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Hello everyone, welcome back to 
a new episode of the AIGA Design

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Podcast. 
I'm Julia Donatello, Design 

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Competitions and Events manager 
at AIGA, the professional 

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association for design, and my 
Co host. 

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I'm Li Shan Huang, Co Executive 
Director of Learning and 

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Programs here at AIGA, and this 
season of the show we are 

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exploring the theme of Eyes on 
Design. 

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This theme is inspired by the 
Eye on Design magazine that ran 

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from 2015 to 2022. 
We are bringing back this 

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critical lens, this connecting 
eye and this future eye, looking

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at design practice, what we do 
as designers, what we make as 

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designers, asking hard questions
about what we do, how we do it, 

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how it's changing, how we 
connect to other disciplines and

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industries, and where we're 
going in the future. 

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Our guest this episode is Brian 
Clark, who leads the subject of 

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graphic design at Falmouth 
University in the UK, and he is 

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responsible for the 
undergraduate degree and future 

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strategic developments of 
postgraduate study and research 

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in the subject at Falmouth. 
Brian, welcome to the show. 

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Thank you so much. 
That's great to be here and 

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looking forward to having a 
conversation with you about what

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we're up to at Falmouth. 
So thank you for the invitation.

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So let's kick start, Brian, we 
wanted to hear a little bit from

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you like what's the context of 
how did you get into design in 

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the first place in your career 
and and then what brought you to

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design education at some point? 
Of course. 

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So I started, I guess I'm in a 
place at the minute where I've 

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spent half of my career in 
industry and half in education. 

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And I was lucky enough to work 
in some amazing studios. 

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Part of the kind of heritage of 
of the the kind of story of 

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graphic design, whether that's 
through companies like Lewis 

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Mobley, where I was a creative 
partner and director working on 

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projects all around the world. 
And also earlier parts of my 

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career I worked for sort of 
basically spin offs from 

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pentagram. 
And that sort of interesting 

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connection also came through my 
own education where I was 

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probably taught by one of Bob 
Gills, the original Fletcher 

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Forb Gills, one of his students 
at the Royal College of Art. 

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So the kind of passing down of 
the baton from various sort of 

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the sort of the provenance and 
pedigree of, of the story of 

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design. 
And as I carried on through my 

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professional career, I was 
gradually doing more and more 

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educational work and also 
working with DNAD, which is 

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obviously your cross Atlantic 
version of AIGA. 

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Whereas A trustee and director 
and gradualise doing more and 

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more things with the 
universities to the point where 

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I thought actually I think I 
want to jump the board and 

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actually work full time. 
So there's a kind of really 

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interesting part of that mix, 
which is largely when we're 

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developing courses at Falmouth 
that actually we have this 

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interplay between sort of 
industry, where industry's 

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going, but also actually from a 
subject point of view and a 

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learning perspective, what can 
we do to kind of challenge and 

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provoke new ways of learning. 
So that's my story really in 

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terms of how I got in into 
design. 

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And actually in some ways the 
things that drive me are great 

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ideas and and an excellent 
craft. 

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And I think I always say to 
people, whether I'm in a amazing

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design studio in industry or an 
amazing studio in education, the

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thing I'm looking for is that 
exciting work, a curious mind 

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and a sort of really interest 
in, in provoking people's ideas 

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of what design is and what it 
can do. 

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So yeah, I, I see both as a 
similar kind of balance, which 

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which I love about being in 
education, but also connecting 

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with industry through everything
we do. 

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So yeah, I feel in a very 
privileged position. 

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So that's my story to date. 
Yeah, that's great. 

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And I love what you said about 
innovative ways to learn and 

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teach design. 
So I'm going to jump into that 

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and I wanted to hear a little 
bit more about the university 

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and the online Masters in 
graphic design program that I 

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know you've been involved with. 
So if you can get a little bit 

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more into detail of what the 
program looks like, what is the 

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type of the students that look 
for them and what are the type 

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of work that they're offering? 
Of course. 

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So I guess I should start with 
Falmouth in a sense that as an 

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art school, we have 120 years of
experience and actually the 

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faculty of graphic design has 
been going for over 40 years. 

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So we've kind of had a really 
good chance to sort of 

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understand our subjects and also
we might say Cornwall is at the 

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kind of edge of the UK. 
But actually it's history is a 

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really exciting one. 
We were a strong part of the 

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industrial revolution. 
The sort of first communication 

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pipelines went from Cornwall to 
India and New York. 

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The first digital message was 
sent from Cornwall to Southern 

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Ireland. 
So we like to think we've got a 

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really strong heritage in the, 
in the world of sort of 

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communications. 
And I think what sort of came 

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about through the, the reason 
for starting the online presence

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was that actually sometimes 
we'll ask that actually why did 

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we do online? 
Actually there's a large part of

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that which is about how can we 
extend our reach, How can we 

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create more accessible and 
inclusive approaches to design 

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education. 
And actually it wasn't in making

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this sometimes I also think that
in fact, if we were making 

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design courses now, how would we
deliver them? 

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And in fact, the online space in
terms of the technology it 

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allows us to to engage with is 
actually an environment where we

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can reach out to lots of 
different cultures around the 

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world and understand how that 
sort of cross cultural 

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understanding of how we learn 
how we live and from your own 

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city is really important. 
And what's really great about 

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that is that we then end up 
having a whole series of 

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students in different parts of 
the world where we're sharing 

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the sort of global exploration 
of the subject. 

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We're not bringing. 
Of course, we have campus based 

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courses where we have 
international students coming 

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here. 
But actually the kind of the key

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thing is that fascinates us is 
like, how do we innovate the 

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learning space? 
How does that make create a more

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inclusive and diverse kind of 
community of learners? 

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And also what that actually does
in terms of the opportunities 

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for those students to not only 
learn about a subject they love 

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or want to kind of learn more 
about and but also kind of 

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connect with other ways of 
understanding the subject, which

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I think is like really 
important. 

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And that might come about, I 
guess, from in terms of our 

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understanding of our audience. 
It could be that we're looking, 

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we're engaging with students who
are sort of, if you like, 

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looking at a transition between 
maybe sort of one subject and 

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another. 
They might be wanting to 

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refresh, they're sort of 
critical and research orientated

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context of what they do, but 
they also may be wanting just to

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have a sort of change of tack. 
So therefore it can be students 

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who are taking some time out. 
So although the course runs over

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2 years and students can do it 
part time, actually it might 

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also be those individuals who 
want to bring something new into

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their own, into their own 
studios or perhaps are in that 

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sort of no man's land, which 
many designers have when they've

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been practicing for maybe, you 
know, 4 to 10 years where they 

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think actually now's the time 
for me to launch my own studio. 

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So we have a number of serious, 
the sort of various modules that

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we have in the course allow for 
those different kind of 

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perspectives to be engaged with 
what they do. 

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Yeah, I'd love to come back and 
dig deeper into the format of 

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your course and especially how 
you're taking advantage of the 

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online delivery and the spaces 
that you're creating across 

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different geographies and 
cultures. 

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But first, I'd like to step back
a little bit and paint a picture

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of like what's going on in 
design education. 

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We have a lot of educators who 
listen to the show, but we also 

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have folks who have been maybe 
out of school for a while and 

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are just practicing designers, 
but just to paint with broad 

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brush strokes. 
You know, we have a lot of 

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anxiety about AI right now. 
But even before that, this 

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homogenization of design culture
with social media flattening 

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that like kind of everyone 
looking at the same Pinterest 

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boards, looking at the same 
kinds of inspirations. 

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And obviously there's tons of 
stuff that's offline in archives

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that we don't see as designers. 
And so that there's that kind of

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rupture with history, there's 
also just plenty of choices for 

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people to learn design, whether 
they're self-taught from YouTube

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tutorials to a traditional in 
person course to an online 

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course like Fallmouth. 
So yeah, can you give us a 

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little bit of your perspective? 
How do you see where design 

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industry is connecting with the 
state of design more generally 

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right now? 
OK. 

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So sort of a wide question there
in terms of where where I sort 

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of begin with that. 
And I suppose I guess we have to

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kind of get a sense of I guess 
design has always kind of been 

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in flux. 
It's like, and I suppose we 

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tried to get our students to 
kind of embrace that discomfort.

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How can we take courageous 
steps? 

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How can we remain curious? 
You know, there is potentially 

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as discussed a kind of threat in
around what the the sort of AI 

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and other kind of challenges 
might come about from how we 

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work. 
But I suppose in terms of the, 

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we, we have a balance between 
understanding what, what 

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industry is doing, but also 
challenging what industry could 

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be. 
And actually a lot of students 

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and, and all of us are 
questioning about the role 

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design has played in, in our 
society and what it has done. 

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You know, there's a lot of items
of graphic design floating 

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around our oceans and in the 
environment. 

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So actually, you know, I think 
even when I speak to industry, 

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they're trying to get a sense of
actually where are things going?

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How are we kind of navigating 
this kind of this story around 

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the the subject. 
But I think one of the key 

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things is that whilst we are, 
for example, developing an 

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online space, actually the key 
thing is that we remain curious 

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about the world around us. 
We want to be informed by design

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and it's sort of the critical 
context of where it's been. 

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But actually we also want to be 
inspired by life. 

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So one of the challenges I often
find, particularly with students

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is like, is actually around 
encouraging that, you know, how 

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do they notice the ignored? 
And we know, you know, I've, 

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I've sort of, you know, some of 
my sort of heroes and the people

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I mentioned, Fletcher Forbes 
Gill, you know, I was at a, you 

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know, you know, obviously Bob 
Giller's past since. 

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But you know, he would often 
talk about redefining a design 

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problem and actually kind of 
going to the source of an issue 

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and waiting there and listening 
until you find something 

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interesting to say about that 
subject. 

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And then from that point of 
view, you know, once you've 

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found that, it's sort of he'll 
often say it's a miracle it will

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design itself. 
As you know, that's not quite 

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true. 
But actually, so we're listening

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to what industry have to say. 
And that's a big part of 

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actually what we're doing. 
So even sort of Kenya Hara in, 

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in Tokyo talks about sort of 
making the, the, the known 

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unknown, you know, so we have 
all these really kind of big 

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voices and we're listening to 
those because again, we can't 

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just see design in, in its own 
sort of bubble. 

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We're having to sort of look 
beyond and learn from different 

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kind of cultural references. 
And that's why the global 

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exploration of the subject is, 
is really important. 

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And so I guess from in terms of 
where things are going, we're 

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also looking at other studios 
that they're kind of maybe 

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looking at cultural sectors, 
environmental, sustainable. 

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And I think that's one of the 
key things that our students are

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looking for. 
Like what is their role in 

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terms, what is their 
responsibility in terms of the 

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future of design? 
And so in fact, I was in London 

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just last week when I visited a 
studio called Vedem and Lamp. 

