I would like to know how people like Steven Heller and Peter Merholz have all the time to do all the things they do? Steven is Senior Art Director or some higher position of the New York TImes (maybe of the book section). He writes a book a minute and articles for many of the design mags. He put together the conference I just came back from and he teaches at School of Visual Arts. Peter seems to write prolifically, speaks at all sorts of conferences and works too. Where does this energy come from. Do these guys read non-work related books? Go to concerts or out to movies? I am looking for some of that energy as I move into doing consulting and more work on the Dr. Leslie Project (becoming a book).

I have discovered the major time sucker. Commuting. I am travelling from San Jose to San Fran this week for a consulting gig. Many hours in the car and I am even doing a portion on BART. I hope I find a position closer to home.

I have spent the last two days immersed in discussions and discourse around Graphic Design Criticism and History. It has been extremely stimulating and encouraging.

The event: Looking Closer: AIGA Conference on Design Criticism and History
The place: New York City

The range of speakers included Elvis Mitchell (New York Times film critic), Rick Poyner (former editor of Eye Magazine), Ellen Lupton (curator of the Cooper Hewitt Design Museum), and a lawyer specializing in copyright and fair use law.

The first day was spent discussing Criticism and its role in Design and the practice of Design Criticism. It was a very interesting range of discussions - much of it centered around the role of the critic and the need to practice critical analysis and critical journalism surrounding our practice. Many of the issues around this role revolve around the fact that many of the practicing design critics are peers to the designers whose work they critique or analyze. Much was said about the need to separate the act of analysis of the work from the person. I believe that much of the problem is that many of the people writing critically are also friends with the designers whose work they analyze. Perhaps the next wave of critics need to have a layer of removal from the center of desing practice. Or designers really need to grow up and realize that the work is not them and that criticism and analysis of the work doesn't reflect on them as a person and speaks only of the work. If we don't have crititcal analysis of our work, how are we ever expected to grow and stretch as designers?

I also think that not enough was said about the role the client and the context of use of the work. The role of the client in the creation of the work often bends and moves the work away from the designer's orginal intent - sometimes for the better and often for the worse. The contextual use of the work also needs to be taken into account. The analysis of the work in a vacuum leaves us wondering if the work was successful in its intended use. I think that often, the work and anlysis - critique - that we see in the journals and books, leave out the contextual use of the work or the end results of the work. I believe that that use and the gauge of its success to the client should be a factor in the discussion of the value of the work. I would think that a piece that is super successful in its original mission is more successful than a piece that may be brilliant to other designers but failed in its original mission.

Naomi Klein spoke about the concept of Brand Boomerang - a phenomenon of activists and artists and protesters using branding and corporate brand to expose the issues behind the product the brand stands for. The idea is that the current state of the brand - clean and homogenized and safe - does little to expose the realities behind how a company makes the products that we all covet. I think many people were questioning some of what she presented in terms of its context to the subject at hand - Design Criticism, but I think that she was illustrating an alternative way that people disect design and react to it, albeit with a slightly different agenda than a traditional design critic. In some ways this approach is more approachable, because it is an example of design reaching the average person and these "average" people in turn use design for their own agenda.

Michael Beirut spoke about the style of critical writing and how the words can be compelling and interesting and tell a story at the same time dissecting and analyzing the work. He illustrated his point be referencing a passage from the book listed below about the songs, the song writer and the singer - Sinatra. He read the passage, then played the song and I was left wanting to read more. The author of the book used a compelling style to tell the story that sucked me into the narrative.

One of the most interesting presentations of the day was by Steven Johnson. Johnson, one of the creators of Plastic and SlashDot, presented the concepts of the technology behind Plastic. The software uses algorythms and filtering to enable postings to rise to the top for its readers. The idea that the site uses the software and a collective policing model to filter quality writing and allow it to bubble to the top is extremely intriguing. As a User Experience designer and a person specifically interested in Community, I found this presentation most interesting. The core philosphy of the site should be able to transferred to larger more commercial sites with similar success. The moderating of the postings is spread around and earned by posters so that the contributors share in reponsibilites of the quality with the original site creators. This was the only presentation that specifically dealt with the internet.

Some reference material to look up from this day:
Deadline at Dawn - Judith Williamson [out of print]
No Logo - Naomi Klien
Arts & Letters Daily
Revolution in the Head - Ian MacDonald
Twice, NEST - printed journals
One Market Under God - Tom Frank
Plastic
Sinatra! : The Song Is You : A Singer's Art

Coming tomorrow - commentary of today's events on Design History

Just read an article by Steven Heller on Loop about how Designers are now creators of content where traditionally they only created the vessels for content. He cites Funny Garbage as an example of this phenomenon. I checked out their site (they designed an early version of AltaVista) and found this site: KATBOT Funny - definitely a labor of love.

I bring this up because I am reminded of my own work on the Dr. Leslie Project - currently in the build state but I do have a place reserved. I expect this work to be done by Christmas with the full site - pages, images, video, message boards, search and all other pieces in the mix. This too is an example of designer as creator, although I don't expect to make any money off the site.