Y3S2 Creative Process Journal

Y3S2 – LASALLE COLLEGE OF THE ARTS We then got assigned books to look at. The Contemporary Condition exhibits typefaces that is designed in a problematic way: (1, 0 programmed into a set of shapes). The writing of the project is documented in the book, where the typeface is introduced as the body of text, on The Contemporary Condition as the content of the publication. It is an own body of work that flows into explanatory notes - ‘Meta- type’ speciment, illustrating the symbiotic relationship between form and content which is why the writers were the designers of the book There is always a need to think about design vs/vis- a-vis content - books as a form of indulgence can happen sometimes too. 101

CREATIVE PROCESS JOURNAL Week 6 – Independent Learning 11th February 2020 Entrance into the studio has since been prohibited because of the elevation of the DORSCON status to orange. Because of that, I started to plan out the things that I needed to do for proper. Some of these processes existed in confirming the FA for the trial run of the workshop while others were making logistical processes were carried out. The following logistical processes were done: 1. Confirming trial workshop attendees 2. Booking of Venues 3. Sending out of mail EDM invites 4. Writing of Script 5. Writing and sending out Registration forms 6. Writing Pre- and Post- Workshop surveys 7. Sending out surveys and getting them filled 8. Analysing results from surveys 9. Printing of final artworks 10. Speaking to Kelvin about proper formats for the website 11. Coming up with a list of print specs 12. Purchase of paper from RJ 13. Revise Handout Copy 14. Getting required stationery 102

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 6 – Edits 11th February 2020 I had spent the earlier of the week ex- perimenting further with art direction styles and making sure that they are consistent throughout the brand rollout on the collaterals. I also consulted a few peers like Joshua and Joe on the colour schemes intended for the handouts, and revealed that perhaps the pastel-coloured papers which sets the workshop logistics and structure does not go well cohesively with the rest of the papers. I hence decided for a different set of papers to be used for such. As well as a different format used to bind the collaterals together (See next page). 103

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Y3S2 – LASALLE COLLEGE OF THE ARTS Week 6 – On Expenses 11th February 2020 And they go, just like another in the fire Up to this point of writing I have officially burnt a few hundred of dollars away spent on printing and prototyping. The mass amount of collaterals needed for the workshop meant that I needed to conscientiously test print and make sure they are in the best format before the holding of the workshop. In the last picture on the left you can see the final prints for the trial workshop before they were assembled. My thoughts internally are 1) the workshop could really go awry because it has never been done before, so the outcomes could be really good or really bad, or maybe even really ‘meh’, 2) I have really been spending quite some amount of money and soul in investing in the project. As much as I wished there could be some sort of sponsorship, I felt like this is also a time where I personally see the need to start taking ground in personal finances. So that in eventual I would actually have enough money or finances to tide me through daily expenses and school production costs (this is besides the amount that I am provided for by my parents, to which is an obvious habit that I need to start detaching from). I have since started to take up more freelance opportunities on the side, as recommended by a friend. The only resolution and wish I have here is to pace my working progress and not be tired out by it all. It’s not a run, it’s a marathon. 105

CREATIVE PROCESS JOURNAL WEEK 6– GENERAL PROGRESS Reflections As I am writing this, it is actually the Tuesday of Week 7, and I’ve only had time to reflect back on what happened during Week 6. Week 6 involved a huge amount of independence in practice, which was something that I could’ve rotten away to if left to my own devices - give me no schedules and I spend it sleeping in bed for 15 hours at a go. This did not happen in all actuality because I had the support of family members who would wake me up even though I had no classes in the day whatsoever – this in itself provided me an opportunity to actually be productive in the day (my best times are head-frames of clarity in the morning) while taking my time by spreading tasks effectively and efficiently across the days of the week. The pushing back of the trial run workshop also meant that there were more opportunes to think about processes and have a personal control of the pace that I was running my studio projects, one that would be of comfort to me and to which I would not be ‘stressed’ by. GOOD DAY I have planned for the next few days leading up to the workshop (on coming Friday) to be a chill experimentation on how I should build the website that would document the proceedings of the workshop. Other than that, I think I am actually at a good place for now – the real test is what comes during and after the workshop (again, it could go really well or really awry). Fingers crossed. 106

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 7 – Adhoc Class: Book Research 17th February 2020 In the 1st Session, we took a look at theory on book research: form as a way of thinking - how certain forms allow us to approach subjects of content purposefully; deliberately ambiguous leading to different interpretations. In the 2nd Session, we looked at practice on book research: the form as content - approaching design, how certain design decisions would add value to contents (text or pure form). In this session, we focus on Praxis: if form can be a way of thinking or content, then form can be discourse: a body of knowledge, set of principles and ideas. It might not be the same form of discourse in dissertations, but it might be just in terms of form. Appropriations and visual languages speak of discourse and power languages - thinking about design as a discipline; ideas and actions dealing with a broader context being expressed via the format of a book. 107

