learn how to do that crazy peel effect of ordinary objects. (that can't actually peel.)
http://photoshopcontest.com/tutorials/21/the-peel-effect.html
Monday, March 31, 2008
2-15-08
http://www.37signals.com/svn/posts/507-stefan-sagmeister-at-tedtalks-yes-design-can-make-you-happy
Wednesday, March 26, 2008
Thursday, March 6, 2008
(2-2-08) stumble
so it's 1:36 in the morning. and i just rediscovered my childhood. LITE-BRITE (online form)
it's a lot of fun.
http://www.sfpg.com/animation/liteBrite.html
it's a lot of fun.
http://www.sfpg.com/animation/liteBrite.html
(2-1-08) stumble
so if you have problems with color palettes and schemes:
http://beta.dailycolorscheme.com/archive/2006/09/11
(1-31-08) how good is good...
This artice by sagmeister was very intriguing. How he analyzes so many different designs and logo concepts that if they have: good design + bad cause = bad
1. Strive for happiness
2. Don’t hurt anybody
3. Help, others achieve the same
Now I would change that priority:
1. Help others
2. Don’t hurt anybody
3. Strive for happiness
Good design + bad cause = bad
Just consider this age old and powerful symbol symbol and its transformation into a very successful identity program by the Nazis.
Context is all-important: The Christian cross had one meaning in 16th century Europe and another one in 20th century India.
Bad design + good cause = good?
On the other hand, bad design for a good cause can still be a good thing. We designed the logo for The Concert for New York, a huge charity event for the fire and policeman in Madison Square Garden, involving among others Paul McCartney, Mick Jagger, The Who.
1. Strive for happiness
2. Don’t hurt anybody
3. Help, others achieve the same
Now I would change that priority:
1. Help others
2. Don’t hurt anybody
3. Strive for happiness
Good design + bad cause = bad
Just consider this age old and powerful symbol symbol and its transformation into a very successful identity program by the Nazis.
Context is all-important: The Christian cross had one meaning in 16th century Europe and another one in 20th century India.
Bad design + good cause = good?
On the other hand, bad design for a good cause can still be a good thing. We designed the logo for The Concert for New York, a huge charity event for the fire and policeman in Madison Square Garden, involving among others Paul McCartney, Mick Jagger, The Who.
(1-31-08) stumble
http://textures.forrest.cz/
(1-31-08) sagmeister.
yes, design can make you happy...
I really liked this video. I like how he started out his speech where he talks about his plane landed in front of this building that had a billboard saying "winner!" i thought that was really funny because that's what I think about everytime i'm in a plane and it lands successfully. yea, we won (by not dying.)
as he goes on, it's very interesting how each thing makes him happy in their own unique way. with a personal story about each topic.
some funny things that made him happy:
"do not hold grudges."
"riding with despair prohibited. keep hopes up."
the fake volunteer card.
I really liked this video. I like how he started out his speech where he talks about his plane landed in front of this building that had a billboard saying "winner!" i thought that was really funny because that's what I think about everytime i'm in a plane and it lands successfully. yea, we won (by not dying.)
as he goes on, it's very interesting how each thing makes him happy in their own unique way. with a personal story about each topic.
some funny things that made him happy:
"do not hold grudges."
"riding with despair prohibited. keep hopes up."
the fake volunteer card.
logos and type studies (stumbled)
Here are a couple of logos and type studies i stumbled. some are funny, some are serious. either way, i see them all as effective and successful.
(1-26-08)
so my roommate introduced me to this tool online called 'stumble upon'...and so far, i've stumbled upon some very interesting and useful sites that can further my skills and knowledge of graphic design...
bassically all you have to do is create your account, and select what kind of sites you would like it to take you too. so far i've stubled upon so many graphic design sites. photography, and videos relating to type design, and graphics. i'll post some interesting sites everytime I post.
www.stumbleupon.com
bassically all you have to do is create your account, and select what kind of sites you would like it to take you too. so far i've stubled upon so many graphic design sites. photography, and videos relating to type design, and graphics. i'll post some interesting sites everytime I post.
www.stumbleupon.com
(1-24-08)...
