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  1. 4 points
    This is a great idea Robin. I am joining the conversation late; so, I am not sure where you or DI is in the process of putting together the list. I would be happy to add my name to it and to serve the design community this way.
  2. 4 points
    Works in Process Works In Process is a podcast series exploring the evolution and techniques behind the lastest/ongoing projects of creative individuals by designer and educator, George Garrastegui, Jr. — This podcast is a way to discover, and uncover the creative process that goes behind the work that creatives do. I speak to designers, artists, writers, and other types of creative individuals to discuss their process. Through hopeful candid conversations, I want to highlight the guests that I talk to and possibly demystifying their creative process.
  3. 3 points
    Kia ora Michele, How your MS is assessed is entirely up to the institution that wants to hire you! Different institutions will have different expectations or requirements. Same with how much value is placed on your professional experience. In the United States it is entirely up to each institution and its hiring processes. This is not true in other countries, where there are clear national standards for those lecturing in tertiary education and clear national standards for postgraduate levels of study. I once served on a promotion committee for a US candidate that did not have a terminal degree, but instead had a letter from his Provost citing an equivalency based on his professional experience and international standing. In the context of that institution, this was not something that could be challenged. While NASAD has guidelines, you would never see an institution get written up over one or two of its faculty not having terminal degrees. If it was across the board in a program, you might see a mention in the report, but individuals would never be singled out. The key issue here is what defines a "terminal degree", a term used in the United States but -- as I have discovered -- not anywhere else. To be "terminal" means that it is the highest degree awarded in a given field. This is not university specific, but is based upon professional standards within a discipline. For art and design in the United States, this is the MFA and has been since the mid-80s. In theory, the MFA is separated from the MS or MA by a significant amount of studio practice and independently-led research. In practice, these programmes can overlap in terms of curriculum and expectations. But it is the distinction (MFA) that is considered terminal, not the programme, so those who hold alternate masters degrees often struggle from the issue you describe. When facing a hiring committee assessing you in the United States, the onus would be on you to show that your master's education was roughly equivalent to an MFA in terms of being research-led so they can be sure that you are adequately prepared to undertake independent academic research / scholarship outside of professional practice. No matter how much professional experience a candidate has, if they will be assessed and promoted through an academic lens (such as journal publications) it is unfair to drop someone into that environment if they do not have some foundation within it. But, again, its all about the expectations of the school and their expectations for teaching, research and scholarship. The funny thing about this whole discussion is that most other countries no longer consider the MFA as terminal. A PhD is required to teach in Europe, Australia and many other countries. That last sentence in the NASAD standards is an opinion and a position -- "Unreasonable" is a strong word -- and I honestly wonder how long this will last with so many programmes around the world cranking out new design Masters and PhDs. Apologies for this long post! I oversee BDes, MDes, MFA and PhD programmes in Design, so I am quite fascinated by the topic of academic leveling and progression. Do you need to pursue another degree? Not until someone makes you! It is not uncommon to hire candidates with the stipulation that they complete a specific academic degree within a certain time-frame. However, if I was to build a requirement to achive an MFA or a PhD into a faculty contract, I would also expect to pay for it, as it is a condition of employment!
  4. 3 points
    University of Minnesota design scholarship matrix.pdf This matrix is a useful tool for considering the diverse approaches to scholarship that design faculty engage in. My department has design faculty that are designers, humanists, social scientists, artists and engineers. Besides graphic design, we have programs in interior design, product design and apparel design.
  5. 2 points
    https://www.chronicle.com/article/How-to-Be-Strategic-on-the/244863
  6. 2 points
    Some colleges and universities require external reviewers when candidates apply for tenure and promotion. Perhaps we can maintain a list here or find another way to aid those who need to find external reviewers at specific ranks.
