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Un nuevo reality en donde Philippe Starck trabaja con jóvenes diseñadores ingleses.


Design for Life Episode 1 from Robert Meredith on Vimeo.

Fragmentos del artículo.  Artículo completo:

http://www.psychologytoday.com/blog/dont-delay/200805/education-is-not-the-filling-pail-the-lighting-fire


This quote is from William Butler Yeats (Poet, 1865-1939). It captures what lies at the heart of authentic engagement - fire. As an educator, I've learned a great deal about pedagogical pyromania. In fact, it's my passion.


The fire triangle
If you talk about lighting, or fighting, fires, sooner or later you'll talk about the "fire triangle" (firefighters will add the fire tetrahedron and the fire square as well, as our knowledge expands about types of fires). Focusing on the fire triangle, we can articulate the science and art of building a fire. The three elements of this triangle are fuel, heat and air. The science of building a fire is knowing that these work together (and quite a bit about fuel itself like tinder, kindling and fuel wood). The art of building a fire is being able to regulate these under the given circumstances to get a blaze going.

Unfortunately, many educators assume that one or the other of these components - will & skill - is simply the students' responsibility. For example, I often hear colleagues lament how students lack motivation. They lack the will for learning. These teachers expect that it is the students' responsibility to come into the classroom on fire for learning. Similarly, others remark that students don't know how to write the essays required in their course or how to read. They lack skills. Of course, students who don't think they can succeed at a task (lack skill) won't feel very motivated to try.
It's true that ultimately the student must be the fuel for the fire, but that doesn't mean that educators don't have a role in lighting this fire. At the very least, we have to spark the students' interest.



Concluding thoughts - "kindling the gift of life"
I'll end with a quote from one of my favorite educators and writers, Parker Palmer. His book, "The Courage to Teach," is simply excellent. Here's what he has to say about fire and learning in some introductory remarks he wrote for a colleague's book.
"Tips, tricks and techniques are not at the heart of education - fire is. I mean finding light in the darkness, staying warm in the cold world, avoiding being burned if you can, and knowing what brings healing if you can cannot. That is the knowledge that our students really want, and that is the knowledge we owe them. Not merely the facts, not merely the theories, but a deep knowing of what it means to kindle the gift of life in ourselves, in others, and in the world" (Palmer, p. x; Foreword to O'Reilley, 1998).
In education, in life, let there be fire!


Timothy A. Pychyl, Ph.D. is an associate professor of psychology at Carleton University in Ottawa, Canada, where he specializes in the study of procrastination.

BY Cliff KuangMon Oct 12, 2009 at 12:32 PM

BY Cliff KuangTue Oct 6, 2009 at 1:21 PM

Stefan Sagmeister is one of the most talented graphic designers working today, so he knows a little bit about keeping his creativity flowing. His trick? Taking really, really long vacations. In fact, every seven years, he takes an entire year off.
As Sagmeister describes it in his recent TED talk (which just made it to the Web), we spend our first 25 years learning, the next 40 years working, and the last 15 retired. "I thought it might be helpful to cut off five of those retirement years and intersperse them in between those working years," Sagmeister says. And what's more: "That's clearly enjoyable for myself but probably even more important is that the work that comes out of those years flows back into the company and the society at larger rather than benefiting just a grandchild or two."
You have to admit it's a pretty great way of looking at things. And incidentally, it's one that neoclassical economists such as Milton Friedman would endorse--those types are always rattling on "consumption smoothing"--the idea that consumers will spread their income or goods (such as leisure) over time, so that overall consumption is even. Sagmeister channeling Friedman? Who knew?!
Sagmeister notes that the first sabbatical wasn't terribly useful because it wasn't structured enough. But when he segmented his day into activities--from "storytelling" to "future thinking"--things started to pop. In fact, Sagmeister argues that all seven years of work after his time off sprung from ideas that were formed during the previous sabbatical. His proof is his own charming portfolio--including one example of a brilliantly flexible logo system he designed. Check the video for more.

http://www.fastcompany.com/blog/cliff-kuang/design-innovation/hard-works-over-rated-it-could-even-be-detrimental?partner=homepage_newsletter