CREATIVE PROCESS JOURNAL SHARING OUTCOMES 108

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 7 – ADHOC CLASS Book Research We then watched a video on ‘Touching Graphic Design’ by Roger Willems. The intention is to see his work as a whole body to consider what are some of the intentions behind the books he makes. How a book can exist as a means of involvement and collaboration, and that “How well it would sell was not a consideration” in why it was made. What do books create/influence? (Books create/influence …) Books create involvement, collaboration and experimentation. What drives the creation/making of books? (Books are driven by …) Books are driven by the desire to show something in a different format. Books are driven by organic experiments championed by different individuals. 109

CREATIVE PROCESS JOURNAL WEEK 7– Adhoc Class: Book Research Reflections What’s the point of a book when its function is almost meaningless? It is indeed a niche area and it is indeed an exclusive area to be experimenting on. Making such books is an example of a graphic designer who wants to initiate his own work and not wait for his assignments - the designer becomes an author. While incessant, Willem’s work is an example of disruption in the design discourse, even if it is just a small wave. There is however a need for someone to come in and give presence and attention to why they do these. Just giving these manifestations challenges our common expectations of what books are. The fact that it comes from a designer collaborating between him and an artist/writer puts forth some kind of consistency in the things that he wants to say through the making and format of the book – someone who takes enough ‘invisible’ interventions to establish a publication (a good example of graphic authorship). Going through Metahaven’s article challenges the spirit of thinking, that making can exist in other forms with different organisations of content, especiallt with the way of thinking. Gideon’s introduction to his Temporary Press revealed that ot is important for studios to drive certain businesses, but it is pertinent to want to engage in further fields where opportunities may arise. The strategy of over-reading visuals and exaggerating things as a means of sense-making things is key here. It isImportant to consider the different formats of design - not everyone has to be independent or tied to a rigid basis of a job. There isn’t actually specific tools to think about design as a means of research: it depends on the designers to think about that that would benefit the field of design. 110

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 7 – Workshop: Trial Run 21st February 2020 Initially I had assumed that the general feedback from the workshop was doing measurably ‘okay’ until I had some deeper conversations with peers that revealed more of how they felt with the trial run of the workshop. The next few pages will be comments by Stanley and how to improve on them, followed by deeper analyses of the comments from the participants of the workshop. General Pointers – Stan 1. Good that I started confidently. 2. It is common for workshops to not start on time due to latecomers, and this is not something we have control over; while there have been measures to encourage people to come earlier in larger scale conferences/ seminars by announcing an earlier timing or providing refreshments; this may not be possible for a student-led workshop and that is ok. 3. Some times, people don’t show up too. This happens a lot when its not a paid workshop since there is no sunk cost to do so. And again, for a student-led workshop that’s ok but its good to know the challenges for the conduct of such events. 4. Good to see that you opened the floor for questions before starting the first exercise. 111

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Comments and Reflections Workshop Running – Stan 1. The start could have been a little lengthier, just so that it does not seem like they immediate start. This can be done through: - Some form of ice-breaker introductions (not necessary for this session since it’s mostly people from your batch and they know each other; but its worth considering some form of that if in the other rounds there are people who are unfamiliar with each other. For workshops that requires group work, you’ll be surprised how challenging it can get if they don’t start by knowing each other because it builds a resistance to talk more. A quick ice-breaker for them to talk about themselves, interests or reasons for joining the session can make a whole lot of difference. - Some form of media engagement, other than the presentation slides will be good too. A short snippet of a film, report, movie, etc. 2. Lights could perhaps be switched on while they are working on their own (participants might feel sleepy otherwise) 3. Could perhaps have some form of white noise or light music in the background while they work. But then again, it’s a preference; I don’t necessary need to. The type of music is important too, some may be distracting. 4. Notes given (pink sheets) seem generally helpful. But it will be worthwhile to reflect on some of the live questions asked, as they may indicate concerns of the participants. Then it can be evaluated to determine if they should/can be included in the next notes. 5. Good use of shared documents to collect feedback. 6. Well done sensing the room and the general quietness of it. 112