  7. 2 points
    I have done a few of them but just sort of winged it, based off of the requirements of their institution. It would be great to have a punch list. On another note, I just got promoted to Associate Professor with Tenure. So if anyone needs a review at that level, I am willing to help out. Thanks, Mitch
  8. 2 points
    For those who teach User Experience or Interaction Design courses, we have limited desk copies of our UX Methods book to give out.Link to fill out the form:https://docs.google.com/forms/d/e/1FAIpQLSd8QUDDFz-meKLJqWaKA2nQIg-N-SzYkr2cuomfZuB9lVPlFA/viewformIf you don't teach those types of courses just ignore this post as it costs to mail out each copy.Thanks, James and Patrick
  9. 2 points
    If anyone is already teaching this material, they should apply for a grant from Teach Access. I'm attaching the call for applications but they have ten slots open for college professors teaching in New York City: Teach Access will be awarding 20 grants of $5,000 each to faculty at institutions of higher education to develop modules, presentations, exercises, or curriculum enhancements or syllabus changes that infuse the fundamental concepts and skills of accessible design and development into existing technology- and design-focused courses. These awards will be made to full-time, part-time, or adjunct faculty in computer science, design, user experience research, human-computer interaction, and related fields at higher education institutions in the U.S. (with ten reserved for faculty at New York City-based colleges and universities). Today the Awards Overview and Call for Proposals went live on our site and we will be accepting submissions through June 4 at 5pm ET, with awardees to be announced in late June for courses to be taught from the Fall of 2018 through the Spring of 2019. Please consider applying if you meet the eligibility requirements, or share this announcement with faculty members who may be interested in including the teaching of accessibility principles in their courses. Please also share the Call for Proposals link on your social media accounts to help us get the word out! Teach Access Curriculum grant.pdf
  10. 2 points
    https://www.ucda.com/events/25/ Good Design Works seeks to spotlight all aspects of purpose-driven graphic and interactive design that are having an influential, positive impact on the world. The ability of the designer to create meaningful social change through visual communications that celebrate, criticize, educate, or advocate—begins in the classroom. Included in the summit are keynote speakers, panel discussions, workshops, and paper and poster presentations selected from abstracts submitted through a peer reviewed process. UCDA is famous for providing professional development in a relaxed atmosphere. The faculty will share ideas and welcome your participation in an ongoing dialogue about the critical issues facing the design education community. This two day summit is open to UCDA members and non-members, design educators and practitioners, and students.
  11. 2 points
    Have you ever wondered where to publish design writing? We put together the a list of publishers, academic journals and some trade magazines for the Design Incubation Fellows and wanted to share it out. The journals on the list aren't ranked so some might be better than others for tenure and promotion. The good news is that if your work gets accepted, there are so many venues you could publish in a different journal every month for a couple years! Please help grow the list by posting suggestions for new additions. 2017_Journals_Publishers.pdf Art, Design and Communication in Higher Education Curriculum and Instruction Design Issues Design and Culture Design Philosophy Papers Design Principles and Practices Design and Technology Education Eye [crossover with trade] FORMakademisk Info Design Journal International Journal of Design Iridescent [online only] Journal of Communication Design Journal of Design Research International Journal of Design Education Journal of Design Research Journal of Education through the Arts Journal of Material Thinking The International Journal of Design in Society The International Journal of Visual Design The International Journal of Design Management and Professional Practice International Journal of Design Creativity and Innovation Journal of Design History Leonardo: Art Science and Technology Plot - Parsons Design Studies student journal The Design Journal The Idea Journal TRACEY West 86th: A Journal of Decorative Arts, Design History and Material Culture Word and Image Visible Language Visual Studies Trade: Metropolis, How, Print, Communication Arts, Wallpaper, Interactions, 3x3, Justapoz, Computer Arts, Layers, CMYK, Digital Arts, FORM, Web Designer Art Journal Art Bulletin Bulletins of the Serving Library Interiors: Design/Architecture/Culture Dialectic/ AIGA
  12. 2 points
    I am proud to announced the Call for Participation for MODE Summit 2019, hosted by Massey University in Wellington, New Zealand. The new website is coming soon, but the CFP can be found here: http://www.modesummit.com/cfp/. Please email me questions at gretchen.rinnert@modesummit.com The deadline to submit an abstract is 8 August 2018
  13. 2 points
    I received my MS Degree in 1999 from Pratt Institute in Communications Design. At that time, it was the only terminal degree they offered for design. SVA did not have their program yet. I lived in the NYC, worked as a designer and pursued part of my degree while I worked. Finally, I went full-time, because it was taking to long to finish while working. I never intended to teach with this degree. I only did a Master's for myself and hone my craft. I have been teaching for twelve years now, and would like to pursue other teaching opportunities. I was hired at an R1 University with my current degree, but do not know if this will be the case at other places. Do I need to pursue my MFA? Has anyone else been in this situation? I would appreciate any advice or help other members could offer. Thank you.