In today's innovation economy, engineers, economists and policy makers are eager to foster creative thinking among knowledge workers. Until recently, these sorts of revelations were too elusive for serious scientific study. Scholars suspect the story of Archimedes isn't even entirely true. Lately, though, researchers have been able to document the brain's behavior during Eureka moments by recording brain-wave patterns and imaging the neural circuits that become active as volunteers struggle to solve anagrams, riddles and other brain teasers.

http://online.wsj.com/article/SB124535297048828601.html

Talleres XXV Simposio de Computación en la Educación Los talleres son sábado 17 y domingo 18 de octubre.

http://www.somece.org.mx/Simposio2009/index.php/talleres El Simposio es del 17 al 21 de octubre.  El programa completo: http://www.somece.org.mx/Simposio2009/index.php/programa Los talleres son eminentemente prácticos y están diseñados para introducir un marco de trabajo riguroso para el aprendizaje de un área nueva o proveer entrenamiento en avances técnicos. Las propuestas han sido seleccionadas con base en el currículo del instructor para la enseñanza del tema propuesto y su contribución en lo general al programa del Simposio. Tendrán una duración de cuatro horas. Todos los talleres se llevarán a cabo en el Centro Mascarones - UNAM ver dirección Hay talleres como: NOMBRE: Los blogs, un medio para desarrollar competencias educativas José Gustavo Cárdenas Rivera La audiencia propuesta para dicho taller deberá contar con conocimientos mínimos del manejo de la computadora, así como de internet  OBJETIVO / INSTITUCION: Que los participantes puedan crear un blog sobre un tema o contenido de su práctica educativa con la temática que más les interese para mostrar o dar a conocer a sus alumnos y crear discusión en su comunidad educativa o entorno más cercano.   Instituto Pedagógico de Estudios de Posgrado ----------------------------- NOMBRE: Visual basic para profesores Antonio Gutiérrez Popoca Profesores interesados con habilidades básicas de computación OBJETIVO / INSTITUCION: Proporcionar a los asistentes al taller los elementos básicos para utilizar el lenguaje de programación Visual Basic 2005 - 2008.   Instituto de Ciencias y Estudios Superiores de México -------------------------------- NOMBRE: Creación de unidades didácticas mediante el uso de Moodle José Luis Buendía Uribe  / José Inés Andrade Gandarilla /  Pedro Enrique Ayala Medina Con conocimientos básicos de word, power point e Internet OBJETIVO / INSTITUCION: Crear unidades didácticas mediante el uso de la plataforma Moodle, para su uso en línea y aplicar herramientas de Internet como chats, foros y documentos web como medios de comunicación. Escuela Nacional Preparatoria, Plantel 2 ----------------- NOMBRE: Blogueando René Herrera Santana Que usen herramientas generales como e-mail, Word y Excel. OBJETIVO / INSTITUCION: Entrenar a los participantes en las habilidades para organizar una bitácora o blog. UPEV IPN

100 Colors, 100 Writings, 100 Days: Observatory: Design Observer

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When you say design, it has many definitions.  One of the best is: the sythesis of form and content.  Without content their is no form, without form there is no content. Form and content are indistinguishable.  When form predominates meaning is blunted.

Don't try to be original, just try to be good. Paul Rand quoting Mies van Der Rohe.

When I teach at colleges the first thing I usually say is forget about the idea of producing a portfolio to get a ‘job’. It is far more important to do the work that you are excited by, not work that you feel you should do. The work you want to do will attract more of the work you want to do. I received an e-mail from a student the other day asking how they should tackle a certain project. I wrote back saying the first thing they should do is talk to the tutor about the fact that the project did not relate in any way to their view of the world or what they wanted from their education.

Entrevista completa:
http://www.barnbrook.net/06_about/interview_2001.html#int2001Q12

Esta es una lista recopilada por la fotógrafa AMY STEIN quien recientemente ofreció un taller en México organizado por Tóxico.

Les dejo el enlace a un blog que me pareció interesante.