Y3S2 – LASALLE COLLEGE OF THE ARTS 7. Time feels generally well managed. Does not feel like there is a sense of the exercises being rushed but we also want to evaluate if the time allowed for the expected depth of the output. 8. Give the participants occasional breaks to lighten the intensity of the workshop. 9. It is good to use examples of other groups as a point of discussion. 10. Can open the last part of the debrief up for questions. Workshop Details – Stan 1. Could perhaps discuss briefly why these few categories of climate change were chosen to start with. 2. It was good that I went around to coach them and address questions individually. 3. Space for sketching might be too small. Some times it may require more development of sketches so can use the space overleaf. This will be fixed with a larger piece of paper that will be distributed, as well as encouraging participants to use the overleaf should the front run out of space. 4. There is a possibility of running the workshop more of discussion based because of the background of the participants. Intersecting ideas because of this has led to reconsideration of such to make all the exercises be of group discussions instead of individual work. 5. There is a need to explain the 3H diagram in greater detail to allow the participants to see the relevance of what they are asked to consider and how it fits in the grand scheme of things. 6. For the presentation, even if some of the ideas are a bit more far fetched, we need to coax them to discuss how they arrived there and why. Allowing the rest to see the rationale behind it. 113

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Comments and Reflections Pointers from Peers 1. The extreme use of jargons was a hindrance for the participants to understand CD. Possibility of considering giving a background short lecture on project origins and key definitions of CD and climate change. May also use the project manifesto as a grounds of establishment. 2. A few examples at the start would have made the objective of the workshop clearer, to establish project premise at the start and to lessen the gap of what CD posits itself to be in my stance. 3. There was a sudden jump into the first exercise and this was a shock to all the participants. 4. The idea of criticality as fluid for everyone, and thus specific to this workshop there is greater need to define how CD is used in this context. 5. The realisation that the workshop, while in the context of the Anthropocene, leverages on the topic to use it to test the guided workflow - that in itself is justifiable grounds to work off 6. Have a small presentation after some exercises 7. Despite the areas of improvements, the setting of a workshop did provide an avenue for some of the participants to think about things that one generally does not think about 8. The speculation might work out better with a mix of disciplines from both creatives and people active about climate change. 114

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 7– Workshop: Trial Run Post-Workshop Survey – Exercise Specific Multiple Choice Do you feel that the research premise for the workshop was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 37.5% 4 - 50.0% 5 - 12.5% Conclusion: A majority of the participants of the workshop felt that the research premise of the workshop was well established. Do you feel that the research objective for the overall workshop was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 50.0% 4 - 50.0% 5-0 Conclusion: Half of the participants of the workshop felt that the overall workshop was quite well established, while the other half sit on the fence with regards to such. 115

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run (...continued) Briefing: Selecting Possible Futures Do you feel that the instructions for this briefing was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2 - 37.5% 3 - 25.0% 4 - 37.5% 5-0 Conclusion: Half of the participants of the workshop felt that the instructions for the briefing was easy to understand, while the other half felt not so. Exercise 1: Interpretation of Topic Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2 - 62.5% 3 - 25.0% 4-0 5 - 12.5% Conclusion: A majority of the participants of the workshop felt that the instructions for Exercise 1 was too hard to understand. 116

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Exercise 1: Interpretation of Topic Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1 - 12.5% 2 - 12.5% 3 - 12.5% 4 - 62.5% 5-0 Conclusion: A majority of the participants felt that the research objective for this exercise was well-established. Exercise 2: Imaginings Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 37.5% 4 - 50% 5 - 12.5% Conclusion: A majority of the participants in the workshop felt that the instructions for Exercise 2 was easy to understand. 117

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Exercise 2: Imaginings Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2 - 12.5% 3 - 12.5% 4 - 62.5% 5 - 12.5% Conclusion: A majority of the participants in the workshop felt that the research objectives for Exercise 2 was well established. Exercise 3: Sense-Making Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 25.0% 4 - 37.5% 5 - 37.5% Conclusion: A majority of the participants in the workshop felt that the instructions for Exercise 3 was easy to understand. 118

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Exercise 3: Sense-Making Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 12.5% 4 - 37.5% 5 - 50% Conclusion: A majority of the participants in the workshop felt that the research objectives for Exercise 3 was well established. Exercise 4: Roadblocks Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2 - 12.5% 3 - 12.5% 4 - 37.5% 5 - 37.5% Conclusion: A majority of the participants in the workshop felt that the instructions for Exercise 4 was easy to understand. 119

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Exercise 4: Roadblocks Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1 - 12.5% 2-0 3 - 25.0% 4 - 37.5% 5 - 25% Conclusion: A majority of the participants in the workshop felt that the research objectives for Exercise 4 was well established. Exercise 5: New Metaphors Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 0% 4 - 50% 5 - 50% Conclusion: A majority of the participants in the workshop felt that the instructions for Exercise 5 was easy to understand. 120