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They do a lot of, if you like, 
destination and place making 

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sort of global cultural working 
for the Louvre or working for 

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London councils. 
And they've developed a whole 

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range of different ways of 
working that can also be digital

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products for research or even 
having their own gallery where 

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they're bringing in, having an 
off Lyca exhibition or all sorts

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of different things that come 
in. 

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So I think designers are 
questioning their responsibility

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and we're seeing new kind of 
models, emergent practices that 

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are coming through. 
And I guess the, the course, 

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what I guess what that does and 
what we're trying to do is 

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question what design is and what
it can be. 

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And I also think that design 
design industry are also asking 

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those questions that we don't 
have to follow the same models. 

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And I think the exciting thing 
about being in education or 

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maybe in the hinterland is that 
we can actually, we can actually

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start to explore those areas. 
And we don't have the, maybe 

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the, the business, the pressure 
of business to actually sort of 

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force our hand. 
We can actually be free and 

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open. 
And actually the key thing is we

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are, we want to learn from our 
students, you know, and I think 

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when you, when you look at the 
kind of graduates, postgrad or 

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undergraduate industry are 
taking on, there used to be a 

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time when actually you look 
through a portfolios I've done 

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many times and you wanted to see
10 branding, book design, 

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00:14:12,080 --> 00:14:14,160
digital experience design 
projects. 

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00:14:14,400 --> 00:14:17,000
Actually, a lot of the good 
studios now are saying we'd 

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maybe a see a couple of those, 
but the others we want to 

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understand who are you are, who 
you are, what your voice is, 

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00:14:24,000 --> 00:14:26,280
more experimental projects in 
terms of. 

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00:14:26,280 --> 00:14:29,680
So I think, you know, times have
changed quite dramatically. 

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It's not the sort of, I think 
many sort of said that, you 

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00:14:32,280 --> 00:14:36,960
know, in the 20th century design
was there to sort of designers 

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were there to save the world. 
Now it's actually in the 21st 

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century, it's design can save 
the world. 

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And so we're moving from a kind 
of egocentric area to something 

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00:14:45,200 --> 00:14:48,040
else and therefore listening to 
all these voices. 

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00:14:48,080 --> 00:14:52,200
So Falmouth calling on this 
amazing network of alumni we 

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00:14:52,200 --> 00:14:57,880
have to put to actually input 
into our content to offer 

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00:14:57,880 --> 00:15:01,560
students, students portfolio 
reviews, but also us to kind of 

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00:15:01,560 --> 00:15:05,840
draw on those voices so that 
students are sort of learning 

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00:15:05,920 --> 00:15:08,640
across different sort of 
cultural inputs. 

257
00:15:08,880 --> 00:15:12,560
Going back to this online format
of the course, one of the things

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00:15:12,560 --> 00:15:16,560
that came up in our previous 
conversations is that the online

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00:15:16,560 --> 00:15:19,240
format is a feature and not a 
fall back, right? 

260
00:15:19,240 --> 00:15:24,080
That you're really taking 
advantage of a global geography 

261
00:15:24,080 --> 00:15:29,320
of your students and, you know, 
recreating this idea of the 

262
00:15:29,320 --> 00:15:33,240
studio based in person design 
education and creating this 

263
00:15:33,240 --> 00:15:36,160
global studio. 
I wanted to reflect on it from 

264
00:15:36,160 --> 00:15:38,640
my own experience as well as a 
design educator. 

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00:15:38,640 --> 00:15:42,200
I mean, obviously we were forced
into it during the pandemic, but

266
00:15:42,200 --> 00:15:45,800
even before that I was teaching 
online or teaching in hybrid 

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00:15:45,800 --> 00:15:50,960
formats for, for many years now,
for over a decade or almost a 

268
00:15:50,960 --> 00:15:53,800
decade now, I've been teaching 
in this hybrid executive 

269
00:15:53,800 --> 00:15:57,400
education course at at Parsons 
where it's an executive 

270
00:15:57,400 --> 00:15:59,520
master's. 
So the folks are working their 

271
00:15:59,520 --> 00:16:02,120
mid career, their senior design 
leaders. 

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00:16:02,120 --> 00:16:05,800
And so we gather, you know, once
every couple of months and then 

273
00:16:06,120 --> 00:16:09,360
meet online in between. 
So there's taking advantage of 

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00:16:09,360 --> 00:16:12,120
the format to meet the students 
where they are, I guess is the 

275
00:16:12,120 --> 00:16:14,840
point that I'm making. 
So I'd love to hear how you all 

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00:16:14,840 --> 00:16:17,480
are thinking about that at 
Falmouth of like this online 

277
00:16:17,480 --> 00:16:21,360
thing, not like the second best 
version of an in person studio, 

278
00:16:21,360 --> 00:16:24,480
but it's actually something 
different and maybe better 

279
00:16:24,480 --> 00:16:26,480
given, you know, these different
trade-offs. 

280
00:16:27,480 --> 00:16:29,400
Yeah, and I suppose what 
happens. 

281
00:16:30,040 --> 00:16:34,560
So obviously the the course is 
designed to run over 2 years. 

282
00:16:34,560 --> 00:16:39,800
So it's a kind of enables 
students to base both basically 

283
00:16:40,200 --> 00:16:46,560
work and study at the same time.
The other thing is the, the, the

284
00:16:46,560 --> 00:16:52,800
actual modules are designed to, 
I suppose, bring in different 

285
00:16:52,800 --> 00:16:56,000
sort of building blocks. 
So actually what you will have 

286
00:16:56,000 --> 00:16:59,600
is some students coming from 
quite different backgrounds and 

287
00:16:59,600 --> 00:17:02,680
hand different directions. 
So there may be some in sort of 

288
00:17:02,680 --> 00:17:05,760
more leadership roles who want 
to invest back into their own, 

289
00:17:05,960 --> 00:17:08,040
their own, their own sort of 
practice. 

290
00:17:08,480 --> 00:17:10,960
I think the other, the important
thing is we also have 

291
00:17:10,960 --> 00:17:13,680
residentials. 
So basically in a similar way 

292
00:17:13,680 --> 00:17:16,520
we've, I did a research degree 
at the Royal College of Art. 

293
00:17:16,520 --> 00:17:19,800
We had sort of burst modules. 
So I think it's AI think what we

294
00:17:19,800 --> 00:17:22,839
try to do is have a kind of 
consistency running through the 

295
00:17:22,839 --> 00:17:25,119
course. 
So you will have sort of set 

296
00:17:25,119 --> 00:17:27,720
modules. 
You'll also have time to have 

297
00:17:27,839 --> 00:17:31,280
live stream debate. 
And the key thing about, I guess

298
00:17:31,280 --> 00:17:34,120
the kind of global cohort is 
that everyone's working on 

299
00:17:34,120 --> 00:17:35,680
different time zones. 
Yeah. 

300
00:17:35,800 --> 00:17:39,000
So actually one of the sort of 
beauties of that online 

301
00:17:39,000 --> 00:17:41,840
environment, it's actually very 
inclusive. 

302
00:17:41,840 --> 00:17:44,160
It allows for lots of different 
learning styles. 

303
00:17:44,560 --> 00:17:47,200
And therefore, if you've 
listened to your sort of 

304
00:17:47,840 --> 00:17:51,400
lectures and had that sort of 
debate, you can then review and 

305
00:17:51,400 --> 00:17:55,800
kind of go back into those 
activities and actually sort of 

306
00:17:55,800 --> 00:17:59,560
take your time to to understand 
that learning in a, in a 

307
00:17:59,600 --> 00:18:03,400
specific kind of way. 
But the residentials become also

308
00:18:03,400 --> 00:18:06,160
really important. 
And actually so they're varied. 

309
00:18:06,160 --> 00:18:10,760
So sometimes we would come to 
Falmouth so we can make use of 

310
00:18:11,240 --> 00:18:13,200
the sort of making facilities 
here. 

311
00:18:13,440 --> 00:18:16,160
It's something we're going to be
doing more of in the future. 

312
00:18:16,800 --> 00:18:21,840
In the past we've also been to 
Berlin and we often link in with

313
00:18:21,840 --> 00:18:23,480
different designers in those 
cities. 

314
00:18:23,480 --> 00:18:25,920
So students come into a cultural
centre. 

315
00:18:25,920 --> 00:18:28,280
We do different projects a 
little bit like you're saying, 

316
00:18:28,280 --> 00:18:31,000
where we have these burst 
experiences and it have really 

317
00:18:31,000 --> 00:18:35,840
an amazing opportunity for for 
designers and students to kind 

318
00:18:35,840 --> 00:18:38,600
of come together and work. 
We also went to Venice B and 

319
00:18:38,600 --> 00:18:42,320
Allay last year. 
So there's a kind of, you know, 

320
00:18:42,320 --> 00:18:45,560
again, students can kind of 
tailor make that to their own 

321
00:18:45,560 --> 00:18:47,840
particular interests. 
And I think it's also really 

322
00:18:47,840 --> 00:18:50,280
important, it's not a 
one-size-fits-all. 

323
00:18:50,280 --> 00:18:53,080
We have a very sort of and 
obviously graphic design is 

324
00:18:53,080 --> 00:18:55,600
continually evolving and 
emerging across lots of 

325
00:18:55,600 --> 00:18:58,240
different platforms and lots of 
different environments. 

326
00:18:58,640 --> 00:19:01,160
I think it's also really 
important that particularly at 

327
00:19:01,160 --> 00:19:06,040
masters level, we're providing a
space where the kind of the the 

328
00:19:06,080 --> 00:19:10,200
openness and the the sort of 
rigour of a research orientated 

329
00:19:10,520 --> 00:19:15,920
sort of learning style actually 
starts to sort of empower 

330
00:19:15,920 --> 00:19:20,240
students to kind of maybe look 
at how we work in a different 

331
00:19:20,240 --> 00:19:21,840
way. 
I actually have to say when I 

332
00:19:21,840 --> 00:19:26,800
did my sort of research degree, 
I found that actually having 

333
00:19:26,800 --> 00:19:31,720
that using different types of 
research methods and working 

334
00:19:31,720 --> 00:19:35,520
with users in in a more 
participatory way, you suddenly 

335
00:19:35,520 --> 00:19:39,480
start to be liberated by design.
You know, we're not selling 

336
00:19:39,920 --> 00:19:41,800
these three ideas. 
We're actually asking our 

337
00:19:41,800 --> 00:19:44,920
audience to to get feedback. 
And it's a much more open, 

338
00:19:44,920 --> 00:19:49,800
authentic way of understanding 
how research can play a part in,

339
00:19:49,800 --> 00:19:53,160
in the design process. 
So therefore back to that sort 

340
00:19:53,160 --> 00:19:56,680
of structure, there's, there is 
the sort of over the two years, 

341
00:19:56,680 --> 00:20:00,480
there's a kind of there's a kind
of contemporary practice module 

342
00:20:00,480 --> 00:20:04,560
where we really understand 
broader global landscape of, of 

343
00:20:04,560 --> 00:20:06,320
graphic design. 
And then we have these 

344
00:20:06,320 --> 00:20:10,560
permutations where we look at 
more critical, the historical 

345
00:20:10,560 --> 00:20:12,280
understanding of it. 
We have a studio and 

346
00:20:12,280 --> 00:20:15,280
entrepreneurship module, which 
is really important because 

347
00:20:15,280 --> 00:20:18,560
again, some students are wanting
to learn from different ways 

348
00:20:18,560 --> 00:20:21,160
that different sort of 
specialisms collaborate. 

