Y3S2 Creative Process Journal

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Exercise 4: Roadblocks & Complications 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 - 56.3% 5 - 43.8% Conclusion: A higher majority of the participants in the workshop felt that the research objectives for Exercise 4 were well established in the actual run (~100%) than in the trial run (~82.5%). 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 - 12,5 4 - 50% 5 - 37.5% Conclusion: A lower majority of the participants in the workshop felt that the instructions for Exercise 5 were easier to understand in the actual run (~87.5%) than in the trial run (~100%). 151

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run 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: The same percentage of the participants in the workshop felt that the research objectives for Exercise 5 were well established in both the actual and trial run (~100%). Summary of Post-Worksop Survey (MCQ) On Workshop Introduction 1. 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%). 2. 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%). On Briefing Possible Futures 1. 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%). 152

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey On Exercise 1 1. 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%). 2. 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%). On Exercise 2 1. 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%). 2. 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%). On Exercise 3 1. 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%). 2. 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%). On Exercise 4 1. 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%). 2. A higher majority of the participants in the workshop felt that the research objectives for Exercise 4 were well established in the actual run (~100%) than in the trial run (~82.5%). 153

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run On Exercise 5 1. A lower majority of the participants in the workshop felt that the instructions for Exercise 5 were easier to understand in the actual run (~87.5%) than in the trial run (~100%). 2. The same percentage of the participants in the workshop felt that the research objectives for Exercise 5 were well established in both the actual and trial run (~100%). Open-Ended Questions On Briefing of Possible Futures Kia Yee: i like it a lot! it’s a rather hopeful way of using realistic extrapolation, and regardless of how nonsensical the proposed solution/future model, it makes you think a lot more deeply about every possibility rather than get trapped in one mode Dina: I think it allowed us to think more broadly since the research/ brainstorming of ideas didn’t have to really make sense in the beginning. So, it’s good as we weren’t limiting our ideas and can further think of practical possibilities that might actually work. Amanda: Based on the text/words alone, I wasn’t 100% sure that I fully understood the briefing. But I thought the examples on Design Fiction as well as the Voros Cone was really helpful in illustrating what to expect and what to work towards. Clara: I think for me the tricky part was trying to determine the likeliness of it happening. I had difficulties in establishing counters for the roadblocks and complications that might arise and thus would scrap most of my ideas. Keith: I like that each group had different challenge scenarios to deal with and imagine for because it allows different groups to ideate on different opportunity areas and expose each other to 154

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey different aspects of the anthropocene Comments: The premise of possible futures, as instructed beforehand, was a means to allow hopeful means of using realistic extrapolation, regardless of how nonsensical the proposed solution/ future model, and has allowed participants to think more deeply about every other possibility than being trapped in a singular mode. Visual models such as the examples on Design Fiction and the Voros Cone also proved to be helpful in illustrating what to expect and work towards for the participants. On the other hand, there were foreseen circumstances where some participants may, at this stage, try to forcefully make sense of their imaginings and the consequences that will arise, which might be an impediment to some. However, participants are still encouraged to work within the ideas of the Futures Cone first. Perhaps what is needed is reinforcement in clarification that at the Imagining stage ideas need to be possible first, and will be made sense of in the later exercises. On Exercise 1 Ryan : This is the first time I’m doing something like this so I have not much comparison. The instructions were alil unclear as to the terminology. Comments: In an ideal scenario, it would perhaps make more sense to invite CD practitioners or designers who have a pretext about the definitions of which the workshop is working around, so that such definitions are already ingrained in the participants. Zi Ting: I feel like because it’s my second time, it definitely got clearer that the initial research on impacts, especially having it in context, are crucial. Stanley Goh: The instructions were clear because it’s to find evaluation of the topic. But the objective of the meaning of interpretation could be clearer if you did an example of a separate topic to show as example 155