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Exercise 5: New Metaphors Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3-0 4 - 62.5% 5 - 37.5% Conclusion: A majority of the participants in the workshop felt that the research objectives for Exercise 5 was well established. Summary of Post-Worksop Survey (MCQ) 1. A majority of the participants of the workshop felt that the research premise of the workshop was well established. 2. Half of the participants of the workshop felt that the overall workshop was quite well established, while the other half sat on the fence with regards to such. 3. Half of the participants of the workshop felt that the instructions for the briefing for selecting possible futures was easy to understand, while the other half felt not so. 4. A majority of the participants of the workshop felt that the instructions for Exercise 1 was too hard to understand. 5. A majority of the participants felt that the research objective for this exercise was well-established. 6. A majority of the participants in the workshop felt that the instructions for Exercise 2 was easy to understand. 121

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run 7. A majority of the participants in the workshop felt that the research objectives for Exercise 2 was well established. 8. A majority of the participants in the workshop felt that the instructions for Exercise 3 was easy to understand. 9. A majority of the participants in the workshop felt that the research objectives for Exercise 3 was well established. 10. A majority of the participants in the workshop felt that the instructions for Exercise 4 was easy to understand. 11. A majority of the participants in the workshop felt that the research objectives for Exercise 4 was well established. 12. A majority of the participants in the workshop felt that the instructions for Exercise 5 was easy to understand. 13. A majority of the participants in the workshop felt that the research objectives for Exercise 5 was well established. Open-Ended Questions that had Something to Say About the Introduction 1. Have a table of contents page in the dossier, make sure they are in systematic order 2. Establish in the intro, together with the manifesto, that ‘There may be more nuance to the impacts but for the setting of this workshop let’s look at these in research for conceptualising ideas for the future’ 3. Have snippets of the latest Singapore Budget 2020 to give an introduction on this issue 4. And give contextual background of the Anthropocene, and an understanding of the workflow 5. In the introduction, also give examples of some works that may be possible outcomes of the workshop 122

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey 6. Have clear definitions what the workshop is based on (refer to dissertation) 7. Define that impact of climate change is proposed by the board of climate change in Singapore (use climate change in singapore) About Briefing on Selecting Possible Futures Zi Ting: I think that even though it is easy to understand it took a while to understand that. The aspect of delivery and the instructions on the paper could be more clear with examples. When you mentioned Bel’s example it is easier to understand TQ: It’s fun it’s it’s speculative way, but requires some extensive pre- knowledge of the subject matter to be efficient Darren: I would probably clearly iterate and include existing design terms into the premise to make the subject relatable and easy to understand. Conclusion in Point-Form: Give examples on some scenarios of possible futures Have the briefing before the exercises About Exercise 1 Farisha: The terms require a little bit more explanation. A lot of time was used googling terms such as the modes of interpretation. TQ: It’s easy to understand as it’s simply going to the net to find relevant online sources, however within the limited time frame is it difficult to understand where the project is going, or differ from your usual design methodologies which would have to some extend– employed future imagining depending on the individuals Darren: The topic in itself is heavy with a set of terms that need to be practical addressed and introduced instead of simply having it annotated and explained. The Anthropocenic folder is also lacking a 123

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run table of contents which would make it easier to navigate. Joe: Activities that work from future projections are generally pretty vague since there’s so many things that could happen in the future. Examples and criteria provided as well were also broad e.g. I had a hard time understanding and pinpointing event/trend/etc. for my given problem. Lyn: The handout booklet should be in systematic format where you can refer to as you are talking. That should be your intro. Subsequent brief for each exercises was alrdy explained clearly in each form Christabel: I think there is a need for more understanding and contextual background of anthropocene, and the flow of the workshop, an understanding of the framework, before everything starts. Examples would be good in helping us understand the objective and purpose of each exercise. Brice: “Impact of climate change” is a bit ambiguous an example could help clarify. The methods of interpretations were also heavy and rather broad in understanding again an example could help clarify aside from the tips given. Although i must say that the tips were helpful. Research objective was well established because I understood the purpose of the methodology after having done the exercise. Conclusion in Point-Form: Explain the modes of interpretation and how they may be used in the briefing (know that the table is a reference should one get stuck) and that they may cross over the main exercise is to look at current happenings of climate change in Singapore and take note of important points of possible intersection to think of imaginings on, no matter how far-fetched 124