349
00:20:21,400 --> 00:20:25,160
And we have a live project sort 
of field where we look at design

350
00:20:25,160 --> 00:20:28,000
competitions. 
And working on live projects and

351
00:20:28,000 --> 00:20:29,680
then we have the final major 
project. 

352
00:20:29,680 --> 00:20:33,080
So the, the system is very 
flexible. 

353
00:20:33,920 --> 00:20:37,040
It's kind of open. 
It embeds what we call the level

354
00:20:37,040 --> 00:20:40,360
level 7, the sort of 
postgraduate sort of learning 

355
00:20:40,360 --> 00:20:43,160
outcomes and the and the rigour 
that comes from that. 

356
00:20:43,400 --> 00:20:47,880
And then we also invite students
to come down or come back to 

357
00:20:47,880 --> 00:20:50,640
Falmouth for their degree show 
when or their sorry their 

358
00:20:50,640 --> 00:20:54,080
graduation ceremony at the end. 
So that's a really lovely point 

359
00:20:54,080 --> 00:20:56,120
as well, certainly for me as 
head of the depart, when I 

360
00:20:56,120 --> 00:20:58,960
suddenly see all these students 
coming from different parts of 

361
00:20:58,960 --> 00:21:02,000
the world for their their sort 
of their graduation. 

362
00:21:02,000 --> 00:21:05,880
So yeah, I think there's some 
similarities with some models. 

363
00:21:05,880 --> 00:21:10,360
I think from Falmouth's 
perspective, I think we we kind 

364
00:21:10,360 --> 00:21:14,040
of have this balance between 
very strong industry networks 

365
00:21:14,040 --> 00:21:17,560
and communities and many of our 
students now even from our 

366
00:21:17,560 --> 00:21:20,240
campus based courses are working
all around the world. 

367
00:21:20,240 --> 00:21:23,440
So often we have scenarios where
we can kind of put people in 

368
00:21:23,440 --> 00:21:27,640
contact with various folk and 
and offer that sort of support. 

369
00:21:27,880 --> 00:21:32,520
In fact, it's fair to say that 
before the before the pandemic, 

370
00:21:32,520 --> 00:21:35,840
even on campus based courses, we
used to do portfolio events 

371
00:21:36,040 --> 00:21:38,840
where we'd go to London. 
We used to either go to the 

372
00:21:38,840 --> 00:21:41,840
design Museum in London and we 
invite sort of literally all of 

373
00:21:41,840 --> 00:21:45,320
the the great and the good from 
the from London's creative 

374
00:21:45,320 --> 00:21:47,400
industry. 
When COVID came along, we 

375
00:21:47,400 --> 00:21:49,960
shifted that online. 
We call it the creative 

376
00:21:49,960 --> 00:21:52,320
community. 
So actually what's really 

377
00:21:52,320 --> 00:21:55,400
interesting is that we're kind 
of actually learning that 

378
00:21:56,000 --> 00:22:00,600
sometimes the online space for 
for portfolio reviews and others

379
00:22:00,760 --> 00:22:03,680
give students so much more 
opportunity to engage with a 

380
00:22:03,680 --> 00:22:06,960
variety of learning. 
So even on our undergraduate 

381
00:22:06,960 --> 00:22:10,720
course, we had, you know, 
hundreds of interviews that were

382
00:22:10,720 --> 00:22:13,240
given by industry to to our 
students. 

383
00:22:13,240 --> 00:22:16,440
And I think actually the freedom
of that and different, you know,

384
00:22:16,440 --> 00:22:20,440
we have some online tutors, for 
example, who are, who are sort 

385
00:22:20,440 --> 00:22:24,200
of teaching from, from Africa, 
from New York, different, you 

386
00:22:24,200 --> 00:22:26,640
know, sometimes they might be 
teaching other universities. 

387
00:22:26,640 --> 00:22:30,520
So there's a really sort of rich
and diverse input into the sort 

388
00:22:30,520 --> 00:22:33,960
of student experience. 
But that's the kind of that's 

389
00:22:33,960 --> 00:22:37,720
the sort of remit for, for the 
the spirit and structure of the 

390
00:22:37,720 --> 00:22:40,520
course. 
It's very interesting. 

391
00:22:40,520 --> 00:22:45,440
And there's also another element
of the global studio that I, I 

392
00:22:45,840 --> 00:22:49,440
wanted to hear more from you in 
terms of how the program looks 

393
00:22:49,440 --> 00:22:51,480
like. 
So we know that the students 

394
00:22:51,520 --> 00:22:54,640
kind of have to build a 
collective map of making 

395
00:22:54,640 --> 00:22:58,000
facilities around the world. 
So wherever they're, they're 

396
00:22:58,000 --> 00:22:59,880
based. 
So it could be book binding 

397
00:22:59,880 --> 00:23:04,280
shops, screening printing 
studios or 3D printing labs. 

398
00:23:05,280 --> 00:23:09,360
So how does it actually work in 
practice and how and what do you

399
00:23:09,360 --> 00:23:13,600
think it changes in terms of the
way the students work or even 

400
00:23:13,600 --> 00:23:16,200
collaborate as a team, like as a
remote? 

401
00:23:17,080 --> 00:23:19,920
So that was a kind of a real 
conundrum to start off with 

402
00:23:19,920 --> 00:23:22,800
because obviously when you go to
a university, you have this 

403
00:23:22,800 --> 00:23:27,040
diversity of sort of making 
spaces, which is amazing. 

404
00:23:27,040 --> 00:23:30,000
And actually students can come 
and do a master's course here, 

405
00:23:30,000 --> 00:23:31,480
of course, in communication 
design. 

406
00:23:31,480 --> 00:23:34,760
But actually for many, the 
abilities to study from their 

407
00:23:34,760 --> 00:23:38,120
own city is really important. 
So what we thought at the early 

408
00:23:38,120 --> 00:23:41,240
stage because sort of thinking 
through making through having 

409
00:23:41,240 --> 00:23:44,560
that access to different sort of
making facilities like how are 

410
00:23:44,560 --> 00:23:46,200
we going to sort of solve that 
problem? 

411
00:23:46,840 --> 00:23:50,880
So it actually kind of started 
with with one of the one of the 

412
00:23:50,880 --> 00:23:55,320
projects which was actually 
looking at kind of the sort of 

413
00:23:55,360 --> 00:23:59,240
identity identity of different 
cities through their typographic

414
00:23:59,240 --> 00:24:02,040
vernacular. 
So we created a Geo tagged map 

415
00:24:02,040 --> 00:24:06,600
where one of the projects asked 
them to sort of basically start 

416
00:24:06,600 --> 00:24:11,040
to curate an archive globally of
different types of typefaces and

417
00:24:11,040 --> 00:24:13,560
letter forms that existed in 
your city. 

418
00:24:13,760 --> 00:24:16,360
So it kind of started like that.
And then we thought actually, 

419
00:24:16,360 --> 00:24:19,480
we, we created this platform 
where suddenly you could look at

420
00:24:19,480 --> 00:24:22,200
lots of different cities and 
find out these wonderful spots 

421
00:24:22,200 --> 00:24:24,880
where someone had highlighted 
different typefaces. 

422
00:24:24,880 --> 00:24:27,560
And so actually from a research 
point of view, we're actually 

423
00:24:27,560 --> 00:24:31,720
using that platform to build a 
really fascinating archive. 

424
00:24:32,440 --> 00:24:34,480
But at the same time, we 
thought, well, actually the kind

425
00:24:34,480 --> 00:24:39,080
of the conundrum of having of of
actually needing making spaces. 

426
00:24:39,080 --> 00:24:44,240
So through the course, students 
are encouraged to find making 

427
00:24:44,240 --> 00:24:47,880
resources that will help them 
with their project, Though you 

428
00:24:47,880 --> 00:24:50,040
know that as you say, they might
find the book binders, the 

429
00:24:50,040 --> 00:24:52,840
screen printers, digital 
printing, and we get them to Geo

430
00:24:52,840 --> 00:24:56,120
tag those on a map. 
So we're creating a library of 

431
00:24:56,120 --> 00:24:58,640
resources for students in that 
particular city. 

432
00:24:59,240 --> 00:25:01,680
That's great for when they're 
actually studying, but what's 

433
00:25:01,680 --> 00:25:06,000
really significant is when they 
then finish, they have then got 

434
00:25:06,000 --> 00:25:08,640
that library of resources that 
they know of and they've had 

435
00:25:08,640 --> 00:25:11,800
that time to practice. 
So if they then suddenly engage 

436
00:25:11,800 --> 00:25:15,680
with a client project where 
they're going to produce, you 

437
00:25:15,680 --> 00:25:19,720
know, a piece of a piece of 
print or they're going to work 

438
00:25:19,720 --> 00:25:22,320
with a certain sort of product 
or exhibition designer, they 

439
00:25:22,320 --> 00:25:24,200
might have made those 
connections already. 

440
00:25:24,520 --> 00:25:28,640
So that's a really sort of 
valuable point I think of of of 

441
00:25:28,640 --> 00:25:31,320
finding and sort of locating 
those resources. 

442
00:25:31,320 --> 00:25:34,320
And I think it just means 
there's not, if you, you know, 

443
00:25:34,320 --> 00:25:38,160
there's horses for courses, you 
can go to a university, study 

444
00:25:38,160 --> 00:25:40,280
there, go back to your home 
city, and then you've suddenly 

445
00:25:40,280 --> 00:25:42,440
got to find all those resources 
again. 