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Kia Yee: it was a clear, straightforward task. the only thing that might help is that it’s easier to start by searching up events/news before considering trends/systems/etc, so perhaps everyone can start with the former first rather than immediately starting to choose between historical/worldview/trends/event/etc? it would be a gentler entryway to start off the brainy sesh Comments: It will be a slightly more nuanced method of evaluating the impacts of climate change if participants are eased into it by first reading up recent events/news before considering trends/systems/etc, so that with the former they are better equipped with the apt knowledge to evaluate the impact of. Dina: I think that the intro video was insightful (although it was a bit lengthy) but it did do justice to give a clearer idea of what the workshop/topic was about and why it’s being conducted (compared to the trial session). Tan Yue Ling: I feel like it was quite clear that we had to find evidence of a particular issue caused by the Anthropocene and having to justify it so that we are sure that we legitimately have a problem to solve. Samuel Kong: It was complicated on paper, but asking you questions made it easier to understand. So yeah instructions could’ve been introduced better I feel, for those whose grammar ain’t that good Comments: It is noted that the presence of a facilitator (for instance the person running the workshop who has a clear idea of definitions, key terms and the way ideas should manifest according to the grand scheme of things) would be able to help clarify uncertainties in that of the participants. Amanda: Initially, I was simply trying to gather a repository of relevant information regarding the topic. But I didn’t know that we were supposed to make connections and go deeper into the information. Hence, I felt that my repository was very superficial 156

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey and quite difficult to work with for the later parts of the workshop. Perhaps breaking down it into 2 parts (20mins each?) might be more effective. Gather quantity first, and then give the participants some time to analyse and draw connections. Clara: The 5 subsets of the secondary materials classification was a little hard to understand for me, because it felt like there were crossovers of different classifications. Trying to type the materials into the 5 different groups was a bit difficult for me to do, and I had to keep rechecking the worksheet, but I think after a while of getting in the groove it was easier. But overall, I understood what the objective and the instructions were, it was only the classification that I had trouble with. Comments: It is to be clarified and emphasised that the five subsets of the secondary materials classification should be used as a guide. Perhaps to also ease the process of research, participants can use the earlier half of the time to gather large quantities of news first, before using the later half of the time to breakdown the research into the five subsets. Christabel: I never give full marks one but all is good! I felt it was definitely a lot better than the previous time! But I think people who are unfamiliar with this topic might be a bit confused, e.g. my group mates! Priscilla: “Instructions were a little complicated for me only cause I do not have design background and everything here was new to me! But there were times were the facilitator came up to our table to talk to us and explain and help us push our ideas forward so that was good!! It was well established because we had to use the internet to do a little bit of research on the topic to better understand the topic and aim of the workshop” Benedict Lim Fang Jun: It was established because the examples you provided during the briefing were very helpful in imagining possible futures. 157

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Brice: The part on methodologies is still a bit tricky as there are many options to consider. I feel that the examples given has improved but with so many options people might just follow what seems to be easier Sarah Joe: premises were simple, although can be a little hard to differentiate between the factors listed (trend/worldview) Keith Wong: I think the exercises were fun because of the instruct- ions were clear. However, it would be ideal if the linkages between the outcomes of each step were articulated clearer so that participants can really see how each thought process leads up to the next and how these answers to different questions help with the possible imaginings. On Exercise 2 Ryan: The terminologies were the things that confused me Zi Ting: The imagery on the voice overs definitely does help. It feels like a simple “nonsensical” solutions to issues that affect singapore as researched in the previous exercise. I found that my team talked a lot of nonsense and came up with different ideas from different points of view which I have never thought of before, and that makes it fun. Stanley Goh: Straightforward clarification that what was wanted is low fidelity ideas Kia Yee: i think the use of academic jargon is good for precision but for the purposes of Doing and Imagining, perhaps simpler instructions would be good. i think simple instructions followed by a more theoretical debrief more useful than theoretical jargon throughout. here, it would have helped to get clearer, economically- phrased instructions alongside listed parameters (singapore, (graphic) design, nonsensical ideas are ok, no idea is too wild, etc.) 158

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Comments: The use of non-academic jargon, like ‘imaginings’, might be easier for the participants to fully grasp what the exercise is about. For instance, ‘sketching ideas that might be an intervention to help cope with or solve’ the impact they were assigned, but limited to ideas of design, are clearer. It might also help to emphasise that ‘nonsensical ideas are okay’, ‘no idea is too wild’, for the parts where Possible Futures are mentioned. Dina: It’s not complicated as the instructions were clear and concise Tan Yue Ling: It was clear that we had to imagine solutions/situations that could possibly solve the identified problem. Maybe keep it a constant reminder that it’s supposed to be tied back to Graphic Design as it’s pretty easy to get deep into the conceptualisation of a solution but forget about materialising it into a visible product. Samuel Kong: Instructions had fancy words that not everyone can understand Amanda: Sketching ideas is something that was quite intuitive, and having a large blank space in the worksheet helped in conveying that as well. Perhaps it’s just me, but the paper was so nice that I was a little afraid to begin sketching? I ended up drawing in post-its first before transferring it. This might be a hindrance to my exploration and experimentation of ideas because there was a sense of fear and uncertainty. Clara: I understood what the instructions were but had some difficulty in starting. I was unsure about how to come up with an imagining straight from what we had researched earlier. I think some of the things I came up with were either too outlandish or had no potential. I think it was hard to determine what the characteristics of a good potential imagining would have. Christabel: It was fun! But yalor, I think there people who may not be very familiar with speculative design and its purpose. I realized that there might be a lot of jargons that people don’t really understand 159