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey About Exercise 2 Farisha: It would be fun to start the group project section here and discuss with our teams on what to come up with here. TQ: It felt like a rough quick prototyping Darren: The research objective is unclear as the level of realism and imagination is hard to control. Without a clear set of examples it is hard to identify exactly what the research objective is seeking, such as a product, an event or even a scenario Conclusion in Point-Form: Do all the exercises in a group format You are to design based off the criterion using the mediums: - for the human - for living systems - for ecosystems - for smart-cities - for policies - for smart technology About Exercise 3 Lyn: Status Quo works hand in hand with Exercise 2. When we were ideating, I researched first to see plausible methods. Again, climate change type of topics is pretty hard to speculate without knowing current accessible methods and what does not work. 3.2 Complications were better to be executed with Roadblocks. I didn’t think the cards were necessary. If u wanted, you should just use the card mechanic for ‘random’ selection of ideation topic all the way. 125

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Conclusion in Point-Form: Combine Exercise 3.2 with Exercise 4 Reiterate that Status-Quo may be assumptions and does not have to be something that is technically workable About Exercise 4 Zi Ting: Mmmmm personally I kinda already thought about it when coming up with prior concepts so I’m not sure if it is needed. But that is very personal and I think it is important to some other people. Darren: It appears similar to sense making as it further elaborates on the limitations Joe: Felt similar to the previous one. Lyn: Refer to 3.2, combine it if possible. It’s almost the same except with the cards. There’s no need to do it separately. Christabel: I felt this was a bit similar to the one on understanding complications so I was a bit confused but the cards did help but there could be more explanation, but I understand this might take more time. But I feel if people understand what they are supposed and have a clearer of what is required, the activities can take a shorter time but maybe not too short too, because research is required. But I thought even though we didn’t stick to the assigned timings, it was good! Not too taxing hehe but ya, thought the last two exercises are a bit similar Brice: Feels similar to Ex. 3.2 might want to consider either language or framing of it. Feels like something to consider before heading for lunch too Conclusion in Point-Form: Reiterated in Exercise 2: Imaginings that these ideas and sketches need to be in that of possible futures, no matter how far-fetched or unlikely 126

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey About Exercise 5 Farisha: It was interesting to see the radical ideas that other teams came up with! Lyn: I think because this workshop has no restrictions on scale of the design or resources, we came up with absolutely absurd speculations. Maybe consider having restrictions like designing small scale everyday equipment etc. Instead of a drastic national level platform. Conclusion in Point-Form: Recommended in exercise 2 (see above) are examples of ideas we can based our imaginings on Open Ended Questions about the Workshop 1. What is your idea of criticality in design now, as compared to before the workshop? TQ: It remains very much similar to be able to analyze a subject matter and it’s surrounding concerns to establish the design process Dina: N.A. Jyn: N.A. Tan Zi Ting: I think it is making it more possible, the idea of possibility? Before the workshop it is more about something important etc. Christabel: I didn’t really understand what critical design is. To me, it sounds really cheem. HAHA. Because my project touches on speculative, so I did do some research, but I get a better understanding how to go about designing critically. It really did make me think and it is quite fun because you’re not as limited when speculating of what might happen in the future. The reader did help too. 127

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Farisha Angullia: Criticality to me meant that we as designers, have to be mindful of our choices and decisions that we make when designing something. Every aspect of the design has to be taken into consideration before implementing. After the workshop, the element of meaning is implemented, designing with criticality also meant that we have to design things that are meaningful and useful. Darren: Marginally the same. Design has to be critical no matter what, but this workshop did not really question how critical design should be. Lyn Foo: It remains the same. The research will inform potential complications in current events and points where existing efforts can be improved. After which we are able to generate speculative ideas from the identified problem/improvement scenarios. Then I think there needs to be a run through for critical assessment from peers for further refinement. Sarah Joe: For a long time I thought criticality in design meant that it was a right/wrong black/white kind of situation and slowly have begun shifting away from it. This workshop proved the latter, there isn’t really a right/wrong in our imaginings. Brice: That we have to be aware of how specific we have to be with the criteria to sort of actualize it. Conclusion in Point-Form: - Possibility is a key factor in imagining in this workshop - aligns with the reason as proposed - A designer has a key role to play when designing for something, wrt pre and post- designing - Yes, there is no right/wrong black/white situation! That’s what the sense-making is for. We realise that in the imaginings that they may be absurd, but sense-making allows us to align ourselves by questioning its relevance in the current world, thereby promoting discourse when we are dealt with ‘Oh, does this work in reality?’ 128