446
00:25:42,760 --> 00:25:46,040
So actually through the course, 
we're also exploring and 

447
00:25:46,040 --> 00:25:47,480
connecting. 
The other thing that's happens 

448
00:25:47,480 --> 00:25:50,760
that's really great is that 
students may be from different 

449
00:25:50,760 --> 00:25:55,040
countries or even in, in within 
a single country, they might 

450
00:25:55,040 --> 00:25:58,880
suddenly make these connections 
with one another and then they 

451
00:25:58,880 --> 00:26:02,040
can collaborate together or they
can actually think, actually, do

452
00:26:02,040 --> 00:26:05,120
you know what, let's, let's 
start, let's start doing some 

453
00:26:05,120 --> 00:26:07,440
projects together. 
So then you start to get this 

454
00:26:07,760 --> 00:26:11,800
really interesting hybridisation
of, of a professional practice 

455
00:26:11,800 --> 00:26:13,920
set up. 
And, and to be fair, we've 

456
00:26:13,920 --> 00:26:17,440
actually, we saw that happening,
you know, 20 years ago when 

457
00:26:17,440 --> 00:26:20,640
actually even there came a point
where clients want to know where

458
00:26:20,640 --> 00:26:23,200
the office is. 
And actually now you don't know 

459
00:26:23,200 --> 00:26:27,280
whether that studio is operating
from 3 or 4 bases or everyone 

460
00:26:27,280 --> 00:26:29,480
sitting around the same table. 
Look at us here now. 

461
00:26:29,480 --> 00:26:32,320
So that's a kind of an amazing 
thing. 

462
00:26:32,320 --> 00:26:35,720
And it's a kind of, you know, 
it's, it shows that fluidity. 

463
00:26:35,720 --> 00:26:39,360
And actually, and I think what 
happened with building online 

464
00:26:39,360 --> 00:26:42,400
sort of environments for 
learning is that basically there

465
00:26:42,400 --> 00:26:44,840
came a point where the 
technology was not a barrier, 

466
00:26:45,560 --> 00:26:48,760
you know, So actually generally 
we think now, well, basically if

467
00:26:48,760 --> 00:26:51,320
you can think something, you can
kind of make it, you know. 

468
00:26:51,320 --> 00:26:54,400
And so certainly a student 
level, there will be those 

469
00:26:54,400 --> 00:26:57,720
instances in terms of making 
where, OK, you need to do this 

470
00:26:57,720 --> 00:27:00,560
piece of Arduino, you need to 
learn about coding. 

471
00:27:01,480 --> 00:27:04,560
Yeah, we're not necessarily 
providing that facility, but we 

472
00:27:04,560 --> 00:27:07,800
will make those connections so 
you can start to bring that into

473
00:27:07,800 --> 00:27:09,640
your work. 
And certainly if I think we 

474
00:27:09,640 --> 00:27:12,280
always say with postgraduate 
courses, you know, the getting, 

475
00:27:12,320 --> 00:27:16,080
getting the master's degree is, 
is amazing actually what you're 

476
00:27:16,080 --> 00:27:18,680
doing. 
You're starting a new, you're 

477
00:27:18,680 --> 00:27:21,880
starting a new kind of journey 
where your work will extend 

478
00:27:21,880 --> 00:27:24,840
beyond the masters. 
And it stands as this kind of a 

479
00:27:25,160 --> 00:27:27,960
sort of process of 
revitalisation in terms of your 

480
00:27:27,960 --> 00:27:31,400
own creative direction. 
Yeah, that was one that 

481
00:27:31,400 --> 00:27:34,720
certainly that kind of tool 
within the, within the the 

482
00:27:34,720 --> 00:27:37,040
online course is really 
important. 

483
00:27:37,480 --> 00:27:40,280
And we try to also use that, you
know, in the practical sense as 

484
00:27:40,280 --> 00:27:44,960
well for project work. 
Yeah, I love what you said that 

485
00:27:45,440 --> 00:27:48,720
nowadays we ask where where is 
the office based and there is no

486
00:27:48,720 --> 00:27:51,440
such thing, right. 
Yeah, Yeah. 

487
00:27:51,440 --> 00:27:57,000
What I think also to AIJ as the 
national team, I mean, we used 

488
00:27:57,000 --> 00:28:00,560
to have an office at some point 
in New York, but now everybody's

489
00:28:00,560 --> 00:28:03,640
spread Dority based in the East 
Coast. 

490
00:28:03,640 --> 00:28:07,000
But like we don't have like 
Deshawn is in Rhode Island, I'm 

491
00:28:07,000 --> 00:28:08,720
in New York. 
So it's just very. 

492
00:28:09,040 --> 00:28:12,280
Interesting to see. 
How that can work actually? 

493
00:28:12,640 --> 00:28:14,520
Yeah, and the other thing I 
think is important to bear in 

494
00:28:14,520 --> 00:28:19,240
mind is even again post COVID, 
the cost of rentals and studios 

495
00:28:19,240 --> 00:28:23,440
in, you know, professional 
environments are actually 

496
00:28:23,440 --> 00:28:26,320
evolving how they work. 
So you know, in London last 

497
00:28:26,320 --> 00:28:29,160
week, you know, you have a 
scenario where actually studio, 

498
00:28:29,480 --> 00:28:32,240
you know, coming to the studio 
from Tuesday to Thursday and 

499
00:28:32,240 --> 00:28:34,800
then working away. 
And actually it does raise the 

500
00:28:34,800 --> 00:28:39,600
question of, of how we evolve 
studio culture and studio kind 

501
00:28:39,600 --> 00:28:43,720
of society, because certainly 
when as a, you know, if you're 

502
00:28:43,880 --> 00:28:46,000
an undergraduate and you're 
coming, actually a lot of the 

503
00:28:46,000 --> 00:28:49,160
big studios are looking, you 
know, you learn so much being in

504
00:28:49,160 --> 00:28:51,480
the studio. 
So actually, you know, part of 

505
00:28:51,480 --> 00:28:54,280
these part of the questioning 
around the online space. 

506
00:28:54,280 --> 00:28:56,960
And I think certainly when we 
have modules like studio and 

507
00:28:57,200 --> 00:29:00,200
entrepreneurship, we are 
actually asking students to 

508
00:29:00,200 --> 00:29:04,840
question the role of the working
space and how can we make either

509
00:29:04,840 --> 00:29:08,720
a digital environment or an 
actual space, a physical space 

510
00:29:08,720 --> 00:29:14,560
work for us, as you know, a, a, 
a place of creative safety where

511
00:29:14,560 --> 00:29:17,600
we can challenge and test new 
ideas. 

512
00:29:17,600 --> 00:29:20,880
And that's a really sort of 
significant part of what we do. 

513
00:29:20,880 --> 00:29:25,320
Because, you know, taking doing 
a, an online creative course 

514
00:29:25,320 --> 00:29:28,360
like graphic design is not just 
about us taking content and 

515
00:29:28,360 --> 00:29:30,680
putting it online. 
It's actually us about 

516
00:29:30,680 --> 00:29:35,200
innovating within the space so 
that we can test and trial new 

517
00:29:35,200 --> 00:29:37,800
ways of working together. 
And I think, you know, that for 

518
00:29:37,800 --> 00:29:40,520
me is one of the most exciting 
things about doing in this 

519
00:29:40,520 --> 00:29:42,040
course. 
And I suppose, you know, nearly 

520
00:29:42,040 --> 00:29:45,960
10 years down the line, you 
know, we're experienced now in, 

521
00:29:46,040 --> 00:29:49,960
in generating those kind of 
ideas and actually creating a 

522
00:29:49,960 --> 00:29:53,640
kind of, we call an online 
pedagogy that is both sort of 

523
00:29:53,640 --> 00:29:56,760
innovative, but is also one 
that, you know, you don't come 

524
00:29:56,760 --> 00:29:58,960
out at the end of the course and
say, Oh my God, I've been locked

525
00:29:58,960 --> 00:30:02,080
in a dark room for, you know, 
for sort of two years. 

526
00:30:02,080 --> 00:30:05,240
Actually, you come out with, you
know, with a rejuvenated 

527
00:30:05,240 --> 00:30:09,000
practice and you have all those 
skills to, to, to engage in a 

528
00:30:09,000 --> 00:30:12,640
sort of hybrid environment, 
which which we're doing now and 

529
00:30:12,640 --> 00:30:13,840
then. 
And that's what's happening in 

530
00:30:13,840 --> 00:30:16,440
studios as well. 
So it's a kind of, you know, 

531
00:30:16,440 --> 00:30:18,960
it's an exciting space, but it's
no different. 

532
00:30:18,960 --> 00:30:22,200
And I think also, you know, with
graphic design anyway, it's 

533
00:30:22,200 --> 00:30:25,600
always had a juggle with 
technology, you know, whether 

534
00:30:25,600 --> 00:30:30,080
that was and, and, and how we 
interpret that in terms of the 

535
00:30:30,080 --> 00:30:34,160
work of the hand and the eye. 
You know, when the first book 

536
00:30:34,160 --> 00:30:36,960
was printed, there was 
scepticism around certain sort 

537
00:30:36,960 --> 00:30:40,320
of that technology. 
And we continue to have to 

538
00:30:40,320 --> 00:30:44,440
embrace that and use it in the 
most sort of, you know, exciting

539
00:30:44,440 --> 00:30:49,360
and relevant and authentic way. 
So we've been talking about 

540
00:30:49,360 --> 00:30:53,520
these collaborations that you've
been creating space for across 

541
00:30:53,680 --> 00:30:56,080
cultures and geographies. 
I'm curious about 

542
00:30:56,080 --> 00:30:59,760
interdisciplinary collaborations
as well, you know, because as 

543
00:30:59,760 --> 00:31:02,360
designers, we're not just 
working with other designers. 

544
00:31:02,360 --> 00:31:05,440
It could be working with a 
musician or an entrepreneur or a

545
00:31:05,440 --> 00:31:07,760
technologist. 
So, can you give some examples 

546
00:31:07,760 --> 00:31:11,960
of how these interdisciplinary 
collaborations happen in your 

547
00:31:11,960 --> 00:31:14,440
course or with your students? 
Yeah, of course. 

548
00:31:14,440 --> 00:31:18,560
So, so basically let's we'll 
start. 

549
00:31:18,600 --> 00:31:21,600
I'll give a couple of examples. 
I mean, one is actually within 

550
00:31:21,640 --> 00:31:24,880
within the course itself. 
So we are likely to have 

551
00:31:24,880 --> 00:31:27,440
students from quite some 
different fields. 

552
00:31:27,440 --> 00:31:33,440
So very often you might have 
someone who, let's say, like 

553
00:31:33,440 --> 00:31:36,400
many famous musicians, they 
studied graphic design and then 

554
00:31:36,400 --> 00:31:40,480
they became a musician or, and, 
and they may have come from a 

555
00:31:40,480 --> 00:31:43,000
different background. 
So whilst we might think on MA 

556
00:31:43,000 --> 00:31:46,720
graphics zone, they're all very 
hardcore typographers and you 

557
00:31:46,720 --> 00:31:51,600
know, sort of have come from A 
and we do have those we have. 