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Priscilla: It’s slightly easier for me to understand this exercise and I actually really enjoyed the process. This exercise allowed creative flow and for us to come up with imaginative ideas/design that will better aid the research topic. Benedict Lim Fang Jun: The instructions were pretty clear, and again I think it was your examples that really helped us. Brice: What are the parameters to how crazy the imaginings should be? I felt that it was mentioned but I wasn’t really clear if it was, having participated once of course I know how radical I should go and how practical it should still remain. Keith Wong: The instructions were not complicated because they were very explicit on each worksheet. However, one area of improvement is to have a summary slide displayed at the start of each exercise. This slide should summarize the instructions for the next steps, its objectives and what it means in the whole process On Exercise 3 Ryan: It was a little difficult to structure my answers with priority on topics Zi Ting: I think the instructions are pretty clear but I felt like this have all been taken into account when coming up with brief imaginings. But this is just what I felt for my group, since you mentioned that the imagingings would be something “possible”. But it’s a great step to make sure people really think about current levels of technology and the possibility of their ideas. Stanley Goh: Clear also because it’s just how to realise the imagining in real life Kia Yee: similar to the last exercise! again, the jargon is great for research essays/papers, but in getting a group of people to practice CD together (esp if you wanna keep it inclusive for nondesigners or people who might not have encountered the theory), it would be good to strip it down and apply the jargon after. 160

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Comments: Under the circumstance that the workflow be introduced to non-designers or people who might not have encountered the theory, it will then definitely make more sense to strip down the jargon first, and clarify them in accordance to the workflow after the exercises are done. Dina: I think the red cards help but we may define the terms on the card differently (eg. Political Environment, Legislation) so that’s the part where we needed more clarification. But you were able to explain it to us when we asked. Tan Yue Ling: It was easy to understand that we had to acknowledge the feasibility of our imaginations. Samuel Kong: Its very clear so far Amanda: I learnt a lot from this exercise in particular, because I think it’s quite easy for imaginings to go all absurd and off-tangent. So sense-making was something new for me, and I thought it was really helpful, in terms of trying to put the imaginings into context and actually wondering whether it’s plausible or not. Clara: For the roadblocks and complications it was more straightforward and I understood it pretty quick but for the sense making I think it was hard for me to grasp, like sense making under what conditions? I think because it was a pretty wide subject that I couldn’t easily pinpoint how to align my imaginings to the mode of sense making. Christabel: It was understandable but I think mixed this up with the next exercise on roadblocks! Priscilla: Honestly was still very lost during this part but the facilitator assured me and I had great teammates that helped me a lot. How- ever, I do understand the objective of this exercise overall. Benedict Lim Fang Jun: You gave us clear instructions, but I guess for our imagined future, because it was about genetic engineering, it was difficult to research for it since we don’t really understand the mechanics of genetic engineering. 161

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run On Exercise 4 Ryan : Initially confused between roadblocks and complications Zi Ting: Roadblocks happen to feel very political/ how society reacts to these proposals. I felt like technological barriers ain’t a thing in this when thinking, as if theres nothing we can’t do with tech. Just amusing thinking about it. Stanley Goh: Just looking for possible roadblocks that might hinder the imaginings from fruition Kia Yee: straightforward exercise that has its objective laid out plainly Dina: This exercise had clear instructions and we understood what had to be done. Tan Yue Ling: It was easy to understand that we had to identify potential setbacks that would prevent our imaginings from happening and ground our ideas slightly into reality. Samuel Kong: This was clear as well, understood the instuctions well Amanda: I was largely confused between roadblocks and complications, even after you explained it to us. Every now and then when adding information to the worksheet, I had to ask whether it falls under Roadblock or Complications. There were occasions where it could be applied to both, and it created a bit of confusion for me as I wasn’t exactly sure how to analyse it. Comments: It is to be advised that such classifications (roadblocks/complications) should not be of a strict adherence. Should participants feel that there is a potentiality in an overlap, they are encouraged to justify how so. The crux here lies not in the categorising of analyses but more of the evaluations in themselves. Clara: This was easy to understand and apply. I understood why there was a need to come up with roadblocks. Roadblocks also aren’t hard to think of as there could be so many. 162

