INQUIRY PART ONE

INQUIRY PART ONE:
I'M POOR AND I HAVE QUESTIONS.
 
DO WE HAVE A CHOICE IN BEING CREATORS OF DISTRACTIONS?

HOW LONG ARE WE GOING TO ONLY GET PAID TO MAKE CUTE BULLSHIT?

IS THERE SUCH A THING AS AN 'INDEPENDENT DESIGNER' THAT ISN'T ON FOOD STAMPS? 

IS A STARVING DESIGNER REALLY JUST A STARVING ARTIST?

DOES THAT OFFEND ARTISTS?

WHAT HAPPENS WHEN YOU CAN NO LONGER PRODUCE EVEN THE IMMATERIAL?

WOULD YOU GET A PART-TIME JOB AT MCDONALD'S TO SUPPLEMENT YOUR SMALL PUBLISHING LABEL?

WOULD YOU SUBSCRIBE TO A DESIGNER'S IMAGE FEED IF YOU HAD TO PAY A LITTLE FOR ACCESS LIKE A PORN WEBSITE? IS THIS WHAT THE AIGA DOES?

ARE SCHOOLS STILL PROPAGATING THAT GRAPHIC DESIGN IS A CAREER THAT TAKES YOU PLACES EVEN THOUGH YOU'LL BARELY EVER MOVE FROM YOUR DESK?

IS DESIGN STILL AN 'EXCITING' CAREER?

IS ANY CAREER?


WHY DO WE HAVE TO WRITE, DESIGN, AND PRINT OUR OWN WORK ONLY TO SHARE THEM WITH OUR PEERS ON 10  PLATFORMS THAT SAY THE SAME THING?
 
IS IT ANY LESS AMAZING WHEN WE POST "AMAZING NEW WORKS BY [NAME OF DESIGNER]"  A DOZEN TIMES IN A ROW ON OUR INSPIRATION BLOG?

WHAT DO WE MEAN WHEN WE SAY SOMEONE'S WORK IS "INTERESTING"?
 
ARE THERE PRINTERS THAT WORK ON BARTER/TRADE?

THERE ARE SO MANY USELESS JOB BOARDS, CAN WE CREATE A PROJECT BASED PORTAL TO CONNECT THINKERS WITH CREATORS?

WHY HAVEN'T WE ESTABLISHED MODELS THAT EXIST OUTSIDE OF SERVICING TIRED, OUT-OF-TOUCH MARKETING STRATEGY? BECAUSE THEY HAVE ALL THE SLEAZY MONEY?

HOW IS CRITICAL™ DESIGN DIFFERENT FROM CRITICAL DESIGN?

WHAT'S THE DIFFERENCE BETWEEN A DESIGN SKEPTIC AND A DESIGN CRITIC?

ARE DESIGN CRITICS JUST MALCONTENTS IN IT FOR THE ART MONEY?

HOW MUCH INVESTMENT CAPITAL DOES IT TAKE TO CUSHION A 'SPECULATIVE PROJECT'?

CAN WE START A QUARTERLY KICKSTARTER FOR A GUARANTEED LIVING WAGE?



THAT'S ALL FOR NOW.


5 comments:

  1. This comment has been removed by the author.

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  2. WITHOUT CONTEXT, ALL CREATIONS ARE DISTRACTIONS. YOU NEED TO DEFINE A FOCUS AS A METRIC FOR DETERMINING WHETHER OR NOT YOUR CREATION IS A DISTRACTION, PERSUASION, MANIPULATION, ETC.

    THERE ARE VARIOUS TACTICS AT YOUR DISPOSAL TO INFUSE YOUR WORK WITH A SPECIFIC POINT OF VIEW, OPINION, OR MESSAGE (ASSUMING YOU HAVE ONE). THE MESSAGE CAN STILL BE COMMUNICATED INDEPENDENT OF ORNAMENTAL TREATMENT.

    NO. DESIGNERS UNDERSTAND THE FUNDAMENTAL CONNECTION BETWEEN COMMERCE AND CREATION. ARTISTS CREATE PURELY FOR SELF EXPRESSION, INDEPENDENT OF AUDIENCE OR PERCEIVED VALUE OF CREATION.

    YES.

    YES.

    YOUR MERE EXISTENCE REQUIRES THE PRODUCTION OF MATERIAL. WHETHER THERE IS SPECIFIC INTENT, ON YOUR PART, IS TO BE DETERMINED BUT YOU ARE AUTOMATICALLY GENERATING ENERGY BY TRANSFORMING SOLAR-POWERED-BIOMASS. MUCH AS THE HUMAN BODY MUST EAT, THE HUMAN MIND MUST CREATE.

    YES.


    YES. I'M NOT FAMILIAR ENOUGH WITH AIGA TO ANSWER ACCURATELY.

    YES. SCHOOLS ARE SAYING WHATEVER THEY NEED TO SAY TO COLLECT TUITION FEES. EDUCATION WILL SOON GO THROUGH A MASSIVE TRANSFORMATION THAT WILL END THE STATUS QUO, BUT THAT HASN'T HAPPENED YET.