558
00:31:51,640 --> 00:31:54,960
And that's what's we also have 
some folk who've come from, they

559
00:31:54,960 --> 00:31:56,760
might, they might have been 
illustrators, they might be an 

560
00:31:56,760 --> 00:31:59,360
artist, they might be musicians 
and they're coming in with a, 

561
00:31:59,360 --> 00:32:03,520
with a strong kind of skills. 
But you know, one of the sort of

562
00:32:03,520 --> 00:32:06,360
ways that we, we might sort of 
use those in a more 

563
00:32:06,360 --> 00:32:09,160
interdisciplinary way, in a 
surprising way, because I think 

564
00:32:09,160 --> 00:32:11,920
that's the other thing. 
Surprise in an interdisciplinary

565
00:32:11,920 --> 00:32:15,680
sort of sort of context is like 
really exciting. 

566
00:32:15,680 --> 00:32:19,200
And, and I've always loved that 
in the design, in a design sort 

567
00:32:19,200 --> 00:32:22,400
of teaching or working situation
where someone puts an idea 

568
00:32:22,400 --> 00:32:25,200
forward and you kind of go, Oh 
my goodness, where did that come

569
00:32:25,200 --> 00:32:27,080
from? 
So we have, you know, one of the

570
00:32:27,080 --> 00:32:31,120
projects we have is where we ask
students to highlight an issue 

571
00:32:31,360 --> 00:32:35,440
in their sort of local 
environment that perhaps needs 

572
00:32:35,440 --> 00:32:38,080
to change and they create an 
output of that. 

573
00:32:38,080 --> 00:32:40,960
They might make a film, they 
might make a poster, they might 

574
00:32:40,960 --> 00:32:46,040
make a kind of report, if you 
like that explains or tells that

575
00:32:46,040 --> 00:32:48,440
story. 
Now that could be quite 

576
00:32:48,440 --> 00:32:51,040
interdisciplinary. 
It might be, it might be to do 

577
00:32:51,040 --> 00:32:53,120
with, could be something to do 
with adult literacy. 

578
00:32:53,120 --> 00:32:55,560
It might be to something with 
sustainability environment. 

579
00:32:55,560 --> 00:32:58,440
So we're, we're dealing with 
different types of disciplines 

580
00:32:58,440 --> 00:33:01,880
and challenges. 
We look at those and then we 

581
00:33:01,880 --> 00:33:04,400
then, then everyone thinks 
they're going to solve their 

582
00:33:04,400 --> 00:33:06,720
problem. 
But actually what we do, we 

583
00:33:06,720 --> 00:33:09,760
throw the balls in the air. 
And in fact, someone from New 

584
00:33:09,760 --> 00:33:13,080
York is going to be solving a 
problem from someone in Mumbai. 

585
00:33:13,080 --> 00:33:15,280
So it kind of switches around. 
So it's not only 

586
00:33:15,320 --> 00:33:18,320
interdisciplinary sort of 
working, but it's also 

587
00:33:18,320 --> 00:33:21,640
intercultural working and how we
can learn from those 

588
00:33:21,640 --> 00:33:23,440
disciplines, which is really 
exciting. 

589
00:33:23,840 --> 00:33:28,160
Another, another example I'd 
also give is something we did 

590
00:33:28,160 --> 00:33:31,680
recently, which was through a 
kind of campus experience, but 

591
00:33:31,680 --> 00:33:34,600
it gives a sense of the spirit. 
So we were looking at. 

592
00:33:35,320 --> 00:33:38,240
So at Falmouth we have, we're 
really lucky in that we're a 

593
00:33:38,240 --> 00:33:41,280
specialist arts university. 
We have architects, 

594
00:33:41,280 --> 00:33:45,520
choreographers, graphic 
designers, artists, fashion 

595
00:33:45,520 --> 00:33:49,200
designers, sort of all working 
under the same same roof, the 

596
00:33:49,200 --> 00:33:54,880
same sort of online space. 
And we had, we had a kind of, we

597
00:33:54,880 --> 00:33:58,920
were working with a, a, a, an 
arts critic who was looking at 

598
00:33:58,920 --> 00:34:02,080
transdisciplinary working. 
So we thought, let's give that a

599
00:34:02,080 --> 00:34:04,280
go. 
So we kind of basically we 

600
00:34:04,280 --> 00:34:09,199
wanted to learn from, if we set 
a range of different students. 

601
00:34:09,199 --> 00:34:11,480
So basically, although it's 
this, we were doing this on 

602
00:34:11,480 --> 00:34:15,080
campus, we would also be 
encouraging students online to 

603
00:34:15,080 --> 00:34:17,400
actually work. 
Maybe, you know, they might be 

604
00:34:17,400 --> 00:34:19,800
doing a project where they want 
to work with a musician and an 

605
00:34:19,800 --> 00:34:21,520
architect and they would bring 
those in. 

606
00:34:21,520 --> 00:34:26,320
So we use that interdisciplinary
kind of catalyst to sort of 

607
00:34:26,679 --> 00:34:29,280
challenge new ways of thinking. 
So the example that I was going 

608
00:34:29,280 --> 00:34:33,280
to give about the music project 
is we put fashion designers, 

609
00:34:33,280 --> 00:34:37,840
graphic designers, musicians all
in one sort of room and they had

610
00:34:37,840 --> 00:34:40,560
to explore the idea of kind of 
collaboration. 

611
00:34:41,080 --> 00:34:43,440
And what was also really 
important that there was very 

612
00:34:43,440 --> 00:34:46,560
different neurodiversities 
within those groups as well, 

613
00:34:47,480 --> 00:34:52,760
which was, you know, for me, a, 
a really truly exciting, open 

614
00:34:53,239 --> 00:34:58,680
kind of creative environment. 
And what was amazing is that we 

615
00:34:58,680 --> 00:35:01,960
started to have some, some of 
the, some of the team just 

616
00:35:01,960 --> 00:35:05,760
started playing music, but they 
did it understand in, in the 

617
00:35:05,760 --> 00:35:07,320
answer to the collaboration 
brief. 

618
00:35:07,320 --> 00:35:10,240
And the drum would go a bit 
fast, then the guitar would come

619
00:35:10,240 --> 00:35:13,640
in and, and you just saw a 
metaphor for, for how we how 

620
00:35:13,640 --> 00:35:16,360
different personalities work 
within a within a team. 

621
00:35:16,600 --> 00:35:19,400
Another one, which was really 
amazing. 

622
00:35:20,000 --> 00:35:23,000
There was a student who 
remembers their music through 

623
00:35:23,560 --> 00:35:26,480
writing stories, writing down 
words. 

624
00:35:26,480 --> 00:35:29,920
And so the graphic designer saw 
here's a, here's a type of 

625
00:35:29,920 --> 00:35:32,960
graphic system here. 
So basically they assigned 

626
00:35:33,000 --> 00:35:35,440
musical notes to different 
levels of the, to different 

627
00:35:35,440 --> 00:35:37,760
letters of the alphabet. 
And then they just said a 

628
00:35:37,760 --> 00:35:42,200
statement, the big brown house 
is on the top of the green hill.

629
00:35:42,200 --> 00:35:46,160
And from that they started 
creating a piece of music from 

630
00:35:46,160 --> 00:35:48,200
that. 
So that was a really amazing 

631
00:35:48,200 --> 00:35:51,040
example of actually how 
disciplines can inspire one of 

632
00:35:51,040 --> 00:35:55,000
those and inspire 1, inspire one
another to kind of find 

633
00:35:55,000 --> 00:35:58,560
completely different angles and 
ways of seeing a kind of 

634
00:35:58,560 --> 00:36:00,360
problem. 
And I think that's what's really

635
00:36:00,360 --> 00:36:03,920
exciting about how the sort of 
evolution of our different 

636
00:36:03,920 --> 00:36:07,280
subjects are going is that if 
you've got these platforms and 

637
00:36:07,280 --> 00:36:11,440
these open spaces for very 
inclusive and accessible ways of

638
00:36:11,440 --> 00:36:15,840
sharing ideas and learning, then
we work is made that completely 

639
00:36:15,840 --> 00:36:18,400
surprises you. 
And I think that that point 

640
00:36:18,400 --> 00:36:22,520
comes back to industry looking 
in on Falmouth to kind of think 

641
00:36:22,520 --> 00:36:25,240
about all industry doesn't have 
all the answers. 

642
00:36:26,160 --> 00:36:30,000
What if, what if education is 
starting to challenge and 

643
00:36:30,240 --> 00:36:34,080
explore new models of practice 
and interdisciplinary working. 

644
00:36:34,080 --> 00:36:37,960
So we might call it convergence 
practice, where actually many 

645
00:36:37,960 --> 00:36:41,800
disciplines are kind of working 
together and coming up maybe 

646
00:36:41,800 --> 00:36:44,680
with solutions, ideas that 
weren't part of the original 

647
00:36:44,680 --> 00:36:48,400
brief, but actually enable us to
sort of understand something in 

648
00:36:48,400 --> 00:36:50,680
a different way, which you might
sort of bring. 

649
00:36:51,600 --> 00:36:57,480
There's a 2 designers who 
academics, Stephanie and Bruce 

650
00:36:57,480 --> 00:36:59,760
Tharpe, who've written an 
amazing book on discursive 

651
00:36:59,760 --> 00:37:01,920
design. 
And we know with those those 

652
00:37:01,920 --> 00:37:05,040
sorts of ideas that they're 
there to provoke discussion. 

653
00:37:05,040 --> 00:37:07,400
They're not providing a real 
world solution, but sometimes 

654
00:37:07,680 --> 00:37:11,440
they can be as powerful as as a 
real world solution. 

655
00:37:11,440 --> 00:37:14,720
So all of those different ways 
of making through 

656
00:37:14,720 --> 00:37:18,160
interdisciplinary, 
intercultural, both speculative 

657
00:37:18,160 --> 00:37:22,000
ideas, real world ideas, they 
all allow the kind of graphic 

658
00:37:22,000 --> 00:37:25,760
design student within our course
to kind of not only explore the 

659
00:37:26,080 --> 00:37:30,760
absolute kind of hallowed ground
of graphic design, but also see 

660
00:37:30,760 --> 00:37:33,000
where it might go, see where it 
might take us. 

661
00:37:33,000 --> 00:37:35,760
And those are the exciting bits.
And I think that's where the 

662
00:37:35,760 --> 00:37:40,320
sort of research sort of 
foundation is really important 

663
00:37:40,320 --> 00:37:45,200
to that sort of master study and
can also elevate your journey as

664
00:37:45,200 --> 00:37:48,320
a practitioner to something that
surprises you, You know, So I 

665
00:37:48,320 --> 00:37:51,960
think again, it always, it's an 
ongoing kind of fascination for 

666
00:37:51,960 --> 00:37:55,600
me to to to find these different
ways of understanding. 

667
00:37:55,600 --> 00:37:59,440
But the driver is that sort of 
creative curiosity. 