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Christabel: It was good!! :D I wonder if the topic does affect this exercise too though! Priscilla: Still lost, but i understand that during this exercise as a designer, you must think of complications and roadblocks if you were to design a product. Thus this research objective was well established! Benedict Lim Fang Jun: You had clear definitions for roadblocks and complications, and the cue cards were a great springboard to speculate from. Brice: Still a bit of confusion between roadblocks and complications which I think could be an issue of definitions or choice of words. Sarah Joe: it was good brainstorming on this part but we were unsure which roadblocks were considered good enough road blocks since our imaginings were alr so far fetched On Exercise 5 Ryan : Was initially confused between roadblocks and complications Zi Ting: I think it’s fun for the groups to come together. The need to come up with collateral due to the graphic design nature feels very marketing, and it feels like the focus on technicality blurred a little. But that’s just what I think because the trial run was alot more on the technicality, and it feels different in a good way. More fun but less focused? I’m not very sure. Comments: Running of the workshop in a group setting allowed for more inclusion of participants in group discussions. The participatory nature of the workshop is enhanced because of such a consideration which was absent in the prior trial run. Participants enjoyed that sense of communication and the coming together of ideas. Stanley Goh: Clear just draw out idea Kia Yee: i wonder abt the use of the word ‘metaphor’.... is it an 163

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run industry term? it threw me off, and wasn’t elaborated upon or defined clearly within the context of the workshop, i feel. other than that, this was pretty chill and straightforward to do. Dina: This part was clear too. Tan Yue Ling: I feel like it was easy to understand that we had to transform our imaginings into visualisations that represented possible solutions to the identified problem. This makes it easier for the layman to conceive of the abstract issue at hand and get on the same page. Samuel Kong: Easy to understand in this section of the exercise Amanda: For me, I pretty much just saw this as choosing a final outcome for the workshop. But if the meaning of New Metaphors is to “empower”, then I’m not sure how exactly that was achieved in the workshop. Clara: Is this stage for packaging up the entire idea/project as a polished deliverable? From what I remember it was graphics/visuals/ annotations of our idea to explain how it works. If that’s the case I understand it. Priscilla: I think this was the part where we got together to share about our ideas and everyone comes together to give their input. It was good to hear from other teams about their design and their ideas, and through this sharing did I gain a better understanding of the aim of this workshop. Benedict Lim Fang Jun: I think you gave us a good idea to sum up our visions. Brice: This is clear and easy to understand, although I am unsure if I executed it the right way? Sarah Joe: good to finalise and consolidate everything. 164

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Open Ended Questions about the Workshop 1. What is your idea of criticality in design now, as compared to before the workshop? Zi Ting: Widening the scope of parameters that affect the outcome Stanley Goh: Quite the same as I’ve taken class in this topic, the workshops validates the ideas I learnt before Kia Yee: previously, i thought it was primarily a mode of thinking, but now it appears to be more a system or diagrammatic process of thinking through real-world contexts. Comments: While in the context of this workshop, that Critical Design may seem to be more of a system or diagrammatic process of thinking through real-world contexts, it is crucial to think of it as separate from ideas of criticality – the parameters of this workshop are rooted to certain specifications and contexts, which may be different of ideas of which criticality may exist. Dina: Kind of the same. But applying it with the workshop’s topic makes it different and interesting. Tan Yue Ling: Before the workshop, I thought that critical design merely consisted of having an underlying conceptual layer under the appearance of a design. Now I understand that critical design is very much grounded in factual research at almost every step and is a fine balance between imagination and feasibility (i.e. we identify issues but we do not completely tear down our ideas). Comments: While the workshop appears as very much grounded in factual research at almost every step and is a fine balance between imagination and feasibility, the key takeaway should be the ethos of not being bound by circumstance, that ideas should manifest in a way that may be considered healthy for both the designer and audience. While ideas of criticality are fluid and differ from person to person, the workshop uses specifications as sensible 165