Whereas the craft of design; creating logos, layouts and Web designs, is becoming as much a property of amateurs as it is professionals, designers need to find new areas of unique value that they can provide their clients. By addressing the areas of complexity, co-creation, context and accountability, designers position themselves to better meet the needs of their clients and the demands of a changing economy.

In 2000 Federal Reserve Board Chairman Alan Greenspan stated that technical know-how would be superseded by “the ability to create, analyze, and transform information and to interact effectively with others.” This idea was echoed in Daniel Pink’s book A Whole New Mind, in which Pink projects that the future economy will be driven by six key “senses” - design, story, symphony, empathy, play and meaning. For designers with a collaborative spirit and the ability to conduct and synthesize research, this is good news.

It is becoming clear that designers in this new era must not only be experts in form, as they have been traditionally taught, but must be equally skilled in solving more complex problems that require a broader range of skills including social sciences, technology and the organization of teams. The ability to collaborate, manage the increasing complexity of design problems, design “in context” to their target audiences and be accountable through measurement transforms designers from “makers of things” to “design strategists.” Along with the ability to create form, these skills complete the designer of the conceptual economy.

This idea of a well-rounded design professional is not a new concept. In 1957 Henry Dreyfuss stated, “A successful performer in this new field is a man of many hats. He does more than merely design things. He is a businessman as well as a person who makes drawings and models. He is a keen observer of public taste and he has painstakingly cultivated his own taste. He has an understanding of merchandising, how things are made, packed and distributed, and displayed. He accepts the responsibility of his position as liaison linking management, engineering, and the consumer and co-operates with all three.”

The thought of orchestrating these diverse disciplines can seem daunting. However when we consider the areas of collaboration, complexity, context and accountability, we see that they can easily fall into the framework of design process.

Project initiation: This phase is focused on aligning stakeholders toward a common goal and requires collaborative planning to address complex design problems.

Skills: Business, interpersonal, organizational and communication planning skills.

Design research: This phase defines the context for making design decisions. Centered on the needs of business stakeholders and audiences, this phase relies heavily on collaboration as a means for understanding meaning.

Skills: Social sciences, interpersonal, qualitative, quantitative and analytical research skills.

Concept development: This phase synthesizes the research into an idea and requires divergent and collaborative thinking from multiple perspectives.

Skills: Creative, ideation and facilitation skills.

Design development: This phase is focused on developing an aesthetic that is relevant to the audience.

Skills: Design, production and manufacturing skills.

Measuring ROI: This phase makes design accountable through the measurement of outcomes; whether they are financial, attitudinal or behavioral.

Skills: Business, accounting and marketing skills.

By looking at design systemically, as a group of interacting skills brought together to create whole, designers can think about their work in new ways, expanding their focus, and bringing their inherent creativity to bear more broadly by working with other disciplines. Through process designers can better orchestrate the needs of their clients, manage the complexity of design problems and provide a means for co-collaboration, all in a scaleable framework.

Designers that make the leap from craftsperson to collaborator, who don’t necessarily have all the answers, but provide a methodology for facilitating design thinking will be able to position themselves as a trusted consultant. As such, the new designer does not tell, rather, they listen. They do not control. Instead, they collaborate. In addition to being able to offer expertise in a specialized area, the new designer provides a broad and sophisticated body of knowledge.

http://www.notesondesign.net/inspiration/design/the-new-designer-part-2-of-8/#more-1484

By Kristi Cameron, Caroline Cole, Tscharner Hunter & Suzanne LaBarre

Posted March 18, 2009

Given the dismal state of the economy, we decided to ask students completing ten top industrial-design programs (both bachelor’s and master’s) about their career plans. There’s certainly no lack of problems to tackle—environmental, social, or otherwise—but there will likely be fewer jobs to fill, at least for now. Click on the photos to see what some young creative minds have to say about their prospects.

What Is Good Design

Good Is Sustainable

Good Is Accessible

Good Is Functional

Good Is Well Made

Good Is Emotionally Resonant

Good Is Enduring

Good Is Socially Beneficial

Good Is Beautiful

Good Is Ergonomic

Good Is Affordable

http://www.metropolismag.com/story/20090318/the-new-reality-graduating-class

Good Is Emotionally Resonant

Our love of objects is not even about the objects themselves. It is always about us.