  14. 2 points
    Jessica, Do workload hours translate to contact hours? Could you possibly e-mail me what your handbook says for your unit? meismont@centralstate.edu. We are both an Ohio Public University and have AAUP, so it would be interesting research for what we are pushing forward to administration. Thanks, Mitch
  15. 2 points
    I've performed 30+ external reviews for tenure and promotion over the past two decades. I have a couple of ideas for how this process can be improved. Requesting institutions should always send the reviewer the department's tenure and promotion guidelines, so that the reviewer has context for the review (requirements, norms, expectations, departmental and collegiate culture, etc.). The faculty member (or chair, or dean, or whomever solicits the review) should try to find a strong fit between the candidate and the reviewer – type of institution, faculty rank, sub-disciplinary affinity, career accomplishments, scholarly emphasis, etc. If invited to review, requesting institutions and promotion candidates must recognize that the reviewer will bring their expertise, judgment and opinions to bear on the assessment – for better or worse it's part objective and part subjective. Finally, the requesting institutions should pay an honorarium to the reviewer. This is not a "pay for positive assessment" condition; it's an acknowledgement of the reviewer's time and effort spent doing service to another institution. Look at it this way from initial hire to tenure decision: search costs (flights, hotel, faculty time, etc.), start up costs to new hire (moving expenses, training, mentoring, research investment, equipment, furniture, etc.), pay and benefits over years until decision (5-6 years' worth of salary, health care, retirement) – this probably equals $500,000! Now does a $250 honorarium sound unreasonable? (In my experience, private universities are more likely to pay honoraria than public institutions.)
  16. 2 points
    Under Education legislation, New Zealand's universities are charged with the responsibility to act as "the critic and conscience of society". We have an obligation towards society, and are expected to work for what we view as the good of that society, even at the cost of passing judgement on it. So, in that context, social activism is an expected action of our researchers and our students.
  17. 2 points
    http://www.psc-cuny.org/news-events/teaching-load-reduction-agreement-reached CUNY has a strong union. That, however, is at risk with the movement towards "Right to Work" efforts to break up unions by not requiring dues of all members. That being said, here is my understanding of how things are measured and expected of f/t tenured faculty. (We've included many of these questions in the Design Incubation Census so if people haven't completed the survey, please do so soon. We're going to close this year's survey shortly.) Whether a CUNY f/t tenured faculty member teaches at a Community College (2-year) or Senior College (4-year) will affect what is required and expected of them. Each of the 20+ colleges will vary slightly in how they assess each requirement. Many of the details are described on the union website http://www.psc-cuny.org/ We are paid by the teaching hour. Each course varies in the number of teaching hours. Many COMD courses in our dept have 3 or 4 teaching hours. Some courses have 6 teaching hours. Each course is broken down by credits/lecture hours/lab hours. Lab hours are in-class studio hours. A typical web design course, is 3 credits/2 lecture hours/2 lab hours (i.e., it is a 4-hour course). Reading the article at the top, our union recently negotiated an 18 hour teaching load for f/t faculty at senior (4-year) colleges. So that is approximately 9 hours each semester, so approximately 2–3 courses a semester. Sounds cushy to most non-academics... here's why it's not. CUNY is wildly underfunded. While Gov Cuomo loves to do things to make himself popular, such as offer free tuition, at the same time he does nothing to