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey 2. What is your biggest takeaway from this workshop? TQ: The grounds for imaginations comes from limitations, and whether such solutions are meant to be implemented or remain as fictions. If so, consulting literatures would serve the project better than situating it within the real. Dina: N.A. Jyn: N.A. Tan Zi Ting: The things that can be done for climate change as designers. Christabel: Understanding a bit more about how critical design works, and realising that it’s not entirely about solving an issue but imagining what it might be in the future with the problems at hand. It applies to my project too so it helps me understand my project a bit better. Farisha Angullia: There are many issues on climate change that has yet to be tackled in Singapore. Incorporating Singaporeans into combatting climate change is lacking here and most of the interventions are from top-down perspectives. It would be interesting to see how designers can help in reimagining certain interventions that are needed. Darren: The potential benefits of applying a methodology to ideate and streamline the outcomes for a specualtive design process that serves to guide the designer Lyn Foo: Well, now I know air-con is bad for the environment and rely on other alternatives. Sarah Joe: The wackier the idea, the better in order to really maximise the potentials of this workshop and space to think/explore and imagine futures. Linear thoughts and clean cut pragmatic thoughts are boring. Brice: We have to come up with ideas that are more likely to be possible but at the same time radical. It was fun as we got to use our creative side 129

CREATIVE PROCESS JOURNAL WEEK 7– Workshop: Trial Run Post-Workshop Survey 3. What do you hope could be improved on in this workshop for a better presentation for future instances of the workshop? TQ: Decide on a scale as to how far are you willing to push the imaginative factor. The attempt to balance make the process seems like any other design process (research > problem > ideate > prototype), without the executional part. I think the charm of such imaginary activities are the boundaries freed up from executions, sort of like writing science fictions. Din: N.A. Jyn: N.A. Tan Zi Ting: I think for some instance the paper could be in the form of post-cards etc, something stuck on the table that can be referenced easily. Christabel: I think we need to have more understanding on how the workshop will flow. The materials can have a flow too, following the workshop, with clear indication which is for which specific exercise. Farisha Angullia: I think 5 hours is a tad too long for a workshop setting. As the workshop is pretty heavy, people may become disinterested after some time. Darren: Clarity and more explanation and exercises to define and understand the introductory terms Lyn Foo: Set boundaries and restrictions on design scale. I think its also good to see if a functional design can be produced to scale from a workshop. Sarah Joe: Not too cold studio. More interactive activities? One other thing was maybe let participants include more of themselves in their imaginings, like what’s in it for them kind of thing. Brice:“Don’t read from a script if possible. Better clarity. Examples from the speaker Larger groups max 5? Needs more brainpower” 130

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CREATIVE PROCESS JOURNAL Trial Run Process Shots 132

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 7 – Workshop: Trial Run Reflections To be really honest, These comments were alot to take in at the start, especially when the whole of the workshop took away so much of my emotional and mental energy - it has truly been a while since I have felt so drained. However, the fact that the trial run was not perfect bugged me a whole lot, and I guess somehow intrinsically I was not ready to let that go. Speaking to peers who believed in me, then reassured me that should I do an actual run of the workshop, that the outcomes will be a proof of the stark difference between the before and after, showing ideas of criticality: there is proof in itself that if I were to hold the workshop again (because at this stage I had no energy to want to even consider running an actual run) and with the considering the suggestions for improvement, it inself is proof that it works as a lesson plan. Joe’s bf also suggested looking at his prof’s work in SUTD, Design in the Anthropocene, to consider maybe sitting in his class or to ask him of improvements on how to conduct classes related to the Anthropocene. While this was a possibility, I consulted Stan to reveal that the prof’s stance on design might be that of engineering vs mine, which sits on the speculative spectrum. I then reconsidered the alternatives to which I can run the workshop with more preparations and not tiring myself out. For instance, I can test it out with an audience periodically to gain confidence of speaking on stage. I can also project a script on the wall behind, or to get a teaching assistant to help with the presentation. (... continued on next page) 133

CREATIVE PROCESS JOURNAL WEEK 7 – Workshop: Trial Run Reflections (... continued) In the end, I decided to play the briefings in a video format as a different form of engagement, and establish the manifesto at the start, as well as providing some project origins with content from my paper, establishing that the workshop is a means to test the guided workflow to help shape our thoughts. There is also possibility to include Singapore’s stance with her Budget 2020 in talking about the issue. A referenced improvement from the SUTD prof’s module to exercise two is to design with specific contexts: (i) designing with living systems 1 (human-beings); (ii) designing with living systems 2 (more-than-human agencies and other ecosystems); (iii) open systems and incomplete design; (iv) large-scale sociotechnical systems 1: Smart Cities; (v) large- scale sociotechnical systems 2: Artificial Intelligence; (vi) large- scale sociotechnical systems 3: Climate change adaptations; (vii) design ethics. The other learning point is, wihle more easily said than done, is to take comments objectively and separate from the person. As I am writing this in retrospect, I realised that I may have been too proud of my process so far, that when the initial waves of comments poured in I was more affected by them than ever - being humble has been my motto to working these days, and maybe I have lost it in the midst of chasing after ideal circumstances in school. 134