We grow to love the objects that connect us to other people, create meaning, and remind us that we’re alive.

The human brain tends to think along pre-determined linear thought pathways. Such linear thinking can inhibit true innovation and creative exploration. Project M will encourage, and provide techniques for, “thinking wrong” to generate new ideas and design directions to challenge the status-quo.

http://www.projectmlab.com

Yesterday during my own Think Wrong session, you had our group open up to a random page in a David Byrne book to spark our creative session. How did you start developing these exercises?

My partners and I use just a few techniques and that one works particularly well to get people out of their normal orthodoxies.

One of the things you encourage your Project M’ers to do is use their work to change behavior for the better. I notice that you can get pushback from the community sometimes. People can be scared of change even when it’s good for them.

That fear of change is another human characteristic. I think about this a lot. There are some people who don’t just accept change, they actually crave it. And maybe they are the natural wrong thinkers, the adventurers. It’s a natural and reoccurring thing necessary to move society forward. That’s the fringe. Then there’s this whole other group that’s clinging to the norm and following predictable ways. When you have a situation like the one we’re in right now where you have to rapidly shift—we really do need to change, we can’t wait for generations to adopt new ways of doing things—how do you get that mass to come along willingly?

http://www.metropolismag.com/story/20090130/project-m-thinking-wrong-doing-right

School Works Links

These are other sites on the web that have relevance to the School Works project. If you have a web site that you think we should include in this list, please send it to us.

	National Curriculum in Action Creativity Site Hints and advice on how to stimulate creative thinking in the curriculum. URL: www.ncaction.org.uk/creativity EMAIL:
	Advisory Centre for Education A national advice charity offering support to parents, governors and professionals on a wide range of educational issues. URL: www.ace-ed.org.uk  EMAIL: ace-ed@easynet.co.uk
	Architecture for Humanity Architecture for Humanity is a volunteer non-profit organization founded for the promotion of architectural and design solutions to global, social and humanitarian problems. URL: www.architectureforhumanity.org/ EMAIL:
	Art & Architecture Art & Architecture is a practitioner led alliance which advocates a better quality built environment for all. It was established to encourage a dialogue between architects, developers, planners, craftspeople and artists to foster a better mutual understanding and the widest possible exchange of ideas and information. URL: www.artandarchitecture.co.uk EMAIL:
	BBC 21CC 21CC is a learning centre in dedicated to exploring cutting edge developments in interactive technology. It is a radical space for creativity and innovation. It demonstrates and gives access to all to the very best in interactive resources and provides practical ways to integrate creative ICT into teaching and learning. URL: www.bbc.co.uk/21cc

Información sobre teorías de la educación, ejemplos para desarrollo curricular y resolución de problemas. Enlaces interesantes a otras páginas.

http://www.funderstanding.com/

http://www.udel.edu/pbl/

"How can I get my students to think?" is a question asked by many faculty, regardless of their disciplines. Problem-based learning (PBL) is an instructional method that challenges students to "learn to learn," working cooperatively in groups to seek solutions to real world problems. These problems are used to engage students' curiosity and initiate learning the subject matter. PBL prepares students to think critically and analytically, and to find and use appropriate learning resources. -- Barbara Duch

http://ide.ed.psu.edu/idde/9events.htm

Conditions of Learning. Robert Gagne
http://tip.psychology.org/gagne.html

http://www.krummefamily.org/guides/bloom.html

Enlaces a otras páginas.

About Learning

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Estilos de aprendizaje
http://www4.ncsu.edu/unity/lockers/users/f/felder/public/Papers/LS-Prism.htm


Explorations in Learning & Instruction: The Theory Into Practice Database

http://tip.psychology.org/

Welcome to the Theory Into Practice (TIP) database!

TIP is a tool intended to make learning and instructional theory more accessible to educators. The database contains brief summaries of 50 major theories of learning and instruction. These theories can also be accessed by learning domains and concepts.

