We had 48 hours to change the world. Seventy people in Dundee divided into seven project teams, working to a design brief set by the Global Service Jam. And from Kampala to Kathmandu, Beirut to Bogota, Los Angeles to Loughborough, Stockholm to Sydney, there were 2952 people in 122 cities jamming through the weekend to produce 500 projects. It was a remarkable experience that engaged and excited everyone involved.
The Dundee Jam was the 8th best attended in the world, with only two attendees fewer than the UK’s largest jam in London. This was a significant achievement, indicating the interest and passion in service design that has been developed in Dundee. It is also a consequence of having a highly committed and effective organising team.
I’m not sure we changed the world, but we changed something about ourselves, and that is what I will try to explore in this reflection on the Global Service Jam Dundee. The value of the Jam lies not in the outcomes, interesting and inventive though they are, but much more about the experience created and how it challenges and changes our preferred ways of working. And I say this as one of the organisers rather than a participant, but even in that capacity it changed me.
1. It’s about learning
Adam St John Lawrence makes the point that “It’s about learning by doing – and this does not only mean learning skills. I might learn more about how I work, who I work best with, who I might be friends with.” And it is. A jam is an intense learning activity. What you learn from it depends on how open and flexible you are prepared to be, and how far beyond your comfort zone you are prepared to step.
Some jams appeared to shoehorn in keynote speakers, reading lists and expose participants to a range of design tools and methods. We chose not to do this. The five talks we had at various points were each around 10 minutes long, and the methods and tools were very loosely defined. So the emphasis is on inspiration and encouragement, and participants learning from each other.
2. Leave status outside
We are all learners and teachers, and what we have to offer each other is equally valued. Despite doing this within a University, we succeeded largely to reject hierarchy and encourage team working that embraced diverse experience. We had highly experienced public sector professionals working alongside undergraduate design students – and learning from each other. We had marketing executives sharing ideas equally with sociology postgraduates. That ethos was also in the organising group, and is essential for the process to work. Indeed it was personally liberating and refreshing to work in equal partnership with my own students. I rather think that this is how Design Schools were meant to be.
Partnership underpins the whole idea. While Duncan of Jordanstone College of Art and Design, University of Dundee supported the venture by providing facilities and technical support, they fully agreed for the Jam to have its own autonomous identity. The Master of Design for Services course supported us with materials and expertise. We were also hugely fortunate in having Taylor Haig as our main sponsor. Their financial support was crucial for success, but the company’s senior partners also attended the Jam, became honorary Jam Doctors, and helped sustain energy and enthusiasm throughout. Partnership and commitment infused all aspects of the jam.
3. Doing not talking
This is the Jam Mantra. Mind you, from the noise generated you wouldn’t really have known. But having spent considerable time in a past life trying to change the world politically through the time-worn method of sitting around tables or in meeting halls talking and getting nowhere, this was a highly productive contrast. Being practice-centred brings to the process all the advantages of practice-centredness generally, as in research. It also enabled teams to play with ideas, propositions and approaches in a flexible, responsive way. The physical crafting of problems and strategies, and in particular its use as a storytelling device to engage the public and the jam community, demonstrates a further characteristic of the jam….
4. Jamming is connecting
Farrah Berrou was the blogger for the Beirut Service Jam. In her blog she wrote “Highlight of the Event: Skype call with fellow Jammers in Dundee, Scotland”. To be honest, it was our highlight too (although I really regret not actually talking to them myself). During the course of the Jam we skyped with Los Angeles, New York, Stockholm, Mumbai, Auburn Alabama and Melbourne. To begin with we did this from a large TV in the studio. This was fine and helped largely to enable some good conversations between organisers, but it set limits on engaging our participants. So the ever resourceful Ross Crawford (holding the laptop in the photo on the left above) became our SkypeMeister, carrying a laptop around the studio to introduce jammers across the world to each other. Above on the right we see Ross on the laptop in Beirut. This transformed the sense of internationalism in the jam. In future we should probably build on this further. All of our international Skype buddies brought a great sense of global connectedness to the occasion, but when we hooked up with Beirut, it was particularly magic.
Stuff gets noticed. Stuff gets seen and engaged with, and so this helped the key objective of getting close to users by exploring ideas with them. Some teams rose to the challenge of connecting with people most effectively.
5. Jamming could be more inclusive
48 hours to change the world is a great opportunity. If you can take it. For single parents, seniors, people who have no choice but to work at times at the weekend, it is an opportunity denied to them. So, what do we do about that?
At the start of the jam we made the point to participants that creativity and inventiveness is a direct product of diversity – the more diverse the community, the more perspectives and cultures they bring, the more experiences they can draw on, the more creative and relevant the ideas they will generate. We brought together 56 people, some from very different backgrounds working in very different areas. But most were in their 20s, worked in creative disciplines and had the benefits of University education. Providing mini jams within the two days, or spin off satellite jams or other initiatives to broaden participation most be a priority next time.
In short, it was a wonderful liberating and creative experience.
Can’t wait till next time.