pay for it. So while we support free education for all, we also need funds to turn on the lights, have working facilities, staff to run the college, but those things are largely underfunded. So in terms of service—on the dept and college level—there is more work to be done than people to do it. Our service contributions get assessed every year during the tenure track process, and for every year through the promotion processes. At my college, we are required to submit a yearly cv (the PARSE) listing our teaching, service, and research efforts for that year. They get assessed yearly by the dept and administration. Typically we do 20 hours of dept/college service hours a week. This includes student advisement, curriculum development, dept administration (observations & evaluations, facilities, committees, recruitment & retention, scheduling, etc.), college administration. I'm sure there's other major things I'm missing... Only a few colleges at CUNY offer graduate programs. So we generally do not have postgraduate teaching and supervision. It also means we don't have TAs to help teach/grade/administer our courses. In terms of research funding, we can seek grants to pay for release time from teaching. I do not know the exact figures, but it would be the teaching salary for one course. I believe we are limited by the number of hours a grant can fund, which is typically 3 teaching hours per semester. In addition, the grant must fund all the administrative costs and benefits associated with those hours (this is measured as a percentage of our hourly salary which is based on union contracted pay scale). This works out best over the summer because we are not required to teach during the summer so grant-funded pay is in addition to our regular salary. Research time is only factored in where it is not explicitly required in our regular contracted teaching/service duties. In other words, we are expected to do research, it is the most important thing (at my senior college) for tenure and promotion. But it is not stated how and when this is supposed to happen. It is third in priority during the teaching periods, and largely expected to happen over the summer. But as most know, research doesn't wait, and most things have to happen on a consistent schedule, largely during the regular working months (Sept–June). New tenure track faculty receive 24 hours of total release from teaching over the first 5 years. This time is meant to be used for research. While there used to be a decent amount of funds to cover research conference travel/presentation costs, that has shrunk considerably over the past few years, thanks to Gov Cuomo. So if we are lucky we might get the cost of one domestic conference travel reimbursed. But that is not guaranteed.
  18. 1 point
    Carma Gorman chaired a session at CAA Conference 2020 that was very well attended and incredibly insightful. I'm hoping that a bunch of organizations (Design Incubation, Design Studies forum, AIGA DEC) can come together to develop a single document that cover's the majority of the Communication Design depts in the country. In speaking with Carma, she proposed a flexible document, almost a document wizard, that could support any dept at a variety of institutions to help develop their own standards. For instance, if you are a community college in the midwest that is situated within a business dept, select the options that are important to you... One thing that was brought up in the CAA conference session was the double-standard, higher bar which we must go through, as compared to other disciplines. It is not enough for us to secure a project from a major company, we need to also win an award. She pointed out, as I have always argued, that the vetting process a client does of us is peer review. And payment for our work is a grant. What also frustrates me is that everything we do is always considered "Service", because our skills and expertise falls within a service industry and field of study. Only if we then win an award, is it suddenly scholarly.
