CHARACTERIZED Kuala Lumpur 2013, Tuesday 30 April 2013, 7:00pm, MAPKL, Black Box-Publika, Dutamas, Kuala Lumpur, Malaysia.
"Over the past few decades, Malaysia has been bearing a rapidly fast changing landscape within the creative industries. As Malaysia establishes its national creative policy to be at sync with the heartbeat of the emerging global creative economy - there has been nationwide expansion of creative establishments, particularly in graphic design, motion, product and web design. From here numerous surfacing of young budding talents and self initiated art collectives - all adhere with a single aspiration - and that is to create a vibrant and energetic design scene that is not only modern but also infused with a rich cultural heritage."
"DESIGNERS ENJOY DESIGNING
The practicalities of the design-based Ph.D (or Ph.D's generally in the creative arts) often fails to recognise the wider needs of the researcher who would typically have bachelors and masters degrees in their field and where the structure of their degree programme(s) would have been practice-based i.e. they have considerable prior history of creative practice; they enjoy creative practice; and they may well miss the fulfilment of creative practice if none was undertaken during a three to five year full time Ph.D.
STUDENTS NEED TUTORS THAT CAN DESIGN
Practice-based learning at undergraduate and masters level requires a significant taught input by competent practitioners. It is all too common for academics to loose or fail to develop capability in practice as they move through an academic career that is based on teaching and research. The typical route by which full-time academics with a practitioner background acquire a Ph.D is through part-time study. In order to maintain competence as a practitioner for the benefit of students, there is a case to encourage the use of practice in staff Ph.D's.
RESEARCH OUTCOMES NEED DESIGNING
An unexpected outcome from the author's experience of Ph.D supervision in creative disciplines has been the scenario where professional practice was necessary for the progress of the research. 'Tools' are a popular and relevant outcome from design-based Ph.D's and situations arise where the tool itself must be designed in order to facilitate its validation. It is therefore necessary to consider the use of researcher-practice where practice is not a direct means of the data collection but a process by which research outcomes can progress to validation."
(Mark Evans, p.75, 2009)
Evans, M. (2009). "Creative professional practice in methods and methodology: case study examples from Ph.Dís in industrial design". EKSIG 2009: Experiential Knowledge, Method & Methodology, Experiential Knowledge Special Interest Group.
"On Start the Week, Andrew Marr explores how Britain trains the artists and designers of the future. Christopher Frayling and Sarah Teasley celebrate the 175th anniversary of the Royal College of Art, the world's oldest art and design school. But one of its former teachers, the industrial designer Ron Arad argues for a broader arts education which doesn't split sculpture from painting, architecture from design. And the artist Antony Gormley redefines the limits of sculpture and building."
(Start the Week, 2012, BBC Radio 4)
BBC Radio 4: Start the Week, duration: 43 minutes, first broadcast: Monday 19 November 2012.
"Korea (South) has recognized design as the future growth engine and has introduced 'Building a Creative Design Nation' as a new government project. The Korea Institute of Design Promotion (KIDP) lies at the center of national design promotion policies. KIDP has been putting its best efforts into promoting Korea as a global leader in the design community and as a result, has created a global design portal site that will compile design information in an integrated and systematic way.
Global DesignDB.com is an integrated online service system set up to manage the latest design information for designers and others involved in the global design industry. It will act as a 'Design Navigator' for anyone interested in design. We look forward to your continuous interests and support."
(The Korea Institute of Design Promotion)
Fig.1 Suzy Sunsook Cho, Package Design [http://suzycho.blogspot.co.uk/2011/04/package-design.html].
"Reflection In Action is a conversation between two friends and colleagues - Eilidh and Helle.
It started when Eilidh was advising Helle on her thesis project at Copenhagen Institute of Interaction Design (CIID). The two of them had many, long, curious and insightful discussions where many ideas emerged about the world of design practice, the methods used and the challenges that accompany it.
After Helle graduated, she like Eilidh was hired by CIID to work within the Consultancy. After a long day of work during a research trip to the US, they found themselves in a dodgy college bar, drinking cheap beer and sketching the idea for Reflection In Action on a napkin. Eilidh and Helle wanted a place to house their ideas and discussion - A platform for reflection and action where they could develop a viewpoint on their daily creative practice and peruse their personal creative interests.
Reflection In Action is a place where they can show credit to the inspiring people they meet, the places they travel, the tools they use, and the experiences that influence who they are as designers."
(Helle Rohde Andersen and Eilidh Dickson)