What is graphic design?
graphic design, to me, is the most important way of life. it's the reason why this world is how it is. all the time i feel as though graphic designers are way too under-appreciated. that these people around the world have no idea how much we get into their head, and they don't even know it. every symbol, logo, gets stuck in their head, and that's what represents that particular business. nike. what is your first thought? i can only assume that it's the nike swoosh. people create maps in their heads based on that businesses logo. I would love to have somebody under-appreaciatedly tell me that graphic design is just another stupid form of art. just so I can rattle on all of the important aspects of why this world would look like crap without graphic design. every business would look the same. and as an example, i'd explain a picture of what all the products in the grocery store would look like without graphic design. the cans of carrots would be orange, and say the word carrots. the cans of corn right next to the carrots would be yellow, with the word corn in a simple font. then i would continue my way up and down the isles illustrating each product without graphic design until they were proven wrong. and if they still didn't believe me...i would just take them right outside the door and tell them to look around, as i would point to each sign, logo, and design and tell them none of this would exist either.
What is typography?
the other 50% of visual communication. without type, communication would(fail.)
Granted. there are many symbols that have been created to visually communicate a message without typography. but i can guarantee you that the number of messages that require type far exceeds the successful symbols. but personally, i think the most successful symbols are those that don't require type. but getting away from symbols, type is still that other half of communication required throughout the world. obviously type is easier element of the world that isn't under-appreciated.
what are your responsibilities? society, school, personal?
as a student: i'm here to learn everything i am taught about graphic design. i want to learn everything i can about graphic design and typography (while of course maintaining my general knowledge of a bunch of other random subjects within this University that I will later forget as the 50% controlled by graphic design will take it over assuming it isn't really that important. sorry geology. but there are those interested in you to keep me safe from earthquakes and such. i already know you happen, so i don't care how you do. (margins and faults between the tectonic plates of the world.)
society: be a responsible citizen. do the right thing, help people, and what not. but one thing i actually do. and wish others would do also, is recycle, don't litter, pick up litter if you see it, and just all around, try to conserve your resources and energy.
personal: i have my goals. and so far, i'm not doing to bad. i won a few competitions since college. (and yea bruce, i know i'm not supposed to enter competitions...but i'm a poor college kid. and i really need the money. plus, if i win, it doesn't hurt my portfolio.) i still want to start my own business. i really don't enjoy taking commands from people. especially when all i'm going to think is...your in my spot. your doing the job I should be doing. that's the majority of my personal goals. personal life on the other hand. be true to those i love and those who love me. don't fall too far away from my family.
what can you do to make your VisCom classes more valuable to you?
simple. do the work assigned each week. plus, throw on extra designs, drafts, and what not onto each project. continue to relate the material taught to me to my projects. make sure i don't ever miss an assignment. and most importantly. when i do the assignment. don't just do it because i want the grade, do it because i want the knowledge. do it because i enjoy doing it. because it's what im going to be doing for the rest of my life. so i better put in all the talent that i actually have, and not half ass it. i learned that last semester. i didn't give the type and visual concept projects what i really have, so i got b's. and i also made myself look like just another student in this batch of selected few. i should show these graphics teachers that i have a little bit more than them.
graphic design, to me, is the most important way of life. it's the reason why this world is how it is. all the time i feel as though graphic designers are way too under-appreciated. that these people around the world have no idea how much we get into their head, and they don't even know it. every symbol, logo, gets stuck in their head, and that's what represents that particular business. nike. what is your first thought? i can only assume that it's the nike swoosh. people create maps in their heads based on that businesses logo. I would love to have somebody under-appreaciatedly tell me that graphic design is just another stupid form of art. just so I can rattle on all of the important aspects of why this world would look like crap without graphic design. every business would look the same. and as an example, i'd explain a picture of what all the products in the grocery store would look like without graphic design. the cans of carrots would be orange, and say the word carrots. the cans of corn right next to the carrots would be yellow, with the word corn in a simple font. then i would continue my way up and down the isles illustrating each product without graphic design until they were proven wrong. and if they still didn't believe me...i would just take them right outside the door and tell them to look around, as i would point to each sign, logo, and design and tell them none of this would exist either.
What is typography?
the other 50% of visual communication. without type, communication would(fail.)
