"Perception of external sources of inspiration prompts new imaginings. Research on the role of externalisations in design thinking has concentrated on the role of sketching. Schön has shown that for many architects, sketching is an essential part of creative design, and creation is driven by making and perceiving sketches; Schön characterises design as an interactive conversation between mind and sketch. Designers directly appreciate different types of information in their own sketches, alternating between seeing that and seeing as. Ambiguity in sketches facilitates reinterpretation triggered by dissatisfaction with the current design. For designers who make active use of sources of inspiration in designing, they play a similar role to designers' own sketches."
(Claudia Eckerta, Martin Stacey, p.526, 2000, Design Studies)
 Purcell, A T and Gero, J S 'Drawings and the design process' Design Studies Vol 19 (1998) pp 389-430
 Schön, D A The reflective practitioner: how professionals think in action Basic Books, New York (1983)
 Schön, D A and Wiggins, G 'Kinds of seeing and their functions in designing' Design Studies Vol 13 (1992) pp 135-156  Gabriela Goldschmidt 'The dialectics of sketching' Creativity Research Journal Vol 4 (1991) pp 123-143 [https://blog.itu.dk/DIND-E2010/files/2010/10/goldsmidt_dialectics_paper.pdf]
 McFadzean, J, Cross, N G and Johnson, J H 'Notation and Cognition in Conceptual Sketching' in Proceedings, VR'99 Visual and Spatial Reasoning in Design MIT Press, Cambridge MA (1999)
Claudia Eckerta, Martin Stacey (2000). "Sources of inspiration: a language of design", Design Studies, Volume 21, Issue 5, September 2000, Pages 523-538
"In practical terms PRE is a process in which teachers, tutors, lecturers and other education professionals systematically enquire into their own institutional practices in order to produce assessable reports and artefacts which are submitted for academic credits leading to the awarding of degrees, certificates and diplomas of universities, colleges and professional associations."
(Louis Murray and Brenda Lawrence, 2000, p.10)
Murray, L., & Lawrence, B. (2000). Practitioner-based enquiry: Principles for postgraduate research. London: Falmer Press.
"Traditional marketing was built for another age. Today a new creative energy is required. Sociability is the media of now. Social connections happen everywhere, every minute of every day, in the real world and in the digital world. Social communication touches everybody. Brands are carried along in the stories people share, and the conversations they have, in social media, on their mobiles, and face to face. We help brands to get their stories to travel further and faster, building sustained relationships and advocacy as they go.
Our story began in a (thankfully converted) cowshed back in 2000. We saw that a new age of communication was emerging, an age of social communication. Since then we have worked with some of the world's best businesses helping them to behave in different ways; encouraging participation and collaboration with their audiences. We now have an 90-strong team of talented thinkers, doers and sometime dreamers who bring social communication to life for brands around the world."
"Screen culture is a world of constant flux, of endless sound bites, quick cuts and half-baked ideas. It is a flow of gossip tidbits, news headlines and floating first impressions. Notions don't stand alone but are massively interlinked to everything else; truth is not delivered by authors and authorities but is assembled by the audience. Screen culture is fast, like a 30-sec. movie trailer, and as liquid and open-ended as a website. ...
On a screen, words move, meld into pictures, change color and perhaps even meaning. Sometimes there are no words at all, only pictures or diagrams or glyphs that may be deciphered into multiple meanings. This is terribly unnerving to any civilization based on text logic."
(Kevin Kelly, 19 June 2000, "Will We Still Turn Pages", Time Magazine)
Fig.1 JasKaitlin "hypermediacy" taken on April 25, 2010 using an Apple iPhone 3GS [http://www.flickr.com/photos/64776338@N07/5996281055/].
"The Not My Type animation series was primarily produced for distribution on the internet. Set in an office, the Not My Type series explores the various relationships within. While avoiding the use of language and dialogue, Not My Type, takes various typographic faces, symbols and characters and then duplicates, distorts and moves them to create a simple, stylistic production.
The initial version was created using Macromedia Director in 1995 (while John was at University) and was then recreated in 2000 for internet distribution using Flash - which was a perfect fit for a font based, primarily black & white animation. Not My Type I was so well received that another episode soon followed, culminating in four episodes by the end of 2002."
(John and Mark Lycette)