My lecture to First Year students at Duncan of Jordanstone College of Art & Design (DJCAD) on 12 October emphasised how the achievement of relevance is a fundamental aim to their four years of study. Find what is relevant to you and to the world around you; use this to guide your creative strategies and developing technical skills. The lecture wove together the themes of relevance, creativity and craft – and at the end of this post are resources to help you explore these themes in more detail.
But why listen to me about how you should be thinking about your next four years at Art School? I asked five remarkably talented individuals to give you their advice, all of whom studied at DJCAD. One graduated two years ago, while another graduated in 1993. Between them they embrace a range of creative disciplines. All of them are inspiring people, who needed no encouragement to share with you their advice on how to get the best from Art School.
James Donald is one of Scotland’s most successful weavers, selling his work all over the world – particularly in the United States. Based in Edinburgh he allies his creative practice to being joint-owner of the successful Concrete Wardrobe retail outlet. Here is a message from James to you:
Johanna Basford is a remarkably versatile illustrator who studied printed textiles at DJCAD. Apart from designing the catalogue for the 2010 Edinburgh Fringe Festival, she has acquired an enviable client roster across many different industries from Channel 4 to Absolut Vodka. Her blog post 50 things I wish I’d known in art school is required reading. But below is her personal message to new DJCAD students:
Lauren Currie is co-founder of Snook – a social innovation and service design company based in Glasgow. Studying both Product Design and the Master of Design course at DJCAD, Lauren’s career has begun with a remarkable start, and she is now running a company that has the Chinese Government among their clients.
Joanna Montgomery graduated in 2010 in Interactive Media Design, is Director of Little Riot whose Pillow Talk product has proved a viral sensation on YouTube, as we saw in the lecture. In exchange for her valuable advice, Joanna asks that you vote for Little Riot in a national competition, to make Pillow Talk a reality. I am sure you will support Joanna in this competition. It will take you a minute!
Kate Pickering studied Jewellery & Metal Design and the Master of Design at DJCAD. Since graduating she has established Vanilla Ink, a highly acclaimed initiative to bridge the gap for jewellery students into industry. Kate won funding from the NESTA Starter For Six scheme to launch her initiative. An accomplished teacher in jewellery and design, this is her advice to you:
Why not follow these designers on Twitter? This will help you keep up-to-date with their activities and give you more insights into their professional practices. All of them use Twitter as a key part of their professional practice. Click on their names to access their twitter stream: James Donald, Johanna Basford, Lauren Currie, Joanna Montgomery, Kate Pickering. You’ll also find me on Twitter. Once you have set up a Twitter account, then you can follow them.
Achieving relevance referred to a number of artists, designers and events that you may wish to explore further.
- Brian Eno’s oblique strategies are a proven method of introducing new elements of chance into the creative process. They are available as a box of cards, an app, and as a website.
- Tracey Emin was referred to in terms of her approach to craft and printmaking, views that were expressed in an interview with her in 2010 in The Independent.
- The late Richard Hamilton exemplifies the artist/designer who transcends boundaries, and maintained a highly political and critical approach to his practice.
I posted about this before, but the video of the evening had yet to be available. I was one of the PKN presenters at Dundee’s second Pecha Kucha Night on 28th February 2012, hosted by Creative Dundee. The theme of my talk is education.
I was fortunate to be invited to give a talk at the Dundee Pecha Kucha Night vol 2 held on 28 February. My talk was on the theme of public education, and I have made a version of the talk available below. It is a prerecorded rather than ‘live’ version.
If you are unfamiliar with the format, each speaker has 20 images projected, each of which stays on the screen for 20 seconds – so you have 6 minutes and 40 seconds to make your point! Creative Dundee are to be congratulated for organising these excellent events that attract a full audience. Live videos of all talks will be available soon from the link above.
The Design & Democracy exhibition continues to run at the Scottish Parliament – a unique show that displays how the design students of Scotland are using their skills and knowledge to address a range of social issues. Full details of the exhibition can be found on the Parliament website, including video profiles of the exhibitors.
At the exhibition’s opening I said a few words on behalf of the four Scottish Design Schools whose students are represented. An abridged version of this follows below.
This is an exhibition that tells a story – the story of how design can contribute positively to our civic society on all sorts of levels: to strengthen democracy by doing what it does best – visualising alternative ways of doing things, highlighting problems we need to address, and giving a voice to those who are seldom heard. And behind the exhibition is another story: one of Scotland’s big success stories – the vibrancy and relevance of our world class design education.
Every summer the doors open on our art school degree shows. In Aberdeen, Dundee, Edinburgh and Glasgow, the achievements of our graduating students in art and design are celebrated in four sparkling and inspiring exhibitions of creative excellence. The idea developed to showcase some of the very best of our design graduate work here in the Parliament, in an exhibition themed around design and democracy. A broad theme, but one which enabled us to explore how students in design were looking at community engagement, social change, inclusion, sustainability – and other key issues that are essential to a healthy and thriving civic society.
At its best, design has always been about progressive social change – using the power of design to imagine new futures, new solutions and new ideas. At its best design is about empathy, about understanding people, about empowering people. And as we went from one art school to another this summer – we saw so many examples of visionary design thinking at its very best.