About TIP
The theories
Learning domains
Learning concepts
About the Author
Other related web sites
For more information about many of the theories and theorists included here, see the “People & History” section of http://www.psychology.org

http://www.pbs.org/video/

http://academicearth.org/lectures/how-do-you-find-your-passion-and-pursue-it

LECTURE DESCRIPTION
Instead of thinking about the passion, expalins Komisar, free yourself to think of a portfolio of passions. Marry this portfolio with the opportunities in front of you, he says. Think of it as a quest towards which you are moving in the right direction, he adds.

http://academicearth.org/

Design elements are a foundation for a design, they are the structural underpinnings of a design that are almost unseen. For a good listing of specific elements, check out this site:

Elements of Design    http://www.princetonol.com/groups/iad/Files/elements.htm
Some of these elements can be pretty abstract; space, balance, etc. Others are more concrete; Line, shape, etc.

It’s interesting to see how students initial react and respond to these elements in their initial projects. Often time, they try to use design elements in a literal sense. They use balance in a design by showing a teeter-totter or show Space by showing a scene set in Outer Space. They’re not necessarily wrong, but their literal-ness sort of misses the point. They are not elements that are meant be represented literally. They are there to add structure to an arrangement, they are used to build a coherent composition.

But they serve another purpose. They help create a lexicon, a language, to express ideas that can be otherwise intangible. How do you critique or analyze a design? Where do you even start? You first start with a gut reaction. How did it make you feel when you first saw it? Love it, hate it, no reaction? What caused that reaction (or lack of)? That’s the hard part. How do you give voice to a rationale that was based on an emotive response? Well, you need to look at the structure of the piece. How were the elements arrange, how was the composition. This is where knowledge of design elements comes in handy. Was it balanced, how was line used, how was color used? Look beyond the surface level of a design and at its structure underneath. When you do, you will see the elements it uses and thus will be able explain your rationale for your critique.
http://www.skemadesigns.com/blog/

Design is problem solving, and that process is applicable to a lot of things. One of the biggest challenges for kids, especially underserved kids, is relevance – [making sure that] they are motivated and engaged and interested in what they’re learning, and that they’re learning from their daily lives. Everything’s design. You can connect it to anything they’re wearing or using, anything they’ve seen in the built environment. Design education connects the dots between what students are learning and what they care about.

Les debo la fuente!

How public education cripples our kids, and why

(Extractos.  Texto completo: http://www.wesjones.com/gatto1.htm#source  )

I taught for thirty years in some of the worst schools in Manhattan, and in some of the best, and during that time I became an expert in boredom. Boredom was everywhere in my world, and if you asked the kids, as I often did, why they felt so bored, they always gave the same answers: They said the work was stupid, that it made no sense, that they already knew it. They said they wanted to be doing something real, not just sitting around. They said teachers didn't seem to know much about their subjects and clearly weren't interested in learning more. And the kids were right: their teachers were every bit as bored as they were.

Boredom is the common condition of schoolteachers, and anyone who has spent time in a teachers' lounge can vouch for the low energy, the whining, the dispirited attitudes, to be found there. When asked why they feel bored, the teachers tend to blame the kids, as you might expect. Who wouldn't get bored teaching students who are rude and interested only in grades? If even that. Of course, teachers are themselves products of the same twelve-year compulsory school programs that so thoroughly bore their students, and as school personnel they are trapped inside structures even more rigid than those imposed upon the children. Who, then, is to blame?

We all are. My grandfather taught me that. One afternoon when I was seven I complained to him of boredom, and he batted me hard on the head. He told me that I was never to use that term in his presence again, that if I was bored it was my fault and no one else's. The obligation to amuse and instruct myself was entirely my own, and people who didn't know that were childish people, to be avoided if possible. Certainly not to be trusted. That episode cured me of boredom forever, and here and there over the years I was able to pass on the lesson to some remarkable student. For the most part, however, I found it futile to challenge the official notion that boredom and childishness were the natural state of affairs in the classroom. Often I had to defy custom, and even bend the law, to help kids break out of this trap.