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run limitations to make sure that ideas and outcomes are specific to a context; it is more about how participatory modes of design may exist, especially so in the strain of futures thinking and positing. Samuel Kong: The idea is that when an idea has been addressed for possibility, there is always a need to question the environment and situation when wanting the idea to work. Amanda: I initially thought Criticality in Design meant function/ context > form. But now, I think it’s more of Design Fiction and Speculative Design. Clara: I understand more about why criticality in design is needed to drive conversations on difficult topics. Christabel: I already know quite a bit about it though! Priscilla: I realized that criticality design is more complicated than i thought but it also serves a huge purpose and it will greatly benefit our society. Benedict Lim Fang Jun: Before the workshop I had difficulty understanding its methodology and purpose, but now I think criticality in design could be a way for us to navigate difficult issues facing our times, because it invites us to take stock of what we have today, and asks us to think about what could it become. Brice: Design Fiction plays an important role in prototyping and radicalisation of the imaginings. Sarah Joe: Ah it didn’t change much Keith Wong: From my understanding, it is really thinking about possibilities and how to overcome certain hurdles through imagination. Not everything is possible or feasible, but we can still imagine solutions for them. Being comprehensive in terms of what is feasible or possible and writing down certain assumptions allow us to keep those things in mind but it does not limit us from thinking further out of the box. 166

Y3S2 – LASALLE COLLEGE OF THE ARTS Post-Workshop Survey Comments: Participants have highlighted that their thoughts after the workshop is really thinking about possibilities and how to overcome certain hurdles through thinking via imagining and making - not everything is possible or feasible, but we can still imagine solutions for them, and being comprehensive in terms of what is feasible or possible and writing down certain assumptions allow us to keep those things in mind but it does not limit us from thinking further out of the box. This in itself is a manifestation of an alter- native and guided approach to Critical Design in the format of Participatory Imagining. Daryl Bradley: It’s given me more structure on how to approach critical design. 2. What is your biggest takeaway from this workshop? Ryan: Critical thinking in design shouldn’t be limited by current possibilities but as long as it provokes thought, it is still fruitful Zi Ting: I felt like with the added collateral part, that helps alot as a designer. To think about how such ideas can be communicated. Stanley Goh: Design thinking can have a workflow of sorts Kia Yee: meeting new brains and a new formal mode of thinking. i like the 3H model, and would like to use it again, maybe share it and use it with other people. I’m planning to start a learning/study collective that emphasizes non-hierarchical sharing of resources and symbiotic collective learning, and i think i will share this model with them Dina: The process of coming up with ideas and considering different things to make the idea a possibility. Tan Yue Ling: I felt like the most important thing I learned from the workshop is that the outcomes of critical design are based off a well- 167

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run researched and established preface, with limitations all acknowledged. Samuel Kong: There is always a need to consider all ways of life before being able to make an idea doable. Amanda: Sense-making! It was an eye-opener for me. Clara: The process of coming up with imaginings was very helpful. I’ve read about speculative projects before and it always astounded me how they came up with ideas like that. This provides a more concrete way of speculating about design. I had tried to read up more about design fiction/ critical /speculative design before but it always scared me away as I couldn’t really grasp how to apply it to my own work. I would say it’s difficult to start if I just read about it online. Christabel: I think people must come with the mindset that any- thing can be possible because sometimes we can be too practical too! Priscilla: Learning what critical design really is about!! Benedict Lim Fang Jun: That we need more participatory discussions in any design process. Brice: Multiple perspectives on an idea in critical design is important, so that one does not remain too focused on self-validation. Sarah Joe: Conversation and idea sharing really helps build ideas. Provided the conversation is a good one, like those involved are as serious. Keith Wong: I like how the workshop allows us to think in an utopian environment where ‘everything is possible’ so we don’t give ourselves limitations or restrictions to imagine possible solutions. Daryl Bradley: A framework for critical design. 168