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 8 – Week 9: Preparation for Actual Run Thoughts & Reflections Stanley posed me some questions to think about on an adhoc consultation in Week 8 after the trial run. 1. Reflect and think through what were your initial expectations of the workshop (ideally you want to be as specific with the expectations as possible) 2. Think about what you were hoping to achieve; testing the workflow is one thing but if you can be more specific to ask how do you know if the testing of the workflow is successful, i.e. what are some indicators of success These were my responses: 1. Whether the 3 Horizons model would still work when appropriated with the other modules in the workflow, and how far we can take our imaginings using it - it worked 2. How far can imaginings be pushed, and whether there is a limit to the aim of the workshop - exists within possible futures scope 3. How are critical design ideas being ignited within the workshop, and do participants see them - participants see not of criticality in the workshop, but they also miss out the participatory, fictional and speculative element which defines the workshop (which is intrinsically tied to CD) 4. Whether the flow of the guided workflow makes sense - yes, because the participants moved on from imagining to eventually sense making and coming up with a workable imagining 5. How the participatory element might play out in the workshop (...continued) 135

CREATIVE PROCESS JOURNAL WEEK 8 – Week 9: Preparation for Actual Run - it is ongoing without them realising: the very nuance of discussion and thinking and posturing futures is in itself enough 6. While speculative, how do I maintain certain sense-making in the workshop to ensure they do not go too whacky - addressed with the 3H model 7. How would the roadblock cards come into play when introduced in a non-verbal format - effective because there was a visual element 8. Whether the participants could tell that the imaginings needed to be refined from exercise 2 to exercise 5, an incremental process that was not pre-discussed - yes, but this was not immediate 9. Whether participants could tell that there is a non-spoken limit to which the imaginings can be pushed - yes, but this realisation was not spoken of as well 10. Not all are aware that sense-making of imaginings are happening with the exercises - some were aware that when they were thinking about the interventions that were happening that they were simultaneously thinking about the factors that come into play The reactions were that the workshop did not seem too of CD, only some participants realised that it does not have to be intensely critical, but that the very format of a participatory imagining workshop meant that people are gathered to posture futures and thereby possible discourse. There is a need to emphasise that even if being critical is a particular way of making things - the ideas even though are far-fetched are still possible as defined by the parameters of the workshop.There is also a need to 136

Y3S2 – LASALLE COLLEGE OF THE ARTS Thoughts & Reflections realise that while anyone can be speculative, Sense-making allows you to be critical in a sense, be critical about the impacts of our imaginings. The importance in also teaching people to use the guided workflow more than anything else. Week 9: Stan advised to take note of the following as well: 1. Remind people to read pre-instructions while waiting for the rest. 2. Find more opportunities to put pictures in the video pre- sentation 3. Be real and state that you’d started this project from the premise from inital interest in CD; having no idea where to start naturally led on to more new ways of establishing CD as a practice - the workshop is an attempt to address this; it might not be the best attempt but it is my best attempt so far. That there will be a feedback session at the end of the workshop to get honest opinions. 4. Get participants to introduce themselves at the start of the workshop: name, what course they are in, share something that has happened in the past month that you find is significant 5. Understand the Limitations that coming to a workshop doesn’t immediately change our point of view, but because of resource and time limitation that you have to do it in one day; it would have been great if it was a specific project with a group of people that these exercises be stretched across maybe even weeks with the participants 137

CREATIVE PROCESS JOURNAL WEEK 8 – Week 9: Preparation for Actual Run Thoughts & Reflections At the end of our discussion, we sat down to collate the amount of collaterals that I have and will be working towards to producing for the graduation show. 1. Website a. Open source repository to let people learn the method (videos, guide/templates. photos) b. Audience/participant reception (short review about their experience) c. Conductor Reflections (my own reflections) d. New page - feedback on tools, instructions/methods, environment 2. Kit - Show kit first pre-use 3. After Exercise a. Post-used exercises b. Organise them into impacts, give a little description (see website under the same category) 4. Designs (3D+2D) a. Outcomes b. Title, In response to which impact, review what you want the designs to say c. Which are the impacts they were reading from 5. Manifesto - Flag 6. Small Exhibit in Class (only if time permits) 138

Y3S2 – LASALLE COLLEGE OF THE ARTS Process Shots SKETCHES FROM CONSULT ON WEEK 9 MONDAY MATERIAL ICONS USED IN MAKING VIDEO SOURCING PRESENTATION CLEARER VIDEO PRESENTATION 139 RECORDING PROGRESS