  19. 1 point
    "Present Yourself" is the Society for Experiential Graphic Design's newest initiative connecting students to their future careers and providing mentorship opportunities for professionals to engage the next wave of talent. Each Thursday in May, beginning 05/07/2020, SEGD will host a virtual meeting via Zoom where graduating design students will meet SEGD professionals for candid portfolio reviews and career advice—something vitally absent from our community at this moment. "Creative people are resilient problem solvers" says SEGD Director of Education Hilary Jay. "When Covid-19 struck, educators from around the world told us how their students wouldn't have capstone exhibitions or a chance to receive professional feedback and career advice. That's how Present Yourself evolved. It's exactly what we, as an association, can do and want to do for our members." Design leaders from across the country and around the world will support student members as they get ready to enter the design world full-time starting with 15-minute sessions. Together, they’ll review capstone projects, discuss presentation pointers, and share career insights. "Present Yourself fills a professional development need for students where they, our design future, can meet global industry professionals, their mentors and design heroes," says Jay. "In this difficult period, there's some good news: We can roll out an international platform where students have direct access to experts who are willing and able to provide insights and expertise about the EGD field." Reviewers will select their availability and sign up for one or more three-hour sessions. SEGD will then send a link to join a virtual room (via Zoom) where professionals will meet their mentees. Sessions will be recorded, and later edited for pearls of wisdom that may help any student or newly minted designer entering the EGD field. Post-meeting, students will complete the process by adding their resumes to SEGD JOBS, where potential employers can post positions or purchase a “Resumes Only” package. SEGD will accept reviewer and student applications through the month of May, however, time slots are limited! In order for students to participate, they must become SEGD Members—for just $30 a year—and post their resume to the SEGD JOBS board that is visible to all job posters. +++ Professionals, for more information on how to become a reviewer, click here. Students, for more information on how to submit your portfolio and resume for review, click here. Not an SEGD member? Consider joining! First time members receive a 50% discount off the first year. Apply here.
  20. 1 point
    Howdy All, Forgive me if this topic has been covered. My question is how to do you tackle student internships? Specifically I would say unpaid internships. I am constantly getting contact for internships that are unpaid. Teaching at an HBCU my students don't have the luxury to take unpaid internships. The ones I reject right away, are the ones that have no educational value for the student. Example. A company once wanted a graphic design intern, but didn't have a graphic designer or art director on staff. Basically they just wanted a free graphic designer. Is this a problem in your area? How do you tackled this? Thanks, Mitch
  21. 1 point
  22. 1 point
    Hi everyone! I try to write between 4-6 grants per year of varying budgets and purposes. Most of the grants I write directly enhance my scholarship, teaching, and service areas – either individually or sometimes all together. I enjoy the writing – I like to use words to create convincing arguments. It's fun. Recently, my university's office of research notified myself, my Chair, and my Dean that I'm the only person in my entire college (containing schools of art, music, communications, and theater) that I'm the only one doing grant writing. This was both inspiring and troubling for me to hear. Inspiring because my efforts are recognized. Troubling because no one else in my entire college is doing this. Consequently, I have a specific reputation for only going solo on grants and not including others...even despite when I ask others to participate, I get shot down. So, my first question is – why are so many people not pursuing grants? I was interviewed the other day by my university's marketing department for a booklet the put out called 'New Frontiers', which is all about research. One of the questions was "YSU faculty universally agree that the internal University Research Council (URC) grants are harder to win than a massive federal grant. Would you agree with this statement?" I do agree with it...and my agreement with it is punctuated with the fact that I was a recipient of one...which at this point in my career was after receiving other high-value grants. I determined that the URC grants, while specifically designed to kickstart research for junior faculty, are more likely to be awarded when the applicant has previous award experience – which is counter-intuitive and frustrating. Anyway....I've tried to create partnerships with grants between myself and peer educators in my Department. None are interested. So, consequently, I look outside of the university – to the local and regional community and to my community of design peers...where collaborating is immediately embraced. I've found that when people partner on grants – in some way or another, everyone wins. So this past year I've spent a lot of time cultivating conversations with peer educators inside and outside of the design discipline to see if there is potential for partnership development. I believe certain partnerships enrich the quality of a project and the respective research agendas of the partners involved. The geographic locations of all involved, I think pose a benefit as opposed to a loss or risk, especially if a project can occur online or be implemented in two different locations following similar or exact research protocols. I welcome your thoughts on how to develop quality partnerships with grant proposed projects. I'm hoping the forum will provide some opportunity to create those opportunities. Thanks RJ
  23. 1 point
    Kia ora all, Earlier this year I invited Philip Fierlinger to join us as a Visiting Professor. Phillip is co-founder and design director of Xero, one of those mythical "unicorn" startups that have reached a valuation of over a billion dollars. One of Philip's projects with us is a podcast on design-led business. While it has a NZ focus, he is keen to make this podcast resonate with design students. He is currently working with our third years to better understand their needs and fears about entering the design workforce. While very much in beta, he has posted a few episodes for feedback. If you have a spare few minutes, give it a listen and post some feedback: https://www.alchemypodcasts.com
  24. 1 point
    Congrats George! Yes, I’m going to be there as well. I’m going to be presenting a poster. I’m excited to hear other people’s ideas on design research.
