Pink - Design

Making "Sense" of Design - 

Daniel Pink speaks of the six senses in his book, A Whole New Mind.  The first sense that he speaks of  is the sense of Design.  Pink defines Design quite well, and mentions the ideas of problem solving.  He uses other designer's definitions as well.

The idea of problem solving is continuously brought about throughout the chapter, even when discussing the business of design.  As a designer and design educator,  I 100% support Pink's ideas regarding design as a major form of problem solving.   What I would like to do is potentially elaborate on what I feel was not emphasized well enough throughout the Chapter dealing with design.

Communication 

Communication is a major element that must be part of a design.  It is important for one to communicate their ideas to others.  Design has been given more evolved names such as Visual Information and Visual Communication for a number of reasons.  Mostly, because it is the art of communicating actual information and solutions to others.  In the book, the argument is made about the first human in a "loincloth" scraping rocks on the sides of caves as the first true form of design as a form of problem solving.  Also, a reference is made to hunting tools, such as spears and arrow heads being designed.  These are effective design and engineered pieces, however if they were NOT communicated effectively, no one else would be able to see how they were made, replicate it, and keep it going.

Also, Designers must be good communicators, as it is a means of selling.  We must sell our solutions to others.  Designers have to make a living too, and "starving artists" must be able to communicate their ideas effectively.  Scenario:  You have the next BIG Idea.  You cannot communicate with others.  You do not sell that idea.

I often use the scenario of JP Morgan and Thomas Edison.  The invention of electricity as a form of electric lighting is one of the most amazing breakthroughs in the history of mankind, and only one of many, many game changing inventions by Edison.  The streets are lit, and the sidewalks are safer as a result of the electric light.  It took a visionary such as Edison to create it, but it took a sound business communicator like JP Morgan to take the idea and solution created by Thomas Edison and sell it to others.  The first house lit in america with electric light was JP Morgan. It was at the party he hosted to communicate this idea of lighting that he developed General Electric's Board of Directors.

Communication is an integral part of the success of a design.  It is necessary through the process, and a must when the solution is resolved.

Pink - Story

Making Sense of Story

Daniel Pink's sense of story is viewed as a necessary sense essential for Right-Brainers to rule the future.  Incorporating story in our existence can make for positive thinking and problem solving.

Some quotes that should be revealed in explaining the power of storytelling are:

“Story represents a pathway to understanding that doesn’t run through the left side of the brain,” writes Pink. 

“We can see this yearning for self-knowledge through stories in many places.” 

He cites scrapbooks, webpages, and blogs as just a few examples. “The conceptual age can remind us what has always been true but rarely been acted upon—that we must listen to each other’s stories and that we are each the authors of our own lives.”

This is one of the most captivating of the senses to me, as we all think in pictures.  Story telling allows us to visualize ideas, and also helps to build the vital communications skills necessary to help sell our design solutions.  Back To The Caveman!

The first form of communication known to man are the cave drawings in Lascaux France. These can be argued as art, design, the foundations of literacy, but let's face it....These are stories first.  They are telling of great hunts, and giving us the visions that they used specific tools to hunt, shields to protect, and so forth.  It is these stories that allow us to understand what life must have been like for theses individuals, these stories allow us to "date" the era in which they were created, and also tells us a bit about what animals were alive during this times (i.e. mammoths).  For the record, I am aware that bones exist teaching us about animals as well.  But, in retrospect, doesn't the bones tell a story also?  We can tell so much from physical things as a form of a story also.  We can see how an animal died, when looking at the position of them.  We can vision so much through the art of story.

So how can this be applied in efforts to dominate the future?

An evaluation worthy of pointing out in regards to Pink: 

"Pink outlines how important storytelling is to business. Employees at 3M, the World Bank, NASA, and Xerox have begun teaching their employees “storytelling techniques.” 10 years ago such a pursuit would have been laughed-off by CEOs. Stories are helping businesses in a number of ways, from marketing, to building technical support documents." - David Hendron

I have heard the terminology used "Just give me the time, don't build me a clock."  Is this true today?  I believe not.  I think that people that are working in teams, need to understand how the clock is built and how it works.  They need to know the story of their product.  Not....How do I sell it?  Grab a bag of your favorite potato chips.  On the back of the bag, a story.  Point proven.

Blog # 1 - Torbett 8740

I'll tie all chapters to personal transformation...

Eisner states thats 'transfer' occurs when a student takes what they have learned in the classroom and is able to connect it to the world beyond it; they are able to extend or apply what they have learned to other domains.  I find this to be true, and also, quite possibly one of the biggest challenges for an Art Education teacher, as many interpret works of 'art' to be a product of your environment (i.e. culture, surroundings, etc...), OR things that someone has already learned, rather inherently or purposely.