CREATIVE PROCESS JOURNAL WEEK 10 – Pre-Workshop: Actual Run Thoughts I honestly feel that this time round, that I need to go into the setting of the workshop with a quiet, and steady heart. Because for all I know, despite my efforts to make this a more accomplished round of the workshop, the results that turn out from it might be exactly the same again. This does not mean that there will not be any learning points, that I reckon. However, I just need to be in the right headspace and frame of mind to execute it as best as I can; what comes after is not up to my control. Innately, of course, I would want the workshop to go well. The trial run really did a damage on myself, and some of the peers’ expectations of my work. While honestly not wanting to fall into that same pithole, I recognise that such a situation might surface again: 平常心 (a resolute heart) may be the right way to go. In lieu of such, I have also been taking this week slowly and less hastened on myself, as long as I meet the required milestones for each day. Ira Glass’ quote keeps resurfacing, and I’ve been watching the video on loop for awhile now. Perhaps I should reward myself when the actual run is over... Hm. 140

Y3S2 – LASALLE COLLEGE OF THE ARTS 141

CREATIVE PROCESS JOURNAL Week 11 – Workshop: Actual Run 13th February 2020 I will begin this chapter from stills of the presentation video*, to some process shots of the workshop, followed by the post- workshop survey that was done as a feedback to the actual run of the workshop, and lastly some personal reflections . – (10mins) *It helps me a lot that the format of the workshop be delivered in the format of a video, so that the contents that I have prepped for are delivered in the most accurate manner with clear annotations and guides that will be illustrated along the way. 142

Y3S2 – LASALLE COLLEGE OF THE ARTS STILLS OF THE VIDEO PRESENTATION 143

CREATIVE PROCESS JOURNALActual 144 Run

ProcessY3S2 – LASALLE COLLEGE OF THE ARTS Shots 145

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Multiple Choice Do you feel that the research premise for the workshop was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 0% 4 - 62.5% 5 - 37.5% Conclusion: A higher majority of the participants of the workshop felt that the research premise of the workshop was well established in this actual run (~100%) than the trial run (~62.5%). Do you feel that the research objective for the overall workshop was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 0% 4 - 50.0% 5 - 50.0% Conclusion: A higher majority of the participants of the workshop felt that the research objective of the workshop was well established in this actual run (~100%) than the trial run (~50%). 146

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Briefing: Selecting Possible Futures Do you feel that the instructions for this briefing was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2 - 0% 3 - 25% 4 - 62.5% 5 - 12.5 Conclusion: A higher majority of the participants of the workshop felt that the instructions for the briefing were easier to understand in this actual run (~75%) than the trial run (~50%). Exercise 1: Interpretation of Topic Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 12.5% 4 - 56.3% 5 - 31.3% Conclusion: A significant higher majority of the participants of the workshop felt that the instructions for Exercise 1 were easier to understand in this actual run (~87.6%) than the trial run (~12.5%). 147

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Exercise 1: Interpretation of Topic Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 12.5% 4 - 50.0% 5 - 37.5% Conclusion: A higher majority of the participants felt that the research objectives for this exercise were well-established in the actual run (~87.5%) than the actual run (~62.5%). Exercise 2: Imaginings Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 6.3% 4 - 68.8% 5 - 25% Conclusion: A higher majority of the participants in the workshop felt that the instructions for Exercise 2 were easier to understand in the actual run (~83.8%) than in the trial run (~65.5%). 148

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Exercise 2: Imaginings Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 12.5% 4 - 50.0% 5 - 37.5% Conclusion: A higher majority of the participants in the workshop felt that the research objectives for Exercise 2 were well established in the actual run (~87.5%) than in the trial run (~75%). Exercise 3: Sense-Making Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 12.5% 4 - 62.5% 5 - 25% Conclusion: A higher majority of the participants in the workshop felt that the instructions for Exercise 3 were easier to understand in the atual run (~87.5%) than in the trial run (~75%). 149

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Exercise 3: Sense-Making Do you feel that the research objective for this exercise was well established? (Levels 1-5, 5 being the most well established) 1-0 2-0 3 - 6.3% 4 - 62.5% 5 - 31.3% Conclusion: A higher majority of the participants in the workshop felt that the research objectives for Exercise 3 were well established in the actual run (~93.8%) than in the trial run (~87.5%). Exercise 4: Roadblocks & Complications Do you feel that the instructions for this exercise was easy to understand? (Levels 1-5, 5 being the most easy to understand) 1-0 2-0 3 - 18.8% 4 - 37.5% 5 - 43.8%% Conclusion: A higher majority of the participants in the workshop felt that the instructions for Exercise 4 were easier to understand in the actual run (~91.3%) than in the trial run (~75%). 150