  25. 1 point
    I am going to this, I was recently accepted to participate and awarded an Equity Scholarship. Who else will be making it out there?
  26. 1 point
    My design research blog looks at the diversity of the way people live and how that changes at different life stages. It asks: what matters to them about their home. Maybe design matters - maybe not.... It reflects people's life experience and changing attitudes to the home, captured as a moment in time. My PhD ( 1998) was based on Hong Kong high density housing. My current work is set in a very different spatial /design scenario, in Northern Ireland. Now that I am no longer working within the constraints of academia I am exploring visual storytelling - and loving it. Please check it out: www.anyoneathome.com best wishes Nuala
  27. 1 point
    The Wolfsonian's Fellowships Since its inception in 1995, our fellowship program has supported projects from a wide range of academic fields to promote scholarly research on The Wolfsonian's collection. Fellowships are awarded for full-time research at the museum, generally for periods of 3–4 weeks. Fellows receive: A stipend Accommodations Round-trip travel The program is open to holders of master's or doctoral degrees, Ph.D. candidates, and others with a significant record of professional achievement in relevant fields. Scholars from outside of the U.S. are eligible. Applicants are encouraged to email research@thewolf.fiu.edu to discuss their project prior to submitting an application. Applications for 2018–19 are due December 31, 2017.
  28. 1 point
    A couple of the 2018 Design Incubation Fellows reported using Zotero to keep track of their notes, correct cite and reference other sources and to generally help them organize writing projects. I'm a bit old school having developed a relatively inefficient system before platforms like Zotero were born but I want to give it a try for my next writing Please add to this post with any other resources that might help design writers be more efficient. Zotero is a free, open-source research tool that helps you collect, organize, and analyze research and share it in a variety of ways. Zotero includes the best parts of older reference manager software — the ability to store author, title, and publication fields and to export that information as formatted references — and the best aspects of modern software and web applications, such as the ability to organize, tag, and search in advanced ways. Zotero interacts seamlessly with online resources: when it senses you are viewing a book, article, or other object on the web, it can automatically extract and save complete bibliographic references. Zotero effortlessly transmits information to and from other web services and applications, and it runs both as a web service and offline on your personal devices.
  29. 1 point
    For all of you who now have time on your hands and are looking for some fun design facts to spice up your summer - check out... Design Facts http://www.designfacts.org/
  30. 1 point
    On Saturday, April 14, 2018, Design Incubation and AIGA/NY hosted a panel discussion and workshop titled, Designing for and Teaching Accessibility. Guest speakers included Elizabeth Guffey, professor of Art History at SUNY Purchase, and author of Designing Disability: Symbols, Spaces and Society (Bloomsbury, 2017); Bo Campbell, Interaction Designer and Accessibility Design Lead at IBM; Neil Ward, Assistant Professor of Graphic Design at Drake University; and Liz Jackson, founder of Girl with the Purple Cane and the Inclusive Design Network. You can access a draft of the Accessibility Guide.pdf here. Bo Campbell welcomes any feedback. We would like to continue the discussion here, offer feedback on the event, and consider some of the following topics: How are accessibility and universal design included in the design process? What are things that you as a designer currently do, or want to do, to address the challenges people with disabilities have when using things you design and produce? As a design educator, how do you integrate accessibility and universal design into your teaching and instruction? Please join us in this discussion to further the universal experience people have with design.
