Luke Johnson

This open forum address the major issues of art, design, and communications in a transmedia era. This is a seminar based around visiting speakers and field trips. Students develop fluency by discussing the state of the field with its leading lights. Our visitors will be doing demos, talking about their working methods, discussing their future projects, and asking students about their plans. Critiques are incisive and tough but always informed and constructive. This seminar is a vibrant opportunity for the Art Center graduate community to meet with professionals about the arts, academia, entertainment, technology, and design fields to share insights and experiences in an informal, but informed, setting. The title of the course, Design Dialogues, is meant to be an invitation to students to interact on a personal level with our guests. We are woking for an environment in which critiques are incisivde and tough but alwasys informed and constructive.

www.jsteinkamp.com

Design Dialogue's is one of those classes that makes the MDP truly unique because it provides context of craft early in the graduate school experience. This context can be viewed from three perspectives: to the history of design, to one's peers and the present moment, and finally to the future and the practice that we hope to germinate beyond Art Center.

And while there were many reoccurring themes found throughout this semester such a the role of celebrity and the designer's dilemma of becoming jack-of-all-trades or a master of one, it was the role of ambition in one's life that has been placed squarely on my radar.

To that end, how can we enlist others in our obsessions? In my personal practice, I believe one entry point is in developing a practice that is co-creative. As a former teacher, I have always taken extreme pleasure in facilitating the act of making. As I move forward in my own practice, how can ensure my role as a leader in this process of making the rules instead of following them.

A second entry point is in developing strategic partnerships. Part and parcel of this process is defining your own limitations. Since coming to Art Center, I have identified that my work relies on the iterative process and I have established the importance of collaboration to my craft. If I am going to sustain an additive practice, I believe that I must find partners that are willing to work within my own constraints.

Finally, I believe the delegation of authority is essential to enlisting others in a personal vision. Unfortunately, I also know that I am very bad at letting go.

In the spirit of letting go, I will end with this note to myself. Luke, you are very busy with school work. Please take the time to build your network outside of the studio. Go to workshops, attend conferences and for god sake go have a beer with a co-worker from time to time.

If architecture is the mother of the arts, Graphic Design is the crazy spinster aunt

Your life would not be better if your parents understood what you did.

You can't blame bad page design on Don Rumsfield.

Amateurs excitement, experts passion

Sometimes you just need to shut the hell up

I am concerned about mortality

This class could be called How to Make Friends and Win Enemies

(One writer even said) the internet was the most important invention since fire

We tend to underestimate how quickly things will happen

The new big lie is that we can all become celebrities

Freedom of the press is about owning the press

A consultant borrows your watch and drops off a bill

To say that we don't tell stories is to say that you are a martian

Radar is more important in winning world war 2 than nuclear bombs

I was born in 1982, so were my shoes.

I could give a shit how long it took you to make it.

Jennifer Steinkamp is an installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception. Since 2006, she have had or will have one person exhibitions at the 11th Cairo International Biennele (Cairo, Egypt), ACME in Los Angeles, the Albright-Knox Gallery (Buffalo), Victory Park (Dallas), greengrassi Gallery (London), Locks Gallery (Philadelphia), the Kemper Museum of Contemporary Art (Kansas City), Lehmann Maupin (New York), teh University of Wyoming Art Museum, and teh career retrospective, "Jennifer Steinkamp" (San Jose Museum of Art. She is a professor in the Design | Media Arts Department at UCLA.

www.jsteinkamp.com

In hospitals, there are no sunrises or sunsets

Projections look great in ancient backgrounds

Brody Condin

Michael Asher

Hit Lab

vegasexperience.com

Ranar Banam love los angeles

Arguably the most internationally acclaimed artist to emerge from Asia in the postwar era, Takashi Murakami effortlessly navigates between teh worlds of fine art and popular culture and is best known for his caroon-like, "superflat" style. This large-scale retrospective includes key selections that span the early 1990s to the present. We are very pleased to be able to disucss the show with Tim Blum of Blum and Poe, Murakami's American dealer and greatest proponent.

