week 2: ideas/craft/context
Lecture Key points
1.Christoph Miller - Offshore: Miller emphasizes the concept of a 'third mind' emerging from collaboration. This idea, borrowed from the book "Think and Grow Rich," signifies the unique, superior outcomes that arise when two people share and develop ideas together. The process involves extensive discussion, sketching, and constant exchange of ideas. He also mentions the importance of different techniques in visualization, such as research, sketching, and using digital tools.
2. Verònica Fuerte - Hey: Fuerte describes a process that involves sketching and digital work, with a distinction between commercial and self-projects. In self-projects, the freedom is greater, and the team at her studio plays a crucial role in selecting and developing ideas.
3.Vince Frost - Frost Collective: Frost shares his experience of sketching in notebooks and working on InDesign. He finds inspiration in his environment, client interactions, and the energy of his studio team. He stresses the importance of being open and aware of one's surroundings to find inspiration.
4. Sam Bompas - Bompas & Parr: Bompas highlights the necessity of extensive research and using familiar tools for visualizing ideas. He advocates for the use of simple tools like emails and napkin sketches to develop and communicate ideas.
5. James Stringer - Werkflow: Stringer discusses the complexities of game design, emphasizing the use of game engines and collaboration with various experts. Inspiration for him comes from different forms of media, including cinema and music.
Each speaker brings a unique perspective to the creative process, emphasizing collaboration, research, use of various tools, and drawing inspiration from their surroundings and other fields. They all underscore the importance of an open, flexible approach to developing and visualizing ideas.
class task: mood board
“… sometimes I sit down at a computer and work on InDesign, just play around with design, with type, my ideas, till I find some that works for me.
- VINCE FROST
My home town - located on the west coast of New Zealand's North Island, population approx 43,000 - but growing. New Zealand is experiencing a migration from the big cities to more rural settings, particularly post covid. Renowned for its picturesque setting along the Whanganui River, the country's longest navigable waterway, the city is one of the most historic settlments in the country, something reflected in every facet of society from the architecture to the ramifications of colonialism. The history is deep but also divisive.
It is one of the most beautiful spots of New Zealand- frequently either a finalist or winner of New Zealand’s most beautiful small city. However beneath the beauty lies an undercurrent of gangs, violence, and cultural wars. National media have previously touted Whanganui as the “gang capital of New Zealand” due to it’s heavy presence of Mongrel Mob, Hell’s Angel’s and Black Power gangs - those being the most predominant but certainly not all.
Further, given that Whanganui was a predominant early settlement, there is pain carried from the injustices of colonial actions. Whanganui may be a historic settlement but New Zealand is a young country; the wounds are still fresh.
That being said, much work has been done to rehabilitate and heal. Local politicians have attempted to diminish gang presence- at least visibly, so to reduce intimidation. Local iwi (tribes) have worked progressively with government to reach agreements so land can be returned, and te reo Maori (our native language) given it’s rightful place. In a world first, the Whanganui River has been given it’s own legal entity - Te Awa Tupua.
Furthermore, Whanganui has solidified it’s position as a town of creativity and the arts. Long known for it’s art college and abundance of artists, it is now recognized as a Unesco City of Design. This creative “vibe”, the easy lifestyle and the microclimate has attracted thousands of new residents to the city.
But an air of division has risen post covid, as it has in many areas of the nation. Perhaps in a city not unfamiliar with division, it is more evident in Whanganui. While the world on the whole considers New Zealand’s response to the pandemic superlative, and Jacinda Ardern’s (then prime minister) empathetic leadership exemplary - not all citizens share this sentiment. A small, but vocal, percentage of the nation are still angered by the way New Zealand was shut off from the world and vaccines were mandated. The economy suffered and New Zealand- already geographically isolated - became more so. However the enraged minority forget the tens of thousands of lives that were saved, particularly in a nation with a flailing health system.
Vince Frost’s quote resonated with me- Its a mode of operation I frequently find myself in. InDesign has previously been my software of experimentation, increasingly it is Illustrator.
To me, self-initiated projects are LIFE. I’d hazard it is when I produce my best work - I love the freedom and creation. The opportunity to consider an idea with potential and hyperfocus it into exhaustion. I’m not used to documenting it or confining it to within a brief however- so this assignment is a healthy experience!
Excerpts from: AMBROSE, G. 2017. Design Genius: The Ways and Workings of Creative Thinkers, Bloomsbury Publishing.
w h a n g a n u i
"Te Awa Tupua" refers to a groundbreaking legal recognition of the Whanganui River in New Zealand as a legal entity. This concept represents a significant shift in the way natural resources are viewed and treated in legal and environmental contexts. The term "Te Awa Tupua" translates to "the river with legal personhood" in Māori.
The Whanganui River, the third-longest river in New Zealand, holds a special place in the hearts and history of the local Māori people, particularly the Whanganui iwi (tribe). For them, the river is not just a physical entity but a living ancestor, deeply intertwined with their identity, culture, and well-being. This perspective aligns with the Māori worldview that sees humans and nature as interconnected and interdependent.
In March 2017, after long negotiations between the New Zealand government and the Whanganui iwi, the Whanganui River was granted legal personhood under the "Te Awa Tupua (Whanganui River Claims Settlement) Act." This act acknowledges the river as an indivisible and living whole from the mountains to the sea, encompassing its tributaries and all its physical and metaphysical elements.
The legal status of Te Awa Tupua means that the river can own property, incur debts, and sue or be sued. To represent the river's interests, two guardians (Te Pou Tupua) were appointed - one by the Crown (the government of New Zealand) and one by the Whanganui iwi. These guardians act on behalf of the river, ensuring its health and well-being are considered in any decisions affecting it.
This recognition of a natural entity as a legal person is a pioneering approach to environmental protection. It shifts the focus from ownership and use of natural resources to stewardship and guardianship. This concept has inspired similar initiatives in other parts of the world, acknowledging the rights of nature and promoting a more sustainable and respectful relationship with the environment. The Te Awa Tupua model represents a fusion of indigenous knowledge and modern legal frameworks, setting a precedent for future environmental governance.
I opted to make two, each identifying a diverse theme, the juxtaposition of which highlights the need for unity.