The empire struck back, of course; childish adults regularly conflate opposition with disloyalty. I once returned from a medical leave to discover that all evidence of my having been granted the leave had been purposely destroyed, that my job had been terminated, and that I no longer possessed even a teaching license. After nine months of tormented effort I was able to retrieve the license when a school secretary testified to witnessing the plot unfold. In the meantime my family suffered more than I care to remember. By the time I finally retired in 1991, I had more than enough reason to think of our schools - with their long-term, cell-block-style, forced confinement of both students and teachers - as virtual factories of childishness. Yet I honestly could not see why they had to be that way. My own experience had revealed to me what many other teachers must learn along the way, too, yet keep to themselves for fear of reprisal: if we wanted to we could easily and inexpensively jettison the old, stupid structures and help kids take an education rather than merely receive a schooling. We could encourage the best qualities of youthfulness - curiosity, adventure, resilience, the capacity for surprising insight - simply by being more flexible about time, texts, and tests, by introducing kids to truly competent adults, and by giving each student what autonomy he or she needs in order to take a risk every now and then.

But we don't do that. And the more I asked why not, and persisted in thinking about the "problem" of schooling as an engineer might, the more I missed the point: What if there is no "problem" with our schools? What if they are the way they are, so expensively flying in the face of common sense and long experience in how children learn things, not because they are doing something wrong but because they are doing something right? Is it possible that George W. Bush accidentally spoke the truth when he said we would "leave no child behind"? Could it be that our schools are designed to make sure not one of them ever really grows up?....

....Now, you needn't have studied marketing to know that there are two groups of people who can always be convinced to consume more than they need to: addicts and children. School has done a pretty good job of turning our children into addicts, but it has done a spectacular job of turning our children into children. Again, this is no accident. Theorists from Plato to Rousseau to our own Dr. Inglis knew that if children could be cloistered with other children, stripped of responsibility and independence, encouraged to develop only the trivializing emotions of greed, envy, jealousy, and fear, they would grow older but never truly grow up. ....

....It's perfectly obvious from our society today what those specifications were. Maturity has by now been banished from nearly every aspect of our lives. Easy divorce laws have removed the need to work at relationships; easy credit has removed the need for fiscal self-control; easy entertainment has removed the need to learn to entertain oneself; easy answers have removed the need to ask questions. We have become a nation of children, happy to surrender our judgments and our wills to political exhortations and commercial blandishments that would insult actual adults. We buy televisions, and then we buy the things we see on the television. We buy computers, and then we buy the things we see on the computer. We buy $150 sneakers whether we need them or not, and when they fall apart too soon we buy another pair. We drive SUVs and believe the lie that they constitute a kind of life insurance, even when we're upside-down in them. And, worst of all, we don't bat an eye when Ari Fleischer tells us to "be careful what you say," even if we remember having been told somewhere back in school that America is the land of the free. We simply buy that one too. Our schooling, as intended, has seen to it.

Now for the good news. Once you understand the logic behind modern schooling, its tricks and traps are fairly easy to avoid. School trains children to be employees and consumers; teach your own to be leaders and adventurers. School trains children to obey reflexively; teach your own to think critically and independently. Well-schooled kids have a low threshold for boredom; help your own to develop an inner life so that they'll never be bored. Urge them to take on the serious material, the grown-up material, in history, literature, philosophy, music, art, economics, theology - all the stuff schoolteachers know well enough to avoid. Challenge your kids with plenty of solitude so that they can learn to enjoy their own company, to conduct inner dialogues. Well-schooled people are conditioned to dread being alone, and they seek constant companionship through the TV, the computer, the cell phone, and through shallow friendships quickly acquired and quickly abandoned. Your children should have a more meaningful life, and they can.