www.blumandpoe.com

None recorded

None recorded

Swanlun is the co-principle of Stripe LA and Co-Chair, Graphic Design, CalArts. Her work has been exhibited internationaly, most recently by the Mois du Graphisme d'Echirolles, "California Dream," and at San Francisco Museum of Modern Art in the current exhibition, "Belles Lettres." She has been recognized by the ACD, AIGA, and TDC; er work is published in numerous design anthologies. Swanlund cut her teeth writing for the experimental and influential typography journal Emigre, and currently writes for various design publications; and is a Fellow at teh Design Institute of Minnesota. Swanlund is a design faculty member at CalArts.

www.stripela.com

Six scratches can sink a ship

You can't eat art.

Constantly looking through different filters

Expertise takes time

Robert Moses

Susan Licko

Sevilla Hipman

None given

Media design is the design of time.

Presence, parity, humanity, systemness

Demo or Die || Demo or Lie

You emody it, it embodies you

We become what we behold.

If you crack some kind of alignment, you can create change (in both directions)

I want to pull the komno back on from the process we do at frog

Was the internet always going to happen?

Uncanny valleys between what is real and what is unreal

Writing is one of my faciliites

If you read more, increase your lexical narrative

Let the new tools tell the new work

Second Story

None Given

Alibi - a great afternoon is worth the lie

Kazakhstan = the obsession with the diagonal

The power neck = the casual is the unofficial look in architecture

Whoever thought that architects should design cities was out to lunch that day

Content is specific to urban planning.

C-Lab

Volume (magazine)

Moore's Law of Sustainability

Lev Manovich is the author of Soft Cinema: Navigating the Database (The Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which has been hailed as "the most suggestive and broad ranging media history since Marshall McLuhan." Manovich is a Professor in Visual Arts Department, University of California - San Diego, a Director of the Software Studies Initiative at California Institue for Telecommunicatinos and Information Technology (CALIT2), and a Visiting Research Professor at Godsmith College (Londong) and College of Fine Arts, University of New South Wales (Sydney)

www.manovich.com

The fullness of human bandwidth

Coffee table theory = much more about pictures than words

Industry keeps this idea of genius

The foundation of modern visual communication is abstraction

Invoking cultural memories of different media

Its not about remixing, learning the techniques from the different medias that separates us from the post-modernist of the 1980's..

By learning different software, you are learning different techniques of how different media work (ex. you can use lens flare to any media as long as it makes sense)

New media = all techniques/ all the materials are so different that they are now a new type of media

Need to engage people emotionally because this is how they think

Techniques have been enhanced so much that they are now in a completely new plane (like a foreign language)

Does software hold you back or does it allow people to go forward?

60% of the world's patents occur in California

Matt Frantz

Res Magazine

Hay Stack

The Museum of Jurassic Technology is an educational institution dedicated to teh advancement of knowledge and the public appreciation of the Lower Jurassic. "Like a coat of two colors, the Museum serves dual functions. On the one hand, the Museum provides teh academic community with a specialized repository of relics and artifacts from the Lower Jurassic, with an emphasis on those that demonstrate unusual or curious technological qualities. On the other hand the Museum serves serves the general public by providing the visitor a hands-on experience of life in teh Jurassic."

www.mjt.org

Information is the invisible string in a narrative

Crisis of the museum in the digital age.

Being in a place has always meant everything

People from Europe have a much greater tolerance for text

Ricky j and his 52 assistants.

