PG Debate

PG Debate Groups PDF

PG Debate Groups 14.12.2010 Proposition
1 Pro “There are three kinds of lies: lies, damned lies, and statistics.”
Pariya Thamnusarn
Hugo Johnson
Jasmine Samiei
Errol Hewitt
Matt Hall
Jerome Tan
Martin Uren
2 Anti “There are three kinds of lies: lies, damned lies, and statistics.”
Tanachot Sapruangnam
Clarence Chen
Kevin Igoe
Michelle Melkman
Yun-Wook Choi
Chakravarthy Baddepudi
3 Pro “For the love of money is the root of all evil.”
Yeon Sook Lee
Simon Dartois
Sara Liu
Wallace Henning
Kihyun Kim
Raphael Oladipo
4 Anti “For the love of money is the root of all evil.”
Sang Gun Kim
Stefano Annibale
Elyse Gehring
Cunpu Gong
Ishmael Gowero
Vicky Fox
5 Pro “That form ever follows function. This is the law.”
Viral Patel
Christos Sfetsios
Eurim Kim
Stefan Christou
Munseok Choi
Greg Walker
6 Anti “That form ever follows function. This is the law.”
Brian Johnson
Yuki Kijima
Hyein Lee
Antony White
Craig Allen
Steve Crocker

THE PG DEBATE

On Tuesday 14 December you will become a debating society. You will be split into teams and asked to argue for or against and series of propositions. There will be 6 teams, 2 on each side of the debate. Each team will be given one of three propositions at random and will then have to debate against the team who has drawn the counter argument. You will have to research your proposition so that you can ‘win’ the debate by your ‘force’ of argument.

Each team will have 10 minutes to put their case, each member having to contribute in some way to this presentation. There will then be a 10 minute session where the rest of the MA group will be able to question the team about their proposition. After this it will be the turn of the team opposing the first proposition and the same format will apply. The session will then continue until all 3 propositions have been debated. We will then vote on each proposition in turn to see which teams debated their points most convincingly.

The three propositions will be:

1. “There are three kinds of lies: lies, damned lies, and statistics.”

2. “For the love of money is the root of all evil.”

3. “That form ever follows function. This is the law.”

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Seeing the British Museum?

Top 100 Tools for Learning 2010 List

http://www.c4lpt.co.uk/recommended/top100-2010.html

Compiled on 17 October 2010
from 545 contributions from
learning professionals worldwide

2010 2009 2008 2007 TOOL #
Votes
Name Platform Cost
1 1 11 43= Twitter
Microblogging tool
O F 346.5
2 3 18 22= YouTube
Video sharing site
O F 229.5
3 5 7 14 Google Docs
Office collaboration suite
O F 214.5
4 2 1 2 Delicious
Social bookmarking tool
O F 167
5 7 20 31= Slideshare
Hosting presentations
O F 151.5
6 11= 4 3= Skype
Instant messaging/VoIP
D M F/C 138
7 4 3 7= Google Reader
RSS / Feed reader
O F 134.5
8 6 5 6 WordPress
Blogging tool
O F 128.5
9 31= 24 17= Facebook
Social networking site
O F 105
10 14= 9 12= Moodle
Course mgt system
S F 102.5
11 8 6 3= Google Search
Web search tool
O F 89.5

Ravensbourne MA/MSc British Library and British Museum Visit

Week 5.       Tuesday  16/11/2010       All postgraduates to attend.

Jeremy Barr, Mark Ingham, Jeremy Gardiner

11.00-13.00  Visit to the British Library and exhibitions + registering as a reader

We will meet in the Foyer of the British Library at 11am

You will explore all of the exhibitions that are open to the public and if you can you should join the Library as a reader. See the link below foe what you bring with you so you can join…

Registering for a Reader Pass

The British Library 96 Euston Road London
NW1 2DB

See the link below for more information of how to get there…

http://www.bl.uk/whatson/planyourvisit/index.html

MAP

LUNCH

14.00-16.00  Site visit to the British Museum [How to analyse a cultural institution]

After lunch we will meet at the Rear Entrance of the British Museum

[Rear entrance to the British Museum, Montague Place, London WC1]

Think about how you want to explore this space and think of a way of capturing your experiences of this trip that will help you remember it in a way that will be useful to you in the future.

