyle. He’s developed a computation where he feeds in various iterations of how many plaits are in one braid. According to Ron, such concepts can be applied to other ethnic groups to gain a better understanding of the ancestral heritage. The Cultural expression opens the door to engage students to consider the various modalities of the design patterns replicated by cornrow hairstyles, which blurs the line between indigenous and vernacular design. He also looks at graffiti as a form of vernacular stereotyping. Ends his talk on Puerto Rican youth rooted to challenge the students through mathematical computation of Spanish music through rhythms and beats of the music. Summary of what limits racial intelligence, he states, while no one wants to talk about it, the thoughts loom in the back of many educators and peoples mind.
What part of collective memory fuels some of this iconic bead work, rug design, totems that are also evident in other global cultures such as Africans, Aboriginal, India, Middle Eastern, and Asian countries?
Defeating myths of cultural determinism
Using mathematics to bridge cultural gaps
Making cultural capital more available to its owners (individuals) Educational capital
Looking at new forms of hybridity for learning Peace and social justice efforts Environmental sustainability
Making contributions to mathematics, and inspirations Challenges:
Not all modeling of culture involves translation of indigenous or vernacular knowledge. Ethnomath: provide more evidences of application of knowledge Interesting concept over cultural ownership of whose holds on to authentic cultural heritage for example, Shawnee Native Americans. Alternative methods for kids to go from consumers to producers, makers by apply the discovery as a learning method.
GLIDE10: Fabiola Berdiel + Cynthia Lawson Development through Empowerment, Entrepreneurship, and Design presenters brings us up-to-date on Parsons School of Design ongoing mission of incorporating social responsibility in to learning processes as applied to several design disciplines such as product, architecture and more.
One great aspect of Parsons School of Design program is there hybridity of bringing students together from various disciplines to share information to build stronger coherent knowledge bases. The challenge is instructors function as facilitators, this mode of teaching forces the students to take a more interactive role to immerse themselves fully in there projects, and learn new platforms of studying beyond formal and informal methods of learning. Students also have the opportunity to acquire primary research through traveling to developing/emerging countries and explore various modes of practices while interacting with local people, investigating new materials and methods to enhance new ways of design thinking. This provides the student with practical and hands-on experiences to build a diverse dialog rooted in social and cultural constructs not available by just sitting in a classroom or surfing the internet.
Questions: I’m curious how the outcomes are measured by the students each semester? When the students interact with other cultures through travels, how does this figure into the collaborative process? How do these other ethnic cultures respond to the presences of your students?
I love the concept of students taking on the role of facilitators as a shared experience with this projects. How does this method evolve from semester to semester? Do the students view themselves as real agents of change? If so what are some of the outcomes?
What are the draws backs of the participatory process in this model of learning?
Justine presents signboard communication in Asia. Objective is to improve technology design in the future, through better design and visual typography by integrating green design concepts.
What is phenomenology and phenomenography?
How will Justine apply theories of postmodernism to her research? Last year while visiting Macao, and Hong Kong, Beijing I was able to experience the density of signboards on many streets.
How are signboards in Asian countries different than the busy exterior signage in NYCs Time Square?
Below images from my travels last January to Beijing, Hong Kong and Macao the streets are brilliantly lite-up with signboards. One thing to consider is the amount of energy generated to keep these signs glowing day and night. Brilliant concept Justine’s offers alternative materials such as legos parts, old computer boards, and small car toys to develop more efficient signboards.
She offers interesting keyword: bricolage as main methodology.
In my classroom I challenge my students to think beyond there own cultural beliefs and to expand the dialog of what globalization and culture means as applied to their ideation and design thinking. Here are a few examples of mindmapping/billboarding techniques used to jump start there projects. Below are several examples of students finished projects, billboarding presentations and team interactions.
Isabeal Maryland Crab presentation
Roni, Sarah and Sparky deep in thought
Dominka Polish Food expo, she incorporated poetic verses.
Audra Buck-Coleman, is our first keynote speaker of the day, Coleman’s topic Identifying Potential Pitfalls + Windfalls in Collaborative Projects will definitely set the tone for what follows. She will address some major issues surrounding collaboration, and it consistent use as a buzz word in higher education. Finally she proposes design educators develop more projects that foster critical thinking skills to make students better prepared for today’s creative working environments. Audra explores some of the pitfalls that exist with her projects, and investigates the advantages and disadvantages of working collectively across boarders with other cultures where English is not there first language.
How can design educators adept some of Audra’s rich skills and knowledge for collaborative projects?
What happens when language is a barrier to enhance collaborative critical learning outcomes?
Audra’s presents one project between Blacks students in southern community and Mormons who came to realized they shared more similarities then differences.
She proposes the following question to consider: When working on collaborative projects do your students know how to navigate through stereotyping issues with other ethnic, religious, gender based groups?
Audra proposes the following suggestions based on her collaborative experience of working with Students in China:
Chinese students prefer organized structured learning over US students flexible learning.
What is your Classroom Culture?
Are you well versed in the nuances of the culture?
How prepared are you for flexibility and improvisation in the classroom?
What are the benefits of the professors experience from collaboration?