"This is a lecture given to MA students at the University of Hertfordshire. It explores how contemporary kinetic typography relies on historical developments such as 3D woodblock print, Romain du Roi, and Modernist modular lettering. Students are encouraged to let their design work respond to historical research. This does not mean creating something that looks old or retro, rather creating something innovative and new by re-imagining historical ideas in light of new technologies and contexts."
"A great deal of art or design or technology activity entails some research, or orthodox or unorthodox kinds, in support of the main activity. It is not quite so certain that the activity itself is the same as research activity per se. One has to ask, was the art or design or technological activity an enquiry whose goal was knowledge? Was it systematically conducted? Were the data explicit? Was the record of the conduct of the activity 'transparent', in the sense that a later investigator could uncover the same information, replicate the procedures adopted, rehearse the argument conducted, and produce the same result? Were the data employed, and the outcome arrived at, validated in appropriate ways? Most academic institutions with higher level art, design or technology departments can point to at least a few cases of practical activity where an effort has been made, successfully, to meet these criteria. So can a few research institutes and professional design offices. In these cases the activity can properly be equated with research, and should be recognised and rewarded accordingly. Where any activity, whether it claims to be 'research' or not, fails to meet the criteria which define research activity as 'a systematic enquiry whose goal is communicable knowledge', it cannot properly be classed as research or equivalent to research. Where an activity does meet the criteria, it can be classed as research."
(Bruce Archer, 2004, p.28, The Design and Technology Association)
Archer, B. (2004). "Designerly Activity and Higher Degrees", The Design and Technology Association.
"Cultivating new media creators in a variety of fields IAMAS was opened in 2001 both as a hub for training new creators in an information society, and as an educational institution that fuses together advanced technology and artistic creativity to produce new culture. Since then IAMAS has graduated a large number of information technology specialists who are active in the broad field of media culture and industry, garnering high praise not just in Japan, but internationally as well. The school's activities cover many disciplines and offer new possibilities to industry. These activities include interaction design and media products that lead to collaboration with industry, media art that constantly explores new methods of expression, social research and design, as well as new publishing ideas. All of these endeavors exemplify the spirit of pioneering into new fields. The Department of Media Creation at IAMAS is a place where people with the desire to create something new are able to meet, collaborate, and challenge each other."
"plans to remove creative subjects from the UK curriculum are 'short-sighted insanity', according to incoming D&AD president Neville Brody (+ interview).
Speaking to Dezeen, Brody described government plans to overhaul the curriculum as 'one of the biggest mistakes in British government' and added: 'The UK government is trying to demolish and smash all ideas about creative education.'
In September, education secretary Michael Gove announced plans to replace GCSE examinations for students up to the age of 16 with a new English baccalaureate (EBacc) system. Creative subjects such as art and design will not count towards the EBacc qualifications, which instead are graded on performance in academic 'stem' subjects. These stem subjects are English, mathematics, history or geography, the sciences and a language. ...
'The creative industries need high-quality creative graduates. If we're not getting the graduates, we're not going to sustain the industry,' said Brody. 'Creative services as a percentage of GDP is higher here than any other country, so why would you not want to support, promote and build that?'"
(Dezeen, 26 November 2012)
"This Monday, [Andrew] Marr hosted a special edition of Start the Week on BBC Radio 4 to celebrate the RCA's 175th anniversary with guests including former RCA rector and Arts Council chair Sir Christopher Frayling.
In the show, Frayling pointed out that the creative industries provided twice as many UK jobs as financial services, but that this contribution went unnoticed.
'What I never understand is, there are so many column inches about financial services all the time,' Frayling told Marr. 'Financial services contributes about 1% more than the creative industries, which employ two million people whereas financial services employ one million people. So in terms of contribution to the economy generally, the creative industries actually have it over financial services in almost every way. And how many column inches about it? Very little. So there's this huge impact but people don't seem to be noticing.'
In his article, Marr argues that because the economic value of art schools is difficult to measure, politicians fail to appreciate their importance to the economy.
'And there's where I think the trouble lies,' Marr concludes. 'To invest in art and design means putting public money into areas whose value cannot be captured on a spreadsheet, where concepts like productivity, value-for-money, inputs and outputs – which so reassure the political world – simply collapse. That means faith. It means risk.
'But, without it, hard times surely stretch out rather bleakly. Other countries understand this, including China where more than a thousand art and design colleges are operating and whose students greatly benefit from colleges here too."
(Dezeen, 21 November 2012)
Fig.1 Jim Rokos "22° 36° 48°", fruit bowl [http://rokos.co.uk/].