  31. 1 point
    @Brian, great, thanks for all your support. James
  32. 1 point
    So glad to have a chance to begin talking about this. As I mentioned on Saturday, I've been frustrated to see how few resources are available for college design teachers interested teaching access. So it was great to meet so many like-minded people. As I already said, this is very much a work in progress. Robin's suggestions about classes where this might be relevant are clear enough. I've been working towards a publication that could be used by teachers. But I'm thinking that it would be great to highlight anyone who already has built this into their syllabi and/or course projects that can be shared. . . At the DI/AIGA event, Rebecca Mushtare pointed out that the RGD (Registered Graphic Designers) in Canada have published guidelines for designers to follow. I'm attaching that here for anyone who is interested. . . RGD_AccessAbility_Handbook.pdf
  33. 1 point
    @Dan Wong, you bring up some points indirectly. I am curious to see what people think of the publishing industry as a whole. Is it healthy, or design publishers closing down like Rockport and HOW Design press making the editorial process better, do they need writers more than authors need them? If publishers can't make money, how can they pay editors to go through a rigorous process? This is not the case for all, as we see friends publish quality books of late. To answer your original question, I pay an editor to review my work for grammar and spelling and sometimes will ask others to review drafts from time to time. I do ask a selected few professionals to give quotes for the front of the book. Time to time I'll send the book to a professional review company, but not ones I have to pay. Faculty who use the book in their class is the sincerest way to show respect for peers in my situation. Why would a professor have students buy and use a book in their class if they didn't respect the content. Also, you have to take reviews on Amazon with a grain of salt, as sometimes they give bad reviews because of shipping issues or something outside the content of the book.
  34. 1 point
    It's going to be a great one! :-) We are recording podcasts!
  35. 1 point
    I very much appreciate your comment Dan, and your openmindedness towards the changing educational landscape! Is industry truly the cutting edge in the design fields? I feel if that were true, programmes would not need to support creative practice research, as all of the researchers would be funded by industry. I have found, however, that research has to be disseminated before industry picks it up. An example would be an industrial designer who's work is shown at places like the Milan Furniture Fair in an effort to get picked up by a commercial distributor. Golan Levin gives a powerful presentation that shows how many interactive agency's "R+D" is actually the work of media art practitioners who's work is appropriated for marketing purposes. In terms of your last sentence, I would argue that while both are "rigorous" they have very different ends. Industry practice, in my personal experience, creates breadth. PhD study is focused upon depth (often to a pedantic degree).
  36. 1 point
    https://dennischeatham.com/ Dennis Cheatham researches the ways people and design decisions intersect at experiential and systemic levels. His recent work explores how co-creating end-of-life choices with stakeholders can facilitate meaningful decision-making resources and tools; ways multiple intelligence theories can be applied to facilitate learning necessary for addressing complex problems; and how rhetoric and semantics in design affect aspirations and goals.
  37. 1 point
    this is really an important issue in our departmental guidelines and I think across the university. communication design is so broad that you have to find reviewers who have appropriate experiences to review work otherwise this is doing a disservice to all involved. we had changed our guidelines to reflect this almost a decade ago and it has served us well.
  38. 1 point
    In going for NASAD accreditation, our design department discussed changing our program to offer a BFA. We also considered offering a BDes, but apparently we could not because NYS must approve the degrees and a BDes is not currently recognized in New York. Does anyone have further details or understand of the requirements of the BDes, and what the process is across the country?
  39. 1 point
    @Mitchell Eismont Yes, workload hours translate to teaching contact hours – will email you!
  40. 1 point
    http://scratchingthesurface.fm/ Scratching the Surface is a design podcast about the intersection of criticism and practice hosted by Jarrett Fuller. Each week, Jarrett interviews designers, writers, critics, educators and those that operate between these fields about how writing, criticism, and theory informs individual practice and the graphic design profession at large. Previous guests have included Michael Beirut, Jessica Helfand, Michael Rock, Steven Heller, and Alexandra Lange.