See the link below for more information of how to get there…

http://www.britishmuseum.org/visiting/getting_here.aspx

MAP

Manifestos?

‘Manifestos contracts that the undersigned make with themselves and with society. As with all contracts, manifestos imply certain rules laws and restrictions. But they soon become independent from their authors. At this point, a masochistic relationship begins between the author and the text itself, for the manifesto-contract has been drafted by the very person who will suffer from the restrictions of its clauses. No doubt such carefully devised laws will be violated. This self-transgression of self-made laws adds a particularly perverse dimension to manifestoes. In addition, like love letters, they provide an erotic distance between fantasy and actual realisation. In many respects, this aspect of manifestoes has much in common with the nature of architectural work. It plays on the tension between ideas and real spaces, between abstract concepts and the sensuality of an implied spatial experience. (B. Tschumi, preface of Architectural Manifestoes, London, 1979).

Look at the link:

http://caad.arch.ethz.ch/teaching/nds/ws98/scrip/text/st-text.html

for more useful information about STRUCTURE AS TEXT and Hypertext and hypermedia…

The term Hypertext was coined by Theodor Nelson (A File Structure for the Complex, the Changing and the Indeterminate, 1965, Proceedings of ACM 20th National Conference), who proposed the idea of a computer system able to perform `nonlinear writing’. A similar idea had been proposed twenty years earlier, before the birth of the digital computer, by Vannevar Bush. He invented a machine called `memex’ (i.e. memory extender) which was able to record articles, pictures, sketches and notes, and to connect the different informations with associative links. The basic idea of associative indexing, according to Bush, is that “any item may be caused at will to select immediately and automatically another. This is the essential feature of the memex. The process of tying two items together is the important thing.”

Internet Week

The Festival

http://www.internetweekeurope.com/about

Internet Week began in New York City in 2008. In 2010, it comes to Europe for the first time, with a five-day calendar of web-focused events taking place throughout London. The idea is to raise the profile of Europe’s digital industry, as well as the companies and organisations who participate.

European Events

In NYC last year, over 250 events took place – ranging from parties and meet-ups to executive breakfasts and conferences. We call this crowdsourced participation, where organisations, large and small, host these events for Internet Week – and we’re hoping for plenty more of the same in Europe 2010.

http://www.internetweekeurope.com/calendar

Crystal Lagoons

I listen to an interview on the radio this morning and found it interesting that this entrepreneur says that he had to go back to the way he was taught at University so he could conduct useful research. It was only by using a systematic approach to research that he was able to come up with the solution to his problem. Listen to it if you like and see what you think? Mark

Synopsis

Many of us will pay a premium to live by water – whether it’s the sea, a river or a lake.

It’s well known amongst property developers but Chilean entrepreneur Fernando Fischmann is unique amongst his peers in having discovered a technique to keep the water in lagoons clear and so attractive to live next to.

His company Crystal Lagoons is in high demand to provide that technology right across the world. He talks to Peter Day on this edition of Global Business.

Media:

Ravensbourne PG01 MA Tasks for week 3 [09.11.2010]

Ravensbourne PG01 MA Tasks for week 3 [09.11.2010]

1.       Construct a Mind Map of Jeremy and Mark’s exposition this morning. This should convey your understanding of what was discussed in relation to a sense to your own practice. Where are you?

2. You have to start a ‘conversation’ with someone online who will be usefully to you in understanding your project. This has to be someone not at this University. Who do you want to talk to?

3. Create more functionality on your website so it starts to become more personal and more professional. Who are you?

What is a Reflective Online Journal?

What is a Reflective Online Journal? PDF

[Full Text]

A reflective online journal is a way of thinking in a critical and analytical way about your work in progress. It shows how different aspects of your work interconnect.

