Good morning Martin and Ken
Thanks very much for qualifying your exchange by including designer-makers.
While ascribing copyright is not a new way of working for us, it is fair to
say that digital technologies provide the potential to bring about a
profound change in the landscape for artists, designers and artisans.
Crucially, social and economic factors are driving this *upsurge *alongside
technical and environmental issues.
Changes in working practices are reflected in a nascent interest in what
some believe to be the cultural characteristics that differentiated art and
design education in the UK (Manchester, Sheffield etc.). This feeling
strikes me as a belated reaction to a *fin de siècle*. Much of what
colleagues seem to care about does not fit comfortably within a higher
education system that struggles to cope with an increasingly dispiriting
economic and political environment.
Ken’s 2012 paper, *Models of Design: Envisioning a Future Design Education*,
eloquently maps out where we stand in the international arena. To overcome
lassitude many of us are searching for a newer and better story for art and
design education.
Werner Hertzog provocatively advised his students to do the unexpected:
…g*o out to where the real world is, go work as a bouncer in a night-club,
a warden in a lunatic asylum or in a slaughterhouse. Real life, this is
what’s vital. Work on your feet, learn languages, learn a craft or trade
that has nothing to do with cinema. *
The latent potential of local design and artisanal communities, supported
by a new wave of digital workshops and digital learning tools, may provide*
an* alternative model for art and design education and practice. Ken helps
us to get to the heart of the matter when he gently advises that we accept
uncertainty as Feynman and others have done in the past.
Kind regards
Bob Pulley
PhD student
Royal College of Art
On Mon, Mar 23, 2015 at 1:22 AM, Terence Love <[log in to unmask]> wrote:
> Hi Martin,
> Across all the design fields (which I see that definitions of creative
> industries covers engineering architecture, software design amongst many
> other fileds) are you sure that designer makers includes that large a
> proportion.
>
> More to the point. Do you have figures?
>
> Second, don't you find that t si of use to have a term 'design' to refer to
> an activity that is different from other activities. For example, one that
> gives the ability to distinguish between 'design' aspects of being a
> 'designer-maker' and the 'maker' aspects of being a designer maker?
>
> Otherwise, perhaps the largest design schools are Bunnings, Wal-Mart and
> B&Q?
>
> Best regards,
> Terry
>
> -----Original Message-----
> From: [log in to unmask]
> [mailto:[log in to unmask]] On Behalf Of Salisbury, Martin
> Sent: Sunday, 22 March 2015 10:53 PM
> To: PhD-Design - This list is for discussion of PhD studies and related
> research in Design
> Subject: RE: Use of Art and Design as an substantive adjoined term
>
> Dear Ken,
>
> Thanks for the overview. I just want to pick you up on one thing. You say:
>
> "In today's terms, education and division of labour between different kinds
> of work has taken a different form. The word "design" involves planning an
> artefact by making plans and prototyping those plans. The designed artefact
> will eventually be manufactured by a completely separate group of people in
> a factory."
>
> Yes, that used to be the case except that in recent years, as I'm sure you
> know, there has been a huge upsurge in small scale 'designer-makers'. This
> includes small batch edition hand-made or screen printed books, ceramics,
> wrapping paper, fabric design, fashion design, 3D design. virtually all
> areas of design in the applied arts. I can't remember the figures but this
> now constitutes a surprisingly significant portion of the UK creative
> industries. That's one of the reasons that I am always against the idea of
> defining 'design' in terms of 'a plan for (something or other)'.
>
> Perhaps this is a good reason for adjoining the words 'art' and 'design'.
> in
> whichever order?
>
> Best wishes,
>
> Martin
>
> Professor Martin Salisbury
> Course Leader, MA Children's Book Illustration Director, The Centre for
> Children's Book Studies Cambridge School of Art
> 0845 196 2351
> [log in to unmask]
>
> http://www.cambridgemashow.com
>
> http://www.anglia.ac.uk/ruskin/en/home/microsites/ccbs.html
>
>
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