    YES.

    YES.

    YOU ONLY HAVE TO SHARE YOUR WORK WHERE YOUR PEERS ARE. YOU HAVE TO BE CLEAR WHY YOU CREATE YOUR WORK, THAT WILL INFORM WHO YOU WANT TO SHOW YOUR WORK TO AND WHAT YOU WANT TO GET OUT OF SHARING IT. AFTER YOU KNOW THE ANSWER TO THOSE QUESTIONS, THE HOW ANSWERS ITSELF WHICH MAY LEAD TO SHARING ON ONE PLATFORM OR TWENTY PLATFORMS.

    YOU NEED TO KNOW THE WHY, WHO, WHAT, AND HOW FOR SHARING INSPIRATION JUST LIKE SHARING YOUR OWN WORK. SOMETIMES YOUR UNIQUE TASTE COMES TO BE RESPECTED BY YOUR AUDIENCE AND YOU BECOME A REALLY VALUABLE RESOURCE FOR SOMEONE. OTHER TIMES, YOUR AUDIENCE IS EITHER MORE SOPHISTICATED OR MORE REFINED THAN YOU ARE AT THIS MOMENT AND YOUR CURATION SHOWS THAT YOU NEED TO GROW. IT DEPENDS ON WHAT YOU WANT TO GET OUT OF SHARING WITH WHO.

    SOME SAY IT'S A COPOUT ANSWER, ONE WHERE YOU DON'T TAKE THE RISK OF SHARING AN OPINION, POSITIVE OR NEGATIVE. I LIKE TO THINK OF IT AS AN INITIAL REACTION THAT BEGS FOR DEEPER INTROSPECTION BEFORE JUMPING TO ANY CONCLUSION.

    EVERYONE HAS A THEORETICAL WILLINGNESS FOR BARTER AND TRADE. THE KEY FACTOR IS THE ESTABLISHMENT OF TRUST WITHIN A GENUINE RELATIONSHIP. THE BEST WAY TO BUILD TRUST IS TRANSPARENCY AND CONSISTENCY OVER TIME.

    THIS [POST](https://medium.com/p/425061ab6a8d) SUGGESTS A POSSIBLE SOLUTION TO THIS PROBLEM

    THE [EFFICIENT-MARKET HYPOTHESIS](http://en.wikipedia.org/wiki/Efficient-market_hypothesis) SUGGESTS THAT ALL AVAILABLE INFORMATION IS CONTAINED WITHIN THE PRICE OF A GIVEN GOOD OR SERVICE (RAW MATERIALS, LABOR, IMPACT ON NATURAL RESOURCES AND SOCIETY, ETC.). THE ADVENT OF A NETWORKED SOCIETY HAS CREATED A WORLD WHERE WE HAVE MORE INFORMATION SOURCES THAN JUST THE DOLLAR. AS THIS INFORMATION BECOMES MORE WIDELY DISTRIBUTED, OUR ACTIONS AND BEHAVIORS WILL ADJUST IN KIND. TODAY, CORPORATIONS USE [ARBITRAGE](http://en.wikipedia.org/wiki/Arbitrage) TO PROFIT FROM [MARKET EXTERNALITIES](http://en.wikipedia.org/wiki/Externality). SOON, THERE WILL NO LONGER BE UNIQUE KNOWLEDGE HELD BY A SMALL ELITE CLASS.

    AS A SOCIETY, WE HAVE ENACTED A SERIES OF INTELLECTUAL PROPERTY PROTECTIONS WITH THE HOPE OF FOSTERING CREATIVITY AND ECONOMIC ACTIVITY. THE ABUSE AND MANIPULATION OF INTELLECTUAL PROPERTY PROTECTION WASN'T FORESEEN DURING ITS CREATION.

    IGNORANCE.

    THE HUMAN CONDITION IS OSCILLATING BETWEEN STAGES OF INDIVIDUAL AND COLLECTIVE CONSCIOUSNESS WITH AN INHERENT TENSION BETWEEN THE IDENTITY OF THE SELF AND THE IDENTITY OF A COMMUNITY. CRITICS EMBODY THE BOUNDARY LAYER BETWEEN THESE TWO POLES OF THE HUMAN CONDITION.

    LIVE FRUGAL. PLAN TO HAVE AT LEAST A MONTH OF EXPENSES ON HAND. SIX MONTHS WOULD BE BETTER. HAVE A PLAN B. DON'T GO INTO A PROJECT UNLESS YOU CAN HONESTLY SAY THAT YOU WOULD BE COMFORTABLE WITH THE PROJECT NOT WORKING OUT.

    CROUD-FUNDING, ALTERNATIVE METHODS OF EDUCATION, AND DISTRIBUTED WORKFORCES ARE GOING TO BE SOME OF THE BIGGEST TRANSFORMATIVE FACTORS OF THIS AGE.

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