Granted. there are many symbols that have been created to visually communicate a message without typography. but i can guarantee you that the number of messages that require type far exceeds the successful symbols. but personally, i think the most successful symbols are those that don't require type. but getting away from symbols, type is still that other half of communication required throughout the world. obviously type is easier element of the world that isn't under-appreciated.
what are your responsibilities? society, school, personal?
as a student: i'm here to learn everything i am taught about graphic design. i want to learn everything i can about graphic design and typography (while of course maintaining my general knowledge of a bunch of other random subjects within this University that I will later forget as the 50% controlled by graphic design will take it over assuming it isn't really that important. sorry geology. but there are those interested in you to keep me safe from earthquakes and such. i already know you happen, so i don't care how you do. (margins and faults between the tectonic plates of the world.)
society: be a responsible citizen. do the right thing, help people, and what not. but one thing i actually do. and wish others would do also, is recycle, don't litter, pick up litter if you see it, and just all around, try to conserve your resources and energy.
personal: i have my goals. and so far, i'm not doing to bad. i won a few competitions since college. (and yea bruce, i know i'm not supposed to enter competitions...but i'm a poor college kid. and i really need the money. plus, if i win, it doesn't hurt my portfolio.) i still want to start my own business. i really don't enjoy taking commands from people. especially when all i'm going to think is...your in my spot. your doing the job I should be doing. that's the majority of my personal goals. personal life on the other hand. be true to those i love and those who love me. don't fall too far away from my family.
what can you do to make your VisCom classes more valuable to you?
simple. do the work assigned each week. plus, throw on extra designs, drafts, and what not onto each project. continue to relate the material taught to me to my projects. make sure i don't ever miss an assignment. and most importantly. when i do the assignment. don't just do it because i want the grade, do it because i want the knowledge. do it because i enjoy doing it. because it's what im going to be doing for the rest of my life. so i better put in all the talent that i actually have, and not half ass it. i learned that last semester. i didn't give the type and visual concept projects what i really have, so i got b's. and i also made myself look like just another student in this batch of selected few. i should show these graphics teachers that i have a little bit more than them.
bruce mau (1-24-08)
Bruce Mau Design
An Incomplete Manifesto for Growth
Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau's beliefs, motivations and strategies. It also articulates how the BMD studio works.
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.
19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software. The problem with software is that everyone has it.
25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."
28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not device-dependent.
30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'
31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up something else ... but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people. Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.
Bruce Mau Design : summarized and opinionated
any graphic designer can lead a very successful career and life by following bruce mau's incomplete manifesto. I like how he summarizes each issue he addresses. my favorites are numbers:
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
He so effectiviley uses his humor to get his point across. that you may think you get your best ideas by researching the internet, or watching tv. or even if you do have some real-time, computer graphic-simulated environment, that nothing is as real as the real world itself. You must consistently travel the real world. whether it be a trip to the other side of the world, or a walk around the block, you can witness, experience, think of amazing things all from what you see. and even if you're still not convinced, just go outside to breathe. the air is so much more pure. not to mention slowly dying. experience the world before we all (unnoticeably) destroy it.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
This couldn't be more true. We always sit cooped up in our studio, at our desk, assuming that if we think really hard, (creatively) we will create something genius. no. creative thinking is free thinking. scientists and mathematicians need to sit in a quiet place, alone to be successful. we need to be out in the real world, thinking and enjoying the life and people we are designing for. because if you sit at your desk for too long, your designs will become outdated and unoriginal. coincidentally, this is the one i chose for the week...
An Incomplete Manifesto for Growth
Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau's beliefs, motivations and strategies. It also articulates how the BMD studio works.
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.
19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software. The problem with software is that everyone has it.
25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."
28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not device-dependent.
30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'
31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up something else ... but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people. Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.
Bruce Mau Design : summarized and opinionated
any graphic designer can lead a very successful career and life by following bruce mau's incomplete manifesto. I like how he summarizes each issue he addresses. my favorites are numbers:
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
He so effectiviley uses his humor to get his point across. that you may think you get your best ideas by researching the internet, or watching tv. or even if you do have some real-time, computer graphic-simulated environment, that nothing is as real as the real world itself. You must consistently travel the real world. whether it be a trip to the other side of the world, or a walk around the block, you can witness, experience, think of amazing things all from what you see. and even if you're still not convinced, just go outside to breathe. the air is so much more pure. not to mention slowly dying. experience the world before we all (unnoticeably) destroy it.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
This couldn't be more true. We always sit cooped up in our studio, at our desk, assuming that if we think really hard, (creatively) we will create something genius. no. creative thinking is free thinking. scientists and mathematicians need to sit in a quiet place, alone to be successful. we need to be out in the real world, thinking and enjoying the life and people we are designing for. because if you sit at your desk for too long, your designs will become outdated and unoriginal. coincidentally, this is the one i chose for the week...
(1-23-08)
Welcome to my journal. My dates are gonna be all screwed up since I was just given the idea to blog everything today. when most of my journal is already complete. so now i'm transfering everything I've written to my blog. so the title of each blog will be when it was actually done.
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