668
00:37:59,440 --> 00:38:01,360
We might. 
Yeah, there's a real like 

669
00:38:01,360 --> 00:38:03,920
richness to all of these 
different layers and all of 

670
00:38:03,920 --> 00:38:07,600
these places that graphic design
can take you beyond like maybe 

671
00:38:07,600 --> 00:38:11,160
some of the, the initial surface
level things that, yeah, attract

672
00:38:11,160 --> 00:38:13,280
people to design in the 1st 
place. 

673
00:38:13,800 --> 00:38:15,600
I'd love to ask you this 
question. 

674
00:38:15,600 --> 00:38:17,880
That's like the hot topic all 
over right now. 

675
00:38:17,880 --> 00:38:21,160
It's like how you're navigating 
the AI questions. 

676
00:38:21,160 --> 00:38:23,200
You know, I think we're all 
trying to figure this out as we 

677
00:38:23,200 --> 00:38:25,000
go, but are there any things 
that you'd like to? 

678
00:38:25,000 --> 00:38:30,120
Share Yeah, I think, I mean, 
basically, I guess it's of it's 

679
00:38:30,120 --> 00:38:33,560
an ongoing debate. 
I suppose, you know, one of the 

680
00:38:34,240 --> 00:38:38,760
approaches we think about this 
at Falmouth is to kind of we 

681
00:38:38,760 --> 00:38:42,000
need to be sceptical, but we 
also need need to be curious. 

682
00:38:42,200 --> 00:38:44,360
You know, I think that's kind of
really important. 

683
00:38:44,360 --> 00:38:47,720
So we have to engage with it. 
We have to sort of think about 

684
00:38:47,720 --> 00:38:50,960
it and face up to the 
opportunities it can bring as a 

685
00:38:50,960 --> 00:38:55,760
sort of form of invention. 
But I think it's also, I guess 

686
00:38:55,760 --> 00:38:59,520
we sort of acknowledge that 
there are kind of there's a lot 

687
00:38:59,520 --> 00:39:04,200
of debate around its role as a 
generative tool actually also as

688
00:39:04,200 --> 00:39:07,120
a kind of an assistive tool. 
It's also really important. 

689
00:39:07,120 --> 00:39:10,320
So we might sort of say a 
creative partner or a creative 

690
00:39:10,320 --> 00:39:13,120
assistant. 
But what's really important now 

691
00:39:13,120 --> 00:39:15,640
is that we actually acknowledge 
its use. 

692
00:39:15,640 --> 00:39:18,760
We acknowledge what we're doing 
to be creative with it. 

693
00:39:18,760 --> 00:39:23,600
So there's maybe a time 
certainly in kind of in, in 

694
00:39:23,600 --> 00:39:28,800
academia where maybe someone's 
writing an essay and you're kind

695
00:39:28,800 --> 00:39:30,040
of not sure what's going to 
happen. 

696
00:39:30,040 --> 00:39:32,880
Now we have a very stringent 
sort of policy at Falmouth 

697
00:39:33,280 --> 00:39:38,280
where, where acknowledgement of 
the role of, of, of, of AI 

698
00:39:38,280 --> 00:39:40,600
within that sort of project is 
really important. 

699
00:39:40,600 --> 00:39:43,880
So we all know it can help with,
and it can help with certain 

700
00:39:43,880 --> 00:39:46,160
things in terms of grammar and 
all those kind of things. 

701
00:39:46,160 --> 00:39:48,960
And it can certainly speed up 
sort of research. 

702
00:39:48,960 --> 00:39:50,400
It can do a number of those 
things. 

703
00:39:50,400 --> 00:39:52,720
But the key thing is we're 
acknowledging it. 

704
00:39:52,720 --> 00:39:56,440
We're experimenting with it and 
we're actually curious of the 

705
00:39:56,440 --> 00:40:01,520
tool I so therefore I think for 
us to maybe say, oh, we're not, 

706
00:40:01,720 --> 00:40:03,840
you know, AI is not on the table
here. 

707
00:40:04,440 --> 00:40:06,600
You know, it's definitely not 
about that at all. 

708
00:40:06,960 --> 00:40:10,360
But at the same time, we want to
hear all those different voices.

709
00:40:10,840 --> 00:40:14,480
So actually it was only a month 
ago we had for example, 

710
00:40:14,480 --> 00:40:17,400
particularly on illustration 
courses, obviously where you 

711
00:40:17,400 --> 00:40:20,880
know, where the generative side 
of it is a real worry, 

712
00:40:20,880 --> 00:40:23,680
particularly for new students, 
new parents, They're all sort of

713
00:40:23,680 --> 00:40:26,000
thinking actually what's 
happening with art design? 

714
00:40:26,000 --> 00:40:29,000
Is it going to be taken over? 
We're actually, we empowered our

715
00:40:29,000 --> 00:40:33,840
students to be part of the 
symposium to talk about AI and 

716
00:40:33,840 --> 00:40:37,720
illustration and it was a very 
sort of inclusive approach to 

717
00:40:37,720 --> 00:40:40,040
discussing it. 
So rather than the university 

718
00:40:40,040 --> 00:40:43,360
saying this is what we're going 
to do, you can't do this, you 

719
00:40:43,360 --> 00:40:46,560
can't do that, we wanted to hear
from our students to understand 

720
00:40:46,800 --> 00:40:50,000
like what they thought about it 
and and what we believe its role

721
00:40:50,000 --> 00:40:52,120
is. 
But ultimately now it's a more 

722
00:40:52,120 --> 00:40:56,960
kind of transparent approach to 
how we accept it into our our 

723
00:40:56,960 --> 00:41:00,560
sort of partnering a part as 
long as within a creative sort 

724
00:41:00,560 --> 00:41:03,800
of process. 
So I definitely think that sort 

725
00:41:03,800 --> 00:41:07,120
of there is a healthy 
scepticism, but also a really 

726
00:41:07,120 --> 00:41:09,760
fascinating curiosity. 
And I think you see pieces of 

727
00:41:09,760 --> 00:41:12,720
work emerging. 
There was a lovely piece of work

728
00:41:12,720 --> 00:41:16,720
that was done, but ad agency 
where they basically pitted 

729
00:41:16,720 --> 00:41:21,160
Serena Williams against herself 
at sort of five or six different

730
00:41:21,160 --> 00:41:24,880
points in her athletic career 
and they made a tournament. 

731
00:41:24,880 --> 00:41:27,120
Now we could never do that 
before. 

732
00:41:27,120 --> 00:41:29,680
So that was really fascinating. 
So I think when you see it being

733
00:41:29,680 --> 00:41:33,120
used really creatively, it's, 
it's amazing. 

734
00:41:33,120 --> 00:41:37,200
And, but I, I think it's not, 
you know, I think when we, we, 

735
00:41:37,200 --> 00:41:41,520
when we have industry online 
into our sort of studios, we, 

736
00:41:41,560 --> 00:41:44,560
we're always asking about it. 
And of course there's an 

737
00:41:44,560 --> 00:41:48,720
absolute kind of acknowledgement
that to some areas of business, 

738
00:41:48,720 --> 00:41:51,920
it will start to kind of, you 
know, it will, it will take over

739
00:41:51,920 --> 00:41:53,360
those areas. 
But the higher level, the 

740
00:41:53,360 --> 00:41:57,880
strategic level, where that kind
of where that kind of critical 

741
00:41:57,880 --> 00:42:01,920
thinking needs to come in, it 
has to start with us as, as 

742
00:42:02,200 --> 00:42:06,000
human thinkers And, and you 
know, we can use I've, I've done

743
00:42:06,000 --> 00:42:10,680
a lot of healthcare based work 
and we've used AI to, and we did

744
00:42:10,680 --> 00:42:12,880
a project about loneliness and 
dementia. 

745
00:42:12,880 --> 00:42:17,280
So we actually used an AI 
algorithm to analyse human 

746
00:42:17,280 --> 00:42:19,920
stories of those with early 
onset dementia. 

747
00:42:20,400 --> 00:42:21,760
And it gave a score of 
loneliness. 

748
00:42:21,760 --> 00:42:23,680
It wasn't to solve anything or 
give them drugs. 

749
00:42:23,680 --> 00:42:27,320
It was helping the NHS to 
prioritise care. 

750
00:42:28,240 --> 00:42:30,320
And to me that was like an 
amazing thing. 

751
00:42:30,320 --> 00:42:33,200
I the idea of understanding a 
story from a different 

752
00:42:33,200 --> 00:42:35,760
perspective was just like, that 
was amazing. 

753
00:42:35,760 --> 00:42:38,680
And actually going back to the 
interdisciplinary thing, I had 

754
00:42:38,680 --> 00:42:40,360
no idea we could do something 
like that. 

755
00:42:40,360 --> 00:42:43,480
So I went to a conference, spoke
to a doctor, we're talking about

756
00:42:43,480 --> 00:42:45,080
this idea. 
And then suddenly this machine 

757
00:42:45,440 --> 00:42:47,680
learning engineer comes along 
and say, oh, we can use this 

758
00:42:47,680 --> 00:42:50,720
algorithm and to do that. 
And to me, that's this amazing 

759
00:42:50,720 --> 00:42:55,160
sense of actually how we embrace
that interdisciplinary field. 

760
00:42:55,160 --> 00:42:57,840
And I think that's the other 
really important thing is a lot 

761
00:42:57,840 --> 00:42:59,840
of the things we're also 
exploring is this this kind of 

762
00:42:59,840 --> 00:43:04,160
Nexus between creativity and 
technology, art and science. 

763
00:43:04,440 --> 00:43:07,600
And I think, you know, we have 
to be round the table and we 

764
00:43:07,600 --> 00:43:10,280
want our students to be around 
the table in terms of that 

765
00:43:10,280 --> 00:43:13,880
debate and involve them with it 
and for them to feel part of 

766
00:43:13,880 --> 00:43:17,600
that sort of discussion. 
Yeah, that's wonderful. 

767
00:43:18,040 --> 00:43:21,320
You know, a lot of it is just 
experimentation and asking the 

768
00:43:21,360 --> 00:43:23,920
right questions and like, you 
know, finding these unexpected 

769
00:43:23,920 --> 00:43:26,120
collaborations, like with the 
machine learning thing. 

770
00:43:27,120 --> 00:43:31,200
I wanted to give you, Brian, 
like a chance to maybe sum up or

771
00:43:31,200 --> 00:43:33,400
try to tie together some of 
these threads before I turn it 

772
00:43:33,400 --> 00:43:37,320
back to Julia for the closing 
questions of what, what, what 

773
00:43:37,320 --> 00:43:39,400
are the future designers you're 
trying to produce? 