Sir Johns Sower's Museum

Freud's Dream Machine

The City Museum

Mr. William's Cabinet of Wonders

Julian Bleecker is co-founder with Nicolas Nova of the Near Future Laboratory where their client work focuses on developing emerging and conceptual design-technology for new interactive experiences. He has a BS from Cornell, an MS from the University of Washington in Computer-Human Interaction, and Ph.D. from teh USCS where his dissertation was on technology, culture and entertainment. He is a Professor of Interactive Media, adviser to the US Pavilion for the Shanghai 2010 World Expo, and serves on the boardof the Lift Conference. He is presently conducting a research study on the relationships between art, technology and innovation practices adn completing a book "New Interaction Rituals."

www.nearfuturelaboratory.com

19 keys got us from here to the moon

Typewriter can be spelled out on the top of typewritter

Complexity pulls against the realm of possibility

How does software constrain and define culture

Culture needs to meet technology

Conventional thinking = do stuff that is already made and make them faster, smaller and with more battery life

(Julian) wants to think way outside of the box

You can wallow (in your design), but you learn a lot from prototyping

WYSIWYGM = what you see is what you get (manufacturing).

It is a mark of achievement to be kicked out of something.

Don’t change the players change the game.

Take time to let your work sink in and your words evolve.

Bill Buxton = Sketching User Experience

Information is the invisible string in a narrative.

With meaningful ambiguities, there needs to be a handle for the viewer.

An Economy of Means

Claim stock images for yourself.

Sound cannot exist outside of time.

Pitch your ideas as if you believe them with all your might.

Design is about iteration.

You have to enjoy what you are doing. Otherwise, what is the point?

The more you live, the less options you have for change.

Every designer goes through an advent calendar stage.

Don’t change the players change the game.

Take time to let your work sink in and your words evolve.

Dustin Beatty is the Editor & Creative Director of Anthem, which he founded six years ago. The mission of Anthem "is to bring our readers fresh and raw content in the area of progressive alternative lifestyle. By working with bands, DJs, artists, designers, skaters and amyriad of other grassroots visionaries, we aim to provide content that is unique to our magazine." A recent issue themed "This is How We Do It" analyzed the business end of creativity, with interviews with Michel Gondry and Dan Clowes

www.anthemmagzaine.com

Inspirational versus aspiration

Survey the industry and bring something new to the conversation

Brand yourself

Dealing with publicists is quite possibly the worst thing in the world

Steven Sagmeister = "stay small"

I love starting fires

My business partner - god bless him

I understand your frustration, but frustration is not an answer

At the end of the day, i've still got my dog

Mike Mills

Henry Dodger

The Millionaire Mind

Perez Hilton

Conde Nes

Glow Lab

Day of the Locaust

rcrdlbl.com

refinary29

pitchfork.com

The Virgin Tears

Spook Country

Pattern Recognition

None Given

Not what the future will be, what the future will be like

Don't use the p word (predict), we forecast

Talk about the future in the language of today

Spanish lessons: five minutes, five dollars

Risk is being modified, risk is being visualized

Take an item and add a 5 to it

What if you send a grocery bill to an insurance company

It takes 3 years for technology to become an overnight hit

The NIH = the not invented here problem

Futures are increasingly social

Think more human, less tech || provocative over right

Nathan Shardoff

Herman Kahn (the inspiration for dr. strangelove)

Rick Vermeulen is one of the most influential designers coming out of the Netherlands in the past quarter century. From 1978-82, Vermeulen was an editor of Hard Werken magazine, which made a considerable national impact and the group became a design studio operating under the name Hard Werken. In 1994, the compnay moved from Rotterdam to the Amsterdam area and amalgamated with the packagin design compnay Ten Cate Bergmans, subsequently changing its name to Inizio. In 1993, Vermeulen, a regular visitor to the United States, with teaching experience at Cranbrook, CalArts and the North Carolina State University, moved to Los Angeles, where he took over the Hard Werken LA desk for two years. Now back in Holland, he collaborates with Inizio and works freelance projects for publishing and other clients.

One foot in the analogue, one foot in the digital.

This is my favorite rejected piece

Highways embody the myth of American culture

Nevil Broody

Bas Jan Ader

Ed Fella

Amy Frenchasceni