First, though, we must wake up to what our schools really are: laboratories of experimentation on young minds, drill centers for the habits and attitudes that corporate society demands. Mandatory education serves children only incidentally; its real purpose is to turn them into servants. Don't let your own have their childhoods extended, not even for a day. If David Farragut could take command of a captured British warship as a preteen, if Thomas Edison could publish a broadsheet at the age of twelve, if Ben Franklin could apprentice himself to a printer at the same age (then put himself through a course of study that would choke a Yale senior today), there's no telling what your own kids could do. After a long life, and thirty years in the public school trenches, I've concluded that genius is as common as dirt. We suppress our genius only because we haven't yet figured out how to manage a population of educated men and women. The solution, I think, is simple and glorious. Let them manage themselves.

**  09/2003 Harper's Magazine. Copyright of "Against School" is the property of Harper's Magazine. Its content may not be copied without the copyright holder's express written permission except for the print or download intended solely for the use of the individual user. Content provided by EBSCO Publishing.

* John Taylor Gatto is a former New York State and New York City Teacher of the Year and the author, most recently, of The Underground History of American Education. He was a participant in the Harper's Magazine forum "School on a Hill," which appeared in the September 2001 issue. You can find his web site here.

FAIR USE NOTICE:
This site contains copyrighted material the use of which has not always been specifically authorized by the copyright owner. I am making such material available in my efforts to advance understanding of issues of environmental and humanitarian significance. I believe this constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, the material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes. For more information go to: http://www.law.cornell.edu/uscode/17/107.shtml. If you wish to use copyrighted material from this site for purposes of your own that go beyond 'fair use', you must obtain permission from the copyright owner.

"the starting point is never the design, it's not the end point. It's the manifestation of some set thinking... design isn't the think you go away with. Attitude , principals what your trying to tackle..." Nicolas Roope

Transcribo algunos fragmentos del video.

Education is as important as literacy.

If you're not prepared to be wrong you will never come up with anything original by the time children become adults they have lost that capacity, they are frightened of being wrong

We are educating children out of their creative capacities. Picasso once said, all children are born artists, the problem is to remain an artist as we grow up. I believe this, we do not grow into creativity, we grow out of it.

the most useful subjects are steerd on the top, because they will help you get a job

According to the UNESCO in the next 30 years more people will be graduating from unversities than since the beginning of history. Suddenly degrees aren't worth anything. Now you need an MA where before you needed a BA

We need to radically rethink our view of intelligence. We know three things:
-It's diverse: we think about the world in all the ways we experience it, we think visually, we think in sound kinisthetically, we think in abstract, in movement
-Intelligence is dynamic.
-It's distinct.

I believe our only hope for the future is to adopt a new conception of human ecology one in which we try to reconstitute the richness of human capacity. Our education system has "mined" our minds in the way that we strip mine the earth for a particular commodity, and for the future it won't serve us. We have to re

There is a wonderful quote by Jonas Salk who said "if all the insects were to dissapear from the earth, within 50 years all life form would end. If all humans beings dissappeared from the earth all life forms within 50 years would flourish." And he's right.

What TED celebrates is the gift of the human imagination, we have to be careful that we use this imagination wisely and that we avert some ofthe scenarios we have talked about and the only way we'll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are and our task is to educate their whole being so they can face this future. By the way we may not see this future, but they will and our job is to help them make something of it.

SIR KEN ROBINSON
A visionary cultural leader, Sir Ken led the British government's 1998 advisory committee on creative and cultural education, a massive inquiry into the significance of creativity in the educational system and the economy, and was knighted in 2003 for his achievements. His latest book, The Element: How Finding Your Passion Changes Everything, a deep look at human creativity and education, was published in January 2009.
He has chaired and given keynote presentations to Fortune 500, corporate, educational and cultural conferences throughout the United States, Canada, Europe, Australia, the Middle East and Asia. In 2001, he was voted SfB Business Speaker of the Year by over 200 global and European companies. In 2005 he was named as one of Time/Fortune/CNN's' Principal Voices'.

Ever since his first work for the fledgeling Factory Records in the late 1970s, PETER SAVILLE has been a pivotal figure in graphic design and style culture. In fashion and art projects as well as in music, his work combines an unerring elegance with a remarkable ability to identify images that epitomise the moment. Más: http://www.designmuseum.org/design/peter-saville



Peter Saville Q&A: What's wrong with design education? from D&AD on Vimeo.