  41. 1 point
    http://www.manydesign.org/ MANY is a New York-based design studio founded by Andrew Shea. We care about the craft of visual storytelling and human-centered design processes.
  42. 1 point
    http://www.alphabettes.org/ Alphabettes.org is a showcase for work, commentary, and research on lettering, typography, and type design. Our loose network is here to support and promote the work of all women in our fields. This blog was originally assembled on a whim in August 2015 by Amy Papaelias and Indra Kupferschmid. One year later, the site underwent a refresh, thanks in huge part to Nicole Dotin.
  43. 1 point
    I like that idea! I wonder if there's a way we can do this, make it somewhat rigorous, update it, and make it relevant to subspecialties?
  44. 1 point
    With all of the turmoil that seems to be going on in the world today, and with politics and morality being conflated when discussing emotionally charged topics, when are designers responsible for the outcomes of their work? Such examples would include gun control, people's rights to their own bodies, immigration, outside influences in politics. Should educators only be teaching methodologies to assess the veracity of the sources? Is it okay for educators to take a stance, as they did in the 1960s?
  45. 1 point
  46. 1 point
    https://conference.collegeart.org/programs/decolonizing-design-considering-a-non-western-approach-to-design-pedagogy/
  47. 1 point
    Most higher-ed design faculty can look at a student’s graphic design solution and quickly measure its success in solving the design problem. As practiced designers and educators, many of us can assign a grade at first glance—we know when a solution is outstanding, meets expectations, or does not meet expectations, and so on. Since I’ve been employing a rubric, a scoring guide used to articulate expectations and assess components of an assignment, my students have a much better understanding of my expectations and how I evaluate their work. If you’re lucky enough to have a TA, a rubric clarifies expectations for the TA, as well. The benefits of a rubric are numerous. For students, a rubric provides a window into your method of assessment. Often, students will better understand the components of an assignment, as well. They may become more aware of their progress in building specific conceptual and creative skills. Because students become aware of how design solutions are judged for efficacy and merit, they then can use the rubric to critique their own work. Rubrics help instructors: · Clarify expectations and components of an assignment · Assess assignments consistently from one student to another · Clarify assignments and instructional goals I include notes with the rubric evaluation to narrate what the students need to do to improve their critical thinking and design. Usually my rubrics, although somewhat tailored specifically to each assignment, have the following categories, each worth 25 points adding up to 100 points (use any scale to calculate): Design Concept (Plus a narrative of exactly what I’m looking for here.) Composition: Use of design principles including visual hierarchy, balance, unity (with variety), and rhythm. Type/Image Synergy (Plus a narrative of exactly what I’m looking for here.) Visual Communication and Impact (Plus a narrative of exactly what I’m looking for here.) Looking forward to your thoughts. Best wishes for happy grading!
  48. 1 point
    Developments in machine learning and artificial intelligence bring possibilities of radical disruptions in design practice. As an example, this post on the Netflix technology blog documents how machine learning was combined with A/B testing to create personalised visuals for every user of the service: https://medium.com/netflix-techblog/artwork-personalization-c589f074ad76 How are you preparing your students for data-driven design? Are your students or colleagues doing substantive research in this space?
  49. 1 point
    How university research is assessed in New Zealand is defined by the government in this document: http://www.tec.govt.nz/assets/Forms-templates-and-guides/PBRF-Panel-Specific-Guidelines-2018-Quality-Evaluation.pdf If you jump to page 18 you can read the research assessment guidelines for the Creative and Performing Arts. If you are working with your department or university to help them understand and define creative practice as research, the language in this document might be useful for you. Similar documents exist for the UK.
  50. 1 point
    Spending the weekend formatting this new space for design faculty to congregate online, and discuss professional issues that are on our mind we. Please contribute freely, and if you have recommendations, we welcome the input.
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