774
00:43:39,400 --> 00:43:43,320
I know that you have a diversity
of students and experiences, but

775
00:43:43,480 --> 00:43:46,080
like, what are some of the 
common threads of the kinds of 

776
00:43:46,320 --> 00:43:50,120
future design professionals that
you're trying to educate? 

777
00:43:50,560 --> 00:43:55,520
I think ultimately with all of 
our students at Falmouth and on 

778
00:43:55,520 --> 00:43:59,320
probably many more universities,
we are looking to kind of create

779
00:43:59,880 --> 00:44:05,520
sort of curious and courageous 
sort of thinkers who can kind of

780
00:44:06,240 --> 00:44:10,920
be comfortable with discomfort 
and kind of be brave enough to 

781
00:44:10,920 --> 00:44:14,200
suggest different ideas. 
And certainly, you know, when 

782
00:44:14,200 --> 00:44:18,080
we, we like to sort of impart 
that on our students, so when 

783
00:44:18,080 --> 00:44:22,520
they do come to their first job 
or come to a new job, they have 

784
00:44:22,520 --> 00:44:26,640
that kind of confidence to maybe
express an idea and to argue 

785
00:44:26,640 --> 00:44:28,640
that idea and to promote that 
idea. 

786
00:44:29,240 --> 00:44:31,720
I think what's really 
interesting about the online 

787
00:44:31,720 --> 00:44:35,720
student, particularly within the
context of the, the sort of 

788
00:44:35,720 --> 00:44:39,000
graphic design and our sort of 
global studio, is that they 

789
00:44:39,000 --> 00:44:42,440
start to kind of, and that's 
part of the masters course as 

790
00:44:42,440 --> 00:44:46,000
well, is like actually really 
understanding what your voice 

791
00:44:46,000 --> 00:44:49,760
is, what your story is, where 
you want to take your work. 

792
00:44:49,760 --> 00:44:53,800
And actually, I think what the 
cultural interdisciplinary story

793
00:44:53,800 --> 00:44:58,880
does is makes you kind of grow a
richer empathy for others. 

794
00:44:59,880 --> 00:45:04,800
And it also allows you to really
consider actually, if I do 

795
00:45:04,800 --> 00:45:10,280
engage with my coder friend in 
Tokyo or I think about a sort 

796
00:45:10,280 --> 00:45:16,840
of, you know, a sort of a 
certain digital artist in sort 

797
00:45:16,840 --> 00:45:20,520
of Mumbai, wherever it might be,
that suddenly I can bring really

798
00:45:20,520 --> 00:45:23,560
new perspectives. 
And like the music sort of idea,

799
00:45:23,560 --> 00:45:28,800
the music project I spoke about 
actually embracing a very rich 

800
00:45:28,920 --> 00:45:33,920
and diverse kind of 
multicultural, multi gender, 

801
00:45:34,280 --> 00:45:39,160
multi sort of ethnic space where
everybody can share openly. 

802
00:45:39,160 --> 00:45:42,520
It sounds like a little bit of a
kind of utopian view that I 

803
00:45:42,520 --> 00:45:48,120
think when when folk do have 
that chance to discuss with 

804
00:45:48,120 --> 00:45:51,240
other many different ideas 
across from many different 

805
00:45:51,240 --> 00:45:54,520
perspectives, I think that that 
makes for a sort of rich 

806
00:45:55,920 --> 00:46:00,360
individual and someone who is is
knows themselves a little bit 

807
00:46:00,360 --> 00:46:01,840
more. 
I think the other thing that, 

808
00:46:01,920 --> 00:46:06,440
particularly for the the online 
student is they start to feel, 

809
00:46:07,360 --> 00:46:11,320
they start to feel confident 
about being able to innovate 

810
00:46:11,320 --> 00:46:16,200
within a digital and hybridised 
studio environment. 

811
00:46:16,640 --> 00:46:19,960
And I and and it's clear that 
the kind of, you know, the there

812
00:46:19,960 --> 00:46:23,800
are times when we can work and 
as we're doing now sort of talk 

813
00:46:23,800 --> 00:46:26,240
many thousands of miles away. 
But there's also those times 

814
00:46:26,240 --> 00:46:29,440
when we have to make that 
decision, yes, to cut go to that

815
00:46:29,440 --> 00:46:33,880
country to to talk with our 
client to back to the Bob Gill 

816
00:46:33,880 --> 00:46:39,120
story, to actually really sort 
of experience that that sort of 

817
00:46:39,280 --> 00:46:44,200
problem to understand, to listen
noticed the ignored that maybe 

818
00:46:44,200 --> 00:46:47,840
only our human eyes might see or
perhaps not our human eyes, 

819
00:46:47,840 --> 00:46:50,760
maybe non human eyes might see. 
And we have to sort of 

820
00:46:50,760 --> 00:46:54,120
understand a problem from from 
all those different sort of 

821
00:46:54,120 --> 00:46:56,640
perspectives. 
And I think the other thing 

822
00:46:56,640 --> 00:47:01,200
about, you know, the the the 
which is, you know, it's it's a 

823
00:47:01,360 --> 00:47:03,320
it's the responsibility of 
education. 

824
00:47:03,320 --> 00:47:06,520
But certainly at Falmouth and 
certainly online students that 

825
00:47:06,520 --> 00:47:09,520
we are asking in to really 
question the status quo. 

826
00:47:09,960 --> 00:47:12,600
You know, we, there may be 
different ways that could be 

827
00:47:12,600 --> 00:47:16,800
more sustainable, that might not
be about growth, they might be 

828
00:47:16,800 --> 00:47:19,640
about degrowth. 
They might be about thinking in 

829
00:47:19,680 --> 00:47:22,680
a, in a, you know, a new way of 
doing things where maybe 

830
00:47:22,680 --> 00:47:26,680
resources are far less. 
But actually by thinking about 

831
00:47:26,680 --> 00:47:31,560
that creatively empowering 
others citizen innovators to 

832
00:47:31,760 --> 00:47:35,720
work with us, that we can start 
to kind of, you know, sort of 

833
00:47:36,040 --> 00:47:40,440
find new ways of of creating 
more effective and sort of 

834
00:47:40,440 --> 00:47:44,040
ethical impact in what we do. 
So to me, that's a sort of 

835
00:47:45,080 --> 00:47:48,440
exciting thing about the 
student. 

836
00:47:48,440 --> 00:47:51,120
It's like, and maybe it's not 
changed. 

837
00:47:51,120 --> 00:47:54,520
Maybe we're always being curious
about finding new ways of 

838
00:47:54,520 --> 00:47:58,360
thinking, liberating different 
ways of working together. 

839
00:47:58,360 --> 00:48:02,360
But I think the online 
environment is one that actually

840
00:48:04,040 --> 00:48:08,680
encourages folk to not be 
limited by the screen, but 

841
00:48:08,680 --> 00:48:12,280
actually, this is just a vehicle
in which you can kind of carry 

842
00:48:12,280 --> 00:48:17,240
on working and connecting with 
both, you know, the real world 

843
00:48:17,240 --> 00:48:21,480
and a richer culture students. 
And to be honest, going back to 

844
00:48:21,480 --> 00:48:24,800
again, the early part, like why,
why an online course will 

845
00:48:24,800 --> 00:48:29,080
actually, it's, it's the, IT is 
one of the most innovative ways 

846
00:48:29,080 --> 00:48:32,680
to learn about graphic design 
now, because we are, we can 

847
00:48:32,760 --> 00:48:35,280
build such a kind of rich cross 
cultural community now. 

848
00:48:35,280 --> 00:48:39,760
I think it will be really 
fascinating to see our students 

849
00:48:39,760 --> 00:48:42,920
in, in 10 years time. 
Like how have they innovative? 

850
00:48:42,920 --> 00:48:45,920
In fact, when I spoke about 
Vidom and Lamp, that was 

851
00:48:45,920 --> 00:48:50,520
important because actually I 
took them on as as graduates 25 

852
00:48:50,520 --> 00:48:54,200
years ago in in the studio I 
worked in London. 

853
00:48:54,520 --> 00:48:59,680
And to see them take on that 
sort of that responsibility, but

854
00:48:59,680 --> 00:49:03,640
also innovating where the 
industry is going and taking 

855
00:49:03,640 --> 00:49:07,680
responsibility for the archival 
history of what's happened. 

856
00:49:07,960 --> 00:49:10,720
If for me, it's like a kind of, 
you know, sort of a really heart

857
00:49:10,720 --> 00:49:15,960
warming thing to see, you know, 
young designers really working 

858
00:49:15,960 --> 00:49:17,840
through. 
And I think by giving that sense

859
00:49:17,840 --> 00:49:22,760
of trust and confidence and 
autonomy that I think comes 

860
00:49:22,840 --> 00:49:26,000
through the course that actually
when we see what's what are they

861
00:49:26,000 --> 00:49:28,520
going to bring to the creative 
industries is a really kind of 

862
00:49:28,520 --> 00:49:31,120
exciting thing. 
So I think that's the sort of, 

863
00:49:32,040 --> 00:49:34,760
and it cycles back, you know, 
that's why I gave that example 

864
00:49:34,760 --> 00:49:38,480
of Vedum and Lamp because 
actually most professionals are 

865
00:49:38,480 --> 00:49:42,320
also keen to invest in, you 
know, what's coming through. 

866
00:49:42,320 --> 00:49:44,920
And actually that's why from my 
perspective with my, I'm in the 

867
00:49:44,920 --> 00:49:48,920
seesaw moment between half 
industry, half that actually, I 

868
00:49:48,920 --> 00:49:54,800
see the same kind of investment 
that like, you know, amazing 

869
00:49:54,840 --> 00:49:58,120
design studios and professionals
have with their young designers,

870
00:49:58,120 --> 00:50:02,040
as I hope we do in our students,
you know, from a, from an 

871
00:50:02,160 --> 00:50:05,520
academic's point of view. 
So that's the that's the hope 

872
00:50:05,520 --> 00:50:10,360
and the joy. 
Yeah, I think Speaking of 

873
00:50:11,000 --> 00:50:14,400
questioning the status quo, the 
next question fits very well. 

874
00:50:14,680 --> 00:50:19,680
I wanted to hear from you. 
If you could redesign a product 

875
00:50:19,680 --> 00:50:24,800
or a service space from scratch,
any anything that you you wish, 

876
00:50:24,800 --> 00:50:27,640
what would you and why? 
OK. 

877
00:50:27,640 --> 00:50:29,800
So that's an interesting 
question. 

878
00:50:29,800 --> 00:50:33,720
I mean, I'll, I kind of maybe 
I'll Nestle into an area that 

879
00:50:33,720 --> 00:50:37,040
I've worked on for both in my 
professional world and and 

880
00:50:37,040 --> 00:50:41,520
that's a sort of a lot of my 
careers being spent in sort of 

881
00:50:41,520 --> 00:50:47,400
designing for food and health. 
And I suppose if I had that 

882
00:50:47,400 --> 00:50:53,520
chance, I'd probably think about
the relationship between food 

883
00:50:53,520 --> 00:50:56,080
and health and how can we make 
that better. 