The online journal can record:

  • where your inspiration comes from
  • how you make use of your ideas to develop your work
  • your awareness of the cultural context (setting) in which you work

This context includes: other practitioner’s work and their ideas; the ideas of critics and theorists; social, political, aesthetic and ideological contexts.

The online journal could include:

  • research notes
  • personal comments on your own work
  • notes/images from visits
  • quotes
  • extracts from lectures, tutorials, books, journals
  • photos/sketches

Maps and legends.

Got to: http://blog.eyemagazine.com/?p=1131 for more pictures…

Charting the working processes of early 21st century designers

Published on Monday, 25 October, 2010 | 12:08 pm

As a lasting souvenir of the first AGI Open conference, which took place in Porto last week, organizers Lizá Ramalho and Artur Rebelo edited and designed a book titled — like the conference itself — ‘Process is the project’, writes Jan Middendorp. The book is a catalogue of the exhibition ‘Mapping the Process’ (co-curated by architect André Tavares), which is being held at Porto’s charming Palacete Pinto Leite, a former music school, until 10 November.

Top: Peter Biľak’s contribution to the AGI Open conference. See our Reputations interview with Biľak from Eye 75.

To a certain extent, the book is the exhibition, as it reproduces the complete series of almost a hundred works by AGI members that were specially made for the show. As AGI President Paula Scher explains in her introduction to the book, it is customary for each annual AGI conference to host a graphic project to which members contribute; however, this year’s exhibition is extraordinary. Ramalho and Rebelo challenged their colleagues to go beyond the usual tribute to the location of the conference. They asked the membership to create ‘a map of their working process’. Which is like, as Scher notes (and the three curators admit), asking for ‘the impossible’.

Above: Palm reading Seymour Chwast’s creative process. See ‘Divine noir’ on the Eye blog for a look at Chwast’s surreal take on Dante.

While poster projects on a given theme often have a perfunctory feel about them, many of the works in this collection emanate the kind of fun, passion, confusion and craziness which the organisers doubtlessly hoped for. The impossible has seldom been dealt with in a more lucid and witty way. What makes the exhibition and companion book special is, of course, the amazing quality and range of the people involved.

While the AGI was once a gathering of modernistically inclined white European men, its membership now includes people from six continents and encompasses virtually all the current views on graphic design, typography and illustration; ages range from, roughly, late twenties to nineties. All of this is reflected in this collection of mental maps (and schemes, collages, cartoons) which is astonishing and at times puzzling in its variety of answers to the question: how do you do it?

That designers, many of whom are highly respected and even ‘famous’, agree to draw a map of their process in the first place, is quite amazing. For some it may be like giving away manufacturing secrets; for others, baring their professional (and personal) souls. Some have synthesized the painful aspects of compromise in a single strong and witty image, like Alain Le Quernec’s ‘Double Target’ (showing a clumsy drawing of a target that is but a shadow of the powerful graphic image it tries to approximate, above).

David Gentleman represented the tortuous creation process by a sensitive hand-painted path; Uwe Loesch sampled Minard’s famous graph of the decimation of Napoleon’s army in Russia as a sarcastic comment on the lost battle with the client. Several designers, including Stefan Sagmeister, made no attempt to synthesize the steps from start to finish but displayed each hurdle in its mind-bending, heart-breaking complexity (below). Tony Brook summarized the whole thing in three words, set sideways: ‘Think, Make, Next’, while Seymour Chwast mused: ‘Process? What Process? The working method of a designer does not look like a monopoly board. It looks more like a salad.’

An introspective project like this will always have an element of narcissism and complacency. But ‘Mapping the Process’ and its catalogue contain enough wit, insight and sheer virtuosity to complement that and reach beyond the strictly personal. Without wanting to sound pompous, I think that in a few years’ or decades’ time, the catalogue will offer invaluable insight into what made four generations of designers tick in the early 21st century.

Eye magazine is available from all good design bookshops and at the online Eye shop, where you can order subscriptions, single issues and back issues. The Autumn issue, Eye 77, which includes a Reputations interview with Paula Scher, is on its way to subscribers right now. For regular updates, please sign up for the editor’s newsletter.