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Brian Lucid

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Brian Lucid last won the day on September 2 2018

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  1. 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
  2. We have a "no unpaid internships" policy. The company needs to put forward some sort of compensation, even if it is in-kind.
  3. Kia ora all, I have opened a permenent Lecturer / Senior Lecturer position within the School of Design in beautiful Wellington, New Zealand. For those more familiar with the North American model, this role is roughly equivalent to an Assistant / Associate professor rank. Now 132 years old, the Wellington School of Design at Massey University is currently ranked in the top 100 design programs in the world, and ranked #1 in Asia-Pacific by Red Dot. The successful candidate will demonstrate a high level of achievement in practice, research and teaching in one or more of the following specialisms: typography; graphic design; brand experience; information design; interaction design; user experience; immersive design (design for virtual and mixed reality); concept or entertainment design; illustration; service design; urban design; interior design; exhibition design; or performance design. The candidate should also be able to show strong affiliations with Pasifika communities. Please take a look (link below) and feel free to ask me any questions here. http://massey-careers.massey.ac.nz/10362/lecturer-senior-lecturer
  4. James, I just received my copy and passed one over to Andre! Thank you for your generosity. This is a lovely book and a great resource to undergraduates.
  5. 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).
  6. For my institution, that follows national guidelines for research loosely modeled on the UK's REF, I would order these the following way: Grant Base Research Project: Peer Review Publication: Published Book: Unless its from a top publisher, book publication is not supported or valued very highly. Peer Review Conference Presentations are not seen as research. Conferences are considered networking events. Dissemination is allowed there, but its not valued very highly.
  7. Overseas, yes. PhDs in the Visual Arts / Design are big business across the UK, Europe, Australia and New Zealand. Of course, it helps that in most of those countries you cannot teach at a tertiary level without a PhD in your discipline!
  8. 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!
  9. I love this sentence in Carnegie Mellon's undergraduate design degree page explaining why they chose BDes: https://design.cmu.edu/programs/undergrad "This degree is equivalent in rank to a BFA, but acknowledges the growing importance of the design disciplines as separate and distinct from Fine Art."
  10. Two examples: At my former institution in the United States we, at one time, offered dedicated courses such as Graphic Design History. These courses were classified as "academic studies" focused (using NASAD terms) and were long taught by skilled and knowedable studio faculty with MFAs. Policy was eventually changed so that all such history / critical study courses had to be taught by faculty with PhDs. Finding such a person proved impossible, which led to us to either not deliver discipline-specific academic studies courses or to move this content into studio-based courses. I recently ran two international faculty searches, one for Communication Design and one for Spatial Design. In terms of the candidates, I do not recall any of the Communication Design candidates having PhDs. In contrast, nearly half of the Spatial Design candidates held a PhD.
  11. Is your university moving towards requiring tertiary educators to have a PhD within their discipline? is it encouraged? In the United States (and a few other countries) the MFA / MDes has long been considered the “terminal” degree for postgraduate study. Overseas, this is not so. Many parts of the world now have clear standards of levelling between masters and PhD study in art and design. They encourage or expect design educators at the tertiary level to hold a PhD. This partly reflects the maturing of design research, but is also a response to the need for institutions to beef up their research quota. What are your thoughts on the PhD within art and design disciplines? Both in terms of traditional scholarship and creative-practice PhDs? PhD study has very different goals from MFA/MDes study. What are the implications, at the faculty level, of these changing expectations? Have you ever found not having a PhD a limitation (for promotion / tenure / or in practice?)
  12. Here is an interesting link around the "myths and realities" of assessment from Otis. http://www.otis.edu/myths-reality I found a similar document on my old university's wiki. I sense that both of these documents were written in a effort to motivate and engage faculty who were less than keen on the coming wave of assessment. I certainly agree that university-wide assessment programmes often fail to align with art and design study. At MassArt, we made an attempt to define our own assessment practices rooted in art and design in an initiative that ran from 2009 - 2013. I would point you to Dr. Lois Hetland, a Massart faculty member who has done much research on assessment in the arts and is now a senior research affiliate of Project Zero at the Harvard Graduate School of Education. I am not sure this is the "best" paper to point you to, but here is one of their publications: The Quality of Quality, Understanding Excellence in Arts Education. (http://www.wallacefoundation.org/knowledge-center/Documents/Understanding-Excellence-in-Arts-Education.pdf)
  13. 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.
  14. Nice idea Robin. Happy to throw my name into the ring as my university values this type of service. I currently hold the role of Professor of Interaction Design. In American parlance, I would be considered the Dean of Design for my University. I lead Ngā Pae Māhutonga, a design school which holds a top 100 world QS ranking in Creative Arts and Design. Prior to my move to NZ, I was a Professor of Design at MassArt in the United States. I am comfortable assessing both candidates for promotion and tenure at free-standing art and design institutions and research-focused Universities. I am a NASAD evaluator, but have not done much service in this area now that I live overseas.
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