884
00:50:56,080 --> 00:51:00,400
So probably I'd like to think 
about designing better 

885
00:51:00,400 --> 00:51:04,080
legislation, designing 
information systems to better 

886
00:51:04,080 --> 00:51:09,640
inform individuals to make sort 
of healthier choices, more kind 

887
00:51:09,640 --> 00:51:17,120
of more maybe ethical choices 
about their, the way they live, 

888
00:51:17,320 --> 00:51:20,440
which actually also impacts on 
others and the health of not 

889
00:51:20,440 --> 00:51:22,120
only them, but the planet as 
well. 

890
00:51:22,120 --> 00:51:25,440
So a bit lofty, but actually I 
do know that there are things 

891
00:51:25,440 --> 00:51:30,000
around preventative healthcare 
start with very simple kind of 

892
00:51:30,000 --> 00:51:33,480
decisions. 
And actually again, design maybe

893
00:51:33,480 --> 00:51:38,360
has has had its hand in 
promoting different types of 

894
00:51:38,840 --> 00:51:40,600
behaviours. 
And I think, you know, that's 

895
00:51:40,600 --> 00:51:43,880
probably why I've slightly 
shifted from the world of sort 

896
00:51:43,880 --> 00:51:46,800
of pure graphic design and 
branding to actually taking 

897
00:51:46,800 --> 00:51:50,160
those problem skills and 
critical ways of thinking and, 

898
00:51:50,160 --> 00:51:54,080
and bringing that into the field
of sort of healthcare design. 

899
00:51:54,080 --> 00:51:56,440
So yeah, that's probably what 
I'd try to do. 

900
00:51:56,440 --> 00:52:01,040
It's about information systems 
and making sort of positive 

901
00:52:01,040 --> 00:52:03,680
choices for individuals and the 
wider world. 

902
00:52:04,920 --> 00:52:06,280
Yeah, I love that. 
That's great. 

903
00:52:06,640 --> 00:52:11,720
I love that when we add this for
participant here in the podcast,

904
00:52:11,720 --> 00:52:14,040
people answer very different 
things. 

905
00:52:14,160 --> 00:52:18,840
So it's it's good. 
We've heard already redesigning 

906
00:52:18,960 --> 00:52:25,560
education, redesigning e-mail 
and spam, redesigning the subway

907
00:52:25,560 --> 00:52:28,280
system in New York. 
So it's just very cool to see 

908
00:52:28,280 --> 00:52:30,880
what's on people's minds. 
So yeah, that's great. 

909
00:52:32,640 --> 00:52:35,120
Yeah. 
To close up here, we wanted to 

910
00:52:35,120 --> 00:52:37,440
hear what what has been 
inspiring you lately. 

911
00:52:37,440 --> 00:52:42,040
It could be like a book, a film,
exhibition, music album, 

912
00:52:43,440 --> 00:52:46,920
anything that has been feeding 
your creative soul. 

913
00:52:47,280 --> 00:52:49,920
Yeah, well, I, I have to, I 
mean, I'm from London 

914
00:52:49,920 --> 00:52:51,400
originally. 
I was born there and worked 

915
00:52:51,400 --> 00:52:56,000
there for 20 odd years and I 
still love going back up there. 

916
00:52:56,000 --> 00:52:59,080
And actually, when I was up 
there the other, the other week,

917
00:52:59,080 --> 00:53:03,680
I went to Japan House, which had
an exhibition of 100 makers from

918
00:53:03,680 --> 00:53:07,400
Japan. 
And, and actually that was 

919
00:53:07,400 --> 00:53:11,880
really inspiring. 
It kind of, it reminds us of the

920
00:53:11,880 --> 00:53:15,560
value of, you know, I'll say it 
again, the kind of learning from

921
00:53:15,560 --> 00:53:18,440
other cultures and looking at 
the similarities and 

922
00:53:18,440 --> 00:53:20,720
differences, the way we use 
materials, the way we use our 

923
00:53:20,720 --> 00:53:24,480
hands, the way we use technology
to make the world around us. 

924
00:53:24,480 --> 00:53:26,480
And that's, there's so much we 
can learn from that. 

925
00:53:26,720 --> 00:53:30,400
I think the other thing that 
came out from that is also I 

926
00:53:30,400 --> 00:53:35,200
picked up a, a book called 
packaging and it was curated by 

927
00:53:35,200 --> 00:53:39,840
Kenya Hari. 
And actually it was the in in 

928
00:53:39,840 --> 00:53:44,040
Japan, they have the sort of 
takeo paper paper sort of 

929
00:53:44,080 --> 00:53:45,720
exhibitions that happened 
through. 

930
00:53:45,880 --> 00:53:50,680
They did a lovely one on sort of
sort of sort of haptic. 

931
00:53:50,680 --> 00:53:54,160
And they've done different on 
paper, different types of 

932
00:53:54,160 --> 00:53:57,280
exhibition, but this one was 
talking about different types of

933
00:53:57,280 --> 00:54:00,200
packaging and what it start. 
The book starts at both ends. 1 

934
00:54:00,200 --> 00:54:02,960
is on functionality. 
And the other way of defining 

935
00:54:02,960 --> 00:54:06,680
packaging is about laughter. 
And again, I I love the sort of 

936
00:54:06,680 --> 00:54:10,080
I love the two complete 
contrasts that could, yeah, 

937
00:54:10,160 --> 00:54:13,200
perhaps come from a Japanese way
of a philosophical, 

938
00:54:13,200 --> 00:54:16,640
philosophical way of thinking. 
But again, to me, it sort of 

939
00:54:16,640 --> 00:54:20,880
highlights the, the, the joy of,
of how we learn from different, 

940
00:54:21,000 --> 00:54:23,920
different perspectives. 
And so whilst I also went to the

941
00:54:23,920 --> 00:54:27,040
Wes Anderson exhibition, which 
was amazing, the design museum, 

942
00:54:27,360 --> 00:54:30,400
I also love the kind of the, 
the, the different sort of 

943
00:54:30,400 --> 00:54:32,640
contrast. 
So I think that's a real treat. 

944
00:54:32,840 --> 00:54:36,440
And it's another thing to say, I
think that whilst, you know, if,

945
00:54:36,520 --> 00:54:39,120
when you're, if you're studying 
London, you have all those 

946
00:54:39,120 --> 00:54:41,080
things, if we're studying in 
Cornwall, we have museums, if 

947
00:54:41,080 --> 00:54:46,200
you're online, we're encouraging
people to like, really invest 

948
00:54:46,200 --> 00:54:48,880
and understand the culture that 
is around them. 

949
00:54:48,960 --> 00:54:52,280
Because we often find that even 
we don't look enough, we don't 

950
00:54:52,280 --> 00:54:55,880
go out and enjoy the environment
or enjoy, enjoy exhibitions and 

951
00:54:55,880 --> 00:54:58,560
things like that. 
So there's this kind of content,

952
00:54:58,560 --> 00:55:01,040
continuous tension. 
But certainly from my own 

953
00:55:01,040 --> 00:55:06,240
perspective, that was a a real 
sort of injection of inspiration

954
00:55:06,240 --> 00:55:10,080
and and joy, having seen that 
exhibition and bought yet 

955
00:55:10,080 --> 00:55:13,760
another book on design. 
That's great. 

956
00:55:14,200 --> 00:55:17,800
Awesome. 
So, Brian, as a final call to 

957
00:55:17,800 --> 00:55:22,560
action for our listeners here, 
for our community, can you let 

958
00:55:22,640 --> 00:55:26,200
them know where to find you? 
Yeah, sure. 

959
00:55:26,200 --> 00:55:30,360
I mean, basically I'm, if 
anyone, anyone wants to e-mail 

960
00:55:30,360 --> 00:55:37,360
me, I'm at 
brianbryn.clarkclark@falmouth.ac.uk.

961
00:55:38,680 --> 00:55:43,760
If you go to Falmouth, 
www.falmouth.ac.uk, you'll get 

962
00:55:44,040 --> 00:55:48,120
the information about the 
courses that we run online and 

963
00:55:48,120 --> 00:55:51,800
obviously on campus. 
And I'm really interested to 

964
00:55:52,080 --> 00:55:55,520
hear from people as well that if
they're kind of, if there's 

965
00:55:55,520 --> 00:55:58,280
anything they want to talk or 
discuss about, it might be 

966
00:55:58,320 --> 00:56:02,240
someone from industry thinks 
actually I'd love to contribute 

967
00:56:02,440 --> 00:56:04,880
to one of your, you know, to 
your online programme. 

968
00:56:04,880 --> 00:56:08,680
I'd love to visit Falmouth or it
might be, I'd love to study at 

969
00:56:08,680 --> 00:56:10,240
Falmouth, I'd love to study 
online. 

970
00:56:10,240 --> 00:56:13,920
So the, the most important thing
is that dialogue kind of 

971
00:56:13,920 --> 00:56:16,480
happens, you know, and I, 
sometimes I think people are a 

972
00:56:16,480 --> 00:56:19,240
little bit worried about getting
in touch, but you know, that's 

973
00:56:19,240 --> 00:56:21,600
what I would say, please do get 
in touch. 

974
00:56:21,600 --> 00:56:26,000
I can also pass individuals on 
to different folk, different 

975
00:56:26,000 --> 00:56:29,000
departments. 
So, you know, we are genuinely 

976
00:56:29,000 --> 00:56:33,520
fascinated and open to sharing 
sort of dialogue and discussion 

977
00:56:33,520 --> 00:56:36,880
around what we do, whether 
that's studying or contributing 

978
00:56:36,960 --> 00:56:40,600
to what we do here at Falmouth. 
So yeah, please, please do get 

979
00:56:40,600 --> 00:56:43,160
in touch or share your stories 
or interests. 

980
00:56:43,160 --> 00:56:45,360
We'd love that. 
Yeah, I love it. 

981
00:56:46,560 --> 00:56:49,120
Thanks so much, Brian. 
And we'll post links to relevant

982
00:56:49,120 --> 00:56:52,000
resources in the show notes. 
And for our listeners, you can 

983
00:56:52,000 --> 00:56:55,440
also get in touch with us 
podcast at aig.org. 

984
00:56:55,680 --> 00:57:00,600
Please leave us a review or like
us, tell a friend about this. 

985
00:57:00,960 --> 00:57:04,400
But until next time, I am Li 
Shan Huang on behalf of Julia 

986
00:57:04,400 --> 00:57:05,920
and Brian. 
See you later. 

987
00:57:06,520 --> 00:57:07,360
Thank you so much.