My colleagues Robert Gillan from Edinburgh College of Art, Libby Curtis from Gray’s School of Art, Jenny Brownrigg from The Glasgow School of Art, Fiona McDougall from the Scottish Parliament and myself toured the four shows during this May and June. It was a fantastic, and perhaps too rare opportunity for the art schools to work together in this way. We saw different strengths and approaches, different issues being explored, different opportunities seized. By the time we got to the end of our journey – at the Glasgow show – we were literally overwhelmed by what we had seen. And it’s not just about the quality of work – brilliant though that is. It’s about how our art schools are regenerating themselves to address the new issues and challenges of our age.
Art Schools are one of those great Victorian inventions – creative hothouses to drive innovation and to bridge art and industry. And, a great British invention. The art schools not only helped to create competitive well designed products, but they also produced our culture – both ‘high’ and popular: the Apple iPod, The Beatles, Habitat, Punk and the Dyson vacuum cleaner all have their creative roots in the British art school. In Scotland, our art schools are typified by a continuing commitment to craft values – whether in fashion and textiles or in interaction design. Culturally informed intelligent making underpins our educational approach and defines our distinctiveness. And that is what we see in this exhibition – but now married much more explicitly to the social concerns and sensibilities of those who study design in Scotland, and of those who teach them.
We live in troubling and uncertain times. We look, too often in vain, for a vision of how things could be better and different. Design – as this exhibition demonstrates so powerfully – has the potential to provide visions for the future, and tools to make change happen. And a new generation of designers is showing – and indeed demanding – that design has a vital role to play in the future of our democracy.
My current lectures for the University of Dundee’s 3rd year students in design and the market explores the future of work in design.
The first lecture new challenges considered the fast pace of change in work and employment and sketched out some of the broad trends taking place. We looked at technological, economic and demographic changes which are set to transform work practices and structures – but I stressed that this does not predetermine the future. I quoted Karl Marx, who said that people “make their own history” and that there is the opportunity to shape the future ourselves. But as Marx quickly went on to explain “they do not make it just as they please, but under circumstances transmitted from the past”. Yes, we can make our own futures, but we have to understand the preconditions, constraints (but equally, opportunities) that the past gives us.
Generational developments, and the tectonic demographic shifts currently taking place – linked to an ageing population – is perhaps the most significant constraint for the future. We considered how the pre-boomers, babyboomers, generation x and generation y looked at work and identity. The characteristics of Gen Y were explored by Don Tapscott in his book Grown Up Digital. In the UK, the think tank Reform described them as the IPOD generation in their report. Notably, Gen Y is less politically engaged than other generations, which means that they are less regarded by political parties. However, the rise of student activism and protest could suggest a shift, as Laurie Penny argues.
A recent issue of Time magazine has looked at the future of work. In this issue it was argued that “Most of the best jobs will be for people who manage customers, who organize fans, who do digital community management. We’ll continue to need brilliant designers, energetic brainstormers and rigorous lab technicians.” A key argument of the Time feature, supported by other research, is that women are likely to play a far greater role in management and business. A further trend which developments this month support, is bi-generational leadership. The most successful high tech start ups in the US have leadership teams that include both Babyboomers and Gen Y. The lecture dwelt for a short time on the virtues of bi-generational leadership in Universities.
The future belongs to the T-shaped practitioner, by which specialist knowledge skills are balanced by cross-disciplinary inter-personal skills. This all comes together in our context through the Design Council’s work on multidisciplinary design education. As it explains: “Tim Brown, CEO of design firm IDEO, which has been a vocal proponent of the need for ‘T-shaped people’, describes these ideal employees as ‘specialists with a passion and empathy for people and for other subject areas’”. I finished the lecture by suggesting that increasingly we are inventing the nature of work as we do it – a bit like building planes in the sky.
The second lecture creative futures examined how recent research has shed light on the nature of careers and employment for design graduates. The Institute for Employment Studies (IES) undertook the “largest-ever study of the career patterns of graduates from UK courses in art, design, craft and media explores graduates’ experiences of higher education, their activities since graduating, the work they are currently engaged in, and their plans for the future.” From the IES website you can download the three major reports that have come out of this study. In short, the research shows that graduates are making use of their creative education, are generally positive about their work, are increasingly pursuing portfolio working lives, and value their education. However, the research suggests that art and design graduates “had less well‐developed IT, networking and client‐facing skills”. Within the lecture we were unable to explore the detail of the research. Students are strongly advised to look at the reports, especially creative career stories.
There is little difference in terms of career patterns between students who pursue craft-based or industry-based design disciplines – both require entrepreneurial skills and involve portfolio working. The Crafts Council has commissioned research that studies the career patterns of craft graduates, which has resulted in a number of reports that can be accessed from their website. The Making Value report by Mary Schwarz and Dr Karen Yair is of particular interest. The survey and report New lives in the making by myself and Alison Cusworth was published in 1998, but shows very similar patterns of employment. The book The Independents by Charles Leadbeater and Kate Oakley published by Demos is also from the late 90s, but it has some highly relevant observations and advice for emergent creative professionals today.