I recently did a remote lecture for the Transformation Design course at HBK Braunschweig.
The students are currently doing a subject on operating systems, looking at the frameworks and structures that surround design: established and experimental ways of working, cooperation, organisation and solidarity.
It made me so happy that this course exists! I spoke about my own practice as a digital designer, the different studios I’ve worked for, collectives I’m part of and the different tools, structures and processes that I’ve learnt about and found useful in my work.
I also went on for quite a while about how great I think worker cooperatives are — planning to write this bit up in more detail soon.
View the presentation
Some of my notes from the Dissenting Ephemera workshop at MayDay Rooms a few weeks ago:
leftove.rs is an online archive of radical political ephemera, built in collaboration between MayDay Rooms and 0x2620 Berlin.
They’ve spent the last year digitising the MayDay Rooms archive and scraping other archives and now have a substantial body of material to work with. They’ve been experimenting with different ways of structuring, distributing and expanding upon this archive. For this workshop, they invited a range of people working in similar areas to share their experiences and contribute to the development of the platform.
This is one of the posts I wrote for the Core Languages blog last semester, as part of a course at Central Saint Martens that introduced graphic design students to the digital design mindset.
What is unique about digital design as a medium? How can we approach design for screens in a way that is natively digital, rather than an appropriation of print design?
In this essay, Cory Arcangel suggests that the term “web performance” is more appropriate for describing the digital medium than “web page”:
The term that really drives me up the wall, though, is web page. Page connotes something stable, unchanging, and definite. A book page exists. A book page is. A web page, on the other hand, is a vastly more complicated structure. It is a set of instructions blasted from a server farm across the globe through fiber-optic cables, then interpreted by a computer’s hypertext transfer protocol browser and displayed by a light-emitting-diode screen. All this, by the way, is happening in real time—reconstituted at each millisecond through a unique and contingent tangle of systems—and is supported by the constant churn of the power grid, itself (incredibly) still commonly powered by burning coal. So instead of web page, I’d prefer the term web performance, which would remind us that this information is both immediate and ephemeral. In a sense, it is thousands of coal-powered virtual Rube Goldberg machines — lined up from end to end — that power our Facebook Paper apps on our iPhones.
At the start of the year, University of the Arts London (UAL) joined the ongoing University and College Union (UCU) strikes, which were centred on the “four fights”:
- falling pay
- the gender and ethnic pay gap
- precarious employment practices
- unsafe workloads
Last semester I started teaching Digital as part of BA Graphic Communication Design at Central Saint Martins.
My class was part of the Core Languages course, which included other classes like Typography, Print and Production, and Photography. The idea behind this was to introduce second year students to foundational concepts and skills that could then feed into their wider graphic design practice and the longer term, research-based projects from their other classes.