Facing ambiguity differently across design, business and technology
"team[s] of students of mixed disciplines worked together to understand and map a problem-space (identified by the client). They then defined a solution-space before focussing on a particular opportunity outcome. The range of projects included incremental innovation opportunities represented by the Lego and Hasbro projects through radical Philips work to truly disruptive work with Unilever. The studies confirmed stereotypical view points of how different disciplines may behave. They showed that design students were more (but not completely) comfortable with the ambiguous aspects associated with ‘phase zero’ problem-space exploration and early stage idea generation. They would only commit to a solution when time pressures dictated that this was essential in order to complete the project deliverables on time and they were happy to experiment with, and develop, new methods without a clear objective in mind. In contrast, the business students were uncomfortable with this ambiguity and were more readily able to come to terms with incremental innovation projects where a systematic approach could be directly linked to an end goal. The technologists, were more comfortable with the notion of the ambiguous approach leading to more radical innovation, but needed to wrap this in an analytical process that grounded experimentation. Meanwhile, the designers were unclear and unprepared to be precise when it came to committing to a business model. "
(Mark Bailey, 2010, p.42)
Bailey, M. (2010). "Working at the Edges". Networks, Art Design Media Subject Centre (ADM-HEA). Autumn 2010.
CONTRIBUTOR
Simon PerkinsSHARE
Tom Mortimer of 12foot6 on Animation
"Did you have a mentor when you were starting out?
I worked with some great illustrators when i started. We shared a building with the Central Illustration Agency and so met and listened to a few of them. Brian Grimwood, Simon Spilsbury, Robert Shadbolt, Geoff Grandfield. At the time illustration was being battered a bit because everything was going digital. But as we always say - good art will always find a way.
What's your process for writing a treatment?
We like to try new things whenever we can, so it's about getting the idea and pushing to see what we can do with it. And we like to get something drawn or made or modelled quite quickly. One piece of art will always inspire you to the next step we find.
Do you often collaborate in the early stages or do you work alone?
There are 20 of us at 12foot6 and we all do slightly different things, so everyone has to rely on everyone else - all we ever do is collaborate.
Pencil & Paper or iPad ?
it's a bit hard to send an email with a pencil and pen. But i know what you mean. We find there is a pretty simple rule in animation, in fact with any work I think - you get out what you put in. Put good art in and you stand a good chance of coming out with something you'll be happy with. Use whatever tools you like, as long as it works."
(Millie Ross, 13.07.2012, Jotta)
[The Animation/Illustration agency 12foot6 was started by Dave Anderson and Tom Mortimer. Their name was derived from their collective heights i.e. (6 foot 3) * 2]
CONTRIBUTOR
Simon PerkinsSHARE
1000heads: The Word of Mouth People
"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."
(1000heads)
CONTRIBUTOR
Simon PerkinsSHARE
Mobile Innovation Network Aotearoa: Call For Papers
"Call For Papers: 2nd International Mobile Creativity and Mobile Innovation Symposium, #MINA2012, Mobile Innovation Network Aotearoa, 23rd -25th November 2012, Massey University, Wellington, NZ ...
MINA [www.mina.pro] is an international network that promotes cultural and research activities to expand the emerging possibilities of mobile media. MINA aims to explore the opportunities for interaction between people, content and the creative industry within the context of Aotearoa/New Zealand and internationally.
The symposium will provide a platform for filmmakers, artists, designers, researchers, 'pro-d-users' and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in art and design environments and the creative industries. MINA invites paper proposals relating (but not limited) to; mobile lens media, iPhoneography, mobile video production, mobile-mentaries (mobile documentaries), mobile network and transmedia, mobile communities, mobile media and social change, mobile visual arts, mobile locative media, citizen journalism, mobile visual literacy, mobile media in education and mobile technologies and civic media. ...
Paper proposals should be submitted by the 15th August 2012"
(Mobile Innovation Network Aotearoa)
CONTRIBUTOR
Lynne CiochettoSHARE
From LMS to VLE or from supermarkets to airports: Classifying elearning platforms using metaphors
"This paper presents a rational model developed to make sense of various elearning platforms currently in use in Australian universities. The conceptualisation and organisation of the elearning platforms is underpinned by an educational psychology framework of social construction of meaning, data visualisation and story telling for meaning making. The model explains how various elearning platforms can be integrated to represent a threedimensional, hierarchical construct that has the potential to aid understandings about the utility of information systems (IS) for learning and teaching. The model shows that LAMS, which has gained increasing popularity in Europe (Laurillard & Masterman, 2010), is usefully depicted as a ‘middle ground’ system, successfully bridging conventional LMSs and more advanced IS, referred here as (MU)VLEs (Multi-User Virtual Learning Environments). The model has important implications on how university lecturers, classroom teachers and students come to engage with an increasingly complex elearning environment."
(Eva Dobozy & Patricia Reynolds, LAMS Conference Sydney 2010)
Dobozy, E. & Reynolds, P. (2010). From LMS to VLE or from supermarkets to airports: Classifying elearning platforms using metaphors. Proceedings of the 5th International LAMS Conference 2010. http://lamsfoundation.org/lams2010sydney/papers.htm
CONTRIBUTOR
Simon PerkinsSHARE