The Challenge....

 Understanding that creating art is also problem solving.  "The point here is the kind of deliberately designed tasks students are offered in school help define the kind of thinking they will learn to do"  (Eisner).  We as art educators, must design curriculum-based activities that students will be able to apply and make meaning to both their 'pallet' and their 'place in this world.'

Meaning is conveyed in 3 different forms or treatments:

1.  Mimetic - Forms that look or sound like what their intention is.
2.  Expressive Form - Forms that represent how "feeling" is achieved
3.  Conventional Signs - Socially agreed-upon symbols that refer to ideas, objects, or events and the like.

We must promote the child's ability to develop his or her own mind.  In doing so, we must understand that all children come from different environments in which they live.  It is essential to recognize differentiation in order to allow each child to form their own concepts and reflect the use of growth and mind.

It is in diversity and differences that the true focus of art education lies.  My principal once said to me an interesting statement while performing an evaluation.  He said that my job as an art educator is "unique" one in comparison to the jobs of other teachers...I teach a certain technique or application, and have to adhere to 30 students using that application, each in a different way.  Unlike mathematics, where 2+2 = 4, and thats it.....

It is a main focus of my program to prepare students to be work-force ready in my field upon completing my pathway... I have 3 Semesters to make a student ready to go to work and compete against me in my field.  A lot is put into my classroom, especially since most (to all) of the students coming to High School in my county have never taken an art class, as one is not offered until High School.  I tend to harp on this a lot, and there is good reason.   Eisner states that students today need art education now more than ever. They need the basic skills that include analyzing and communicating information, the ability to work with others, a sound knowledge in technology, and finally the ability to allocate resources.  All of this criteria becomes evident when making art.

Torbett - Post #2

Teaching the Visual Arts

Chapter 3

Chapter 3 opens with a great question...."How shall we think about teaching art?"  Which, immediately made me wonder how I approach teaching art.  Do I start with fundamentals?  Technique? How Do I get them jump started?

As many of you know, our county (Catoosa) in Georgia, does not have a structured art classes available to students until the 9th grade.  No Middle School art program at all.  I find that hard to believe, and wonder if that may be the reason a lot of students have no confidence in their ability to create art when they come to my class (Graphic Design), or the other offered art classes.  Students simply have no faith in their abilities to create art, because they have never been "taught" it formally. Hmmmmmmm.

This lays a heavy burden on myself as an art teacher.  It automatically demands that I am extremely critical in my approach in teaching art to young "virgin" art students. Let's be honest.  Some students have natural abilities, some are just average at everything they do, and some need alot of help.  However, I still find it strikingly odd that almost none of them have confidence in their abilities to create.  So.....Where to begin?

Eisner believes that we must engage one's imagination....WOW!  I dont remember that word in the standards that I am imprisoned within.  Learning how to tie in standards with imagination would be the perfect starting point to a successful art class.  Also, another critical thing to consider would be feedback.  Making sure that you are positively influencing each child by making them feel comfortable to imagine and create.  Asking and LIVING the Questions with students can be another most positive approach to helping young "uneducated" artists feel comfortable in their abilities to create.

Chapter 4

Now that I have looked deeper into teaching art, I am drawn more closely in chapter 4 in asking the question..."What has the student learned?"  My question is how is that gauged?  By their standardized test? or by What are they "taking" from my class when they leave?

My class is basically (with the exception of the first 4 weeks of introduction to History of Art and fundamentals thereof), a project-based computer art class.  The technical form of my class lies with rigorous instruction on how to get students to learn the programs needed to create designs, followed by projects that allow them to be boundary less while creating, then place their creative message in a box that MUST be within dimensions.  I call this thinking outside the box, and then placing it all in the box. Much like a jewelery piece.  Much creativity goes into the making of a fine watch, but at the end of the day, it gets tucked inside of the jewelry box.

In Eisner's "What the Arts Teach Section, I paused and reflected on each:

Attention To Relationships
Flexible Purposing
Using Materials As a Medium
Shaping Form To Create Expressive Content
The Exercise of Imagination
Learning To Frame The World From an aesthetic Perspective
The Ability To Transform Qualities of Experience into speech and text

Moving to the next segment which discusses what to look for in finding out if your students are actually learning or "How Does it Show?"  Amidst all of the paragraphs following this, I believe that I typically judge what the student has learned based on the artwork that they create.  I am not always looking at quality, but I am looking at the aesthetics.  What they "took" from the project.  Which area they embraced.  What areas they could improve upon.  Etc Etc.  I hope this reflection made sense.