Y3S2 – LASALLE COLLEGE OF THE ARTS 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? Ryan: Perhaps the use of simpler language to convey the same message? Stan: For each exercise, show an example you did. Kia Yee: pretty much just what i said before: less jargon when it comes to the exercises, but discussion after can employ the jargon to help people evaluate and deepen their understanding of the workshop within a theoretical context Yue Ling: Perhaps there could be more probes when it comes to the section about imaginings as I feel that that part really depends on the capabilities of each individual to be creative to come up with solutions. Hence, having more prompts such as what scale do you think your imagining should be at? or would your imagining be implemented for the long or short run? really would help with participants expanding their scope of ideation and make the ideation process even more fruitful. Comments: While it is recognised prior to the workshop that people of different capacities as a creative will lead to different outcomes, the organiser acknowledges that the use of more visual probes in the briefing prior to the imagining-sketching exercise would provide for a clearer idea of how some ideas can take place. For instance, in future workshop settings, sketches from the past series of workshops can be shared as a point of visual reference. Sam: Shorten lecture, felt it was abit long on the talking about readers, just my opinion though. Amanda: I think more time could be spent on the first exercise, since it’s cumulative and the research would affect future exercises. I wasn’t very proud of the final outcome, so there’s a bit of regret there. I think it would have been a lot better if there was more time given. 169

CREATIVE PROCESS JOURNAL WEEK 11 – Workshop: Actual Run Post-Workshop Survey Clara: Hahaha I appreciate the video actually. Perhaps there could be more explanations on other speculative projects as I find I learn best from examples. But I understand the time crunch as well. Christabel: I don’t know if there is any ways to make speculative design more fun or free, like e.g. the use of visuals, ‘cos previously I joined before, so yeah I like fun HAHA. The video is really much better though. Maybe the workshop can be more open ended, or participatory, feels a bit too structured. There’ll always be places to improve so don’t be discouraged! So it’s normal! You’ve done great!! Priscilla: Perhaps.. a more watered down instruction list?? HAHAHHA Ben: I think for some of the exercises you can just give us a shorter time, so we can be more quick on our feet and continuous- ly engaged. Brice: Bigger groups, at least 5 in each group if not decisions could be too opinionated or influenced. Keith: I think if the linkages between each step or outcome are clearer, participants would feel that they are learning more and they could see how each outcome leads to the next in their thinking and designing 170

Y3S2 – LASALLE COLLEGE OF THE ARTS I AM VERY THANKFUL :> 171

CREATIVE PROCESS JOURNAL WEEK 11: Reflections for Actual Run In Ideal Cases In ideal cases where limitations are kept to a minimal and resources are plentiful, the workshop would run with people that are CD practitioners, design practitioners keen on employing CD as their practice, and fits the role of an individual who is concerned about the effects of the Anthropocene and climate change. This ideal scenario of a participant pool will fulfill all the project requirements on who the guided workflow is meant for, and what the context to which the workflow is applied for. In addition, if time permits, the workshop would run for longer periods of time. For instance, stages of the workshop could span for days, intensifying the breadth and depth of the body of research premise. This means the expanded potential for even phases such as actualising prototypes and proofing for errors. This would also mean for a deeper knowledge pool and more establish- ed imaginings that may be a consequent of the workshop. The workshop could have been done differently with more detailed forms of user testing. It could also be run by a larger group of people who are focused on different areas of improvement. That setting of an investigative bureau, in actual sense, would be most plausible in this scenario. 172

Y3S2 – LASALLE COLLEGE OF THE ARTS In another sense, the workshop could take on a different form for conscientious creatives or designers willing to take it on as the start of a practice. For instance, it could take place as a workflow for an individual’s practice instead of modes of participatory forms. One would, in this case, dedicate ample and the maximum required amount of time to establish both breadth and depth of the body of research. It could potentially also serve as a potential area of academic research, to which needs a heavier body of investment. HOMIES 173

CREATIVE PROCESS JOURNAL WEEK 11 – Post-Workshop: Actual Run Thoughts and Reflections On the Workshop After the trial run, participants generally are more aware of possible inclusions of criticality within design projects, especially those that are in the strain of Critical Design (graphic). Previously, participants thought it was primarily a mode of thinking, but now it appears to be more a system or diagrammatic process of thinking through real-world contexts. While in the context of this workshop Critical Design may seem to be more of a system or diagrammatic process of thinking through real-world contexts, it is crucial to think of it specific to the parameters of this workshop, which are rooted to certain specifications and contexts – these may be different of ideas of which criticality may exist more commonly assumed. While the workshop appears as very much grounded in factual research at almost every step and is a fine balance between imagination and feasibility, the key takeaway should be the ethos of not being bound by circumstance, that ideas should manifest in a way that may be considered healthy for both the designer and audience. While ideas of criticality are fluid and differ from person to person, the workshop uses specifications as sensible limitations to make sure that ideas and outcomes are specific to a context; it is more about how participatory modes of design may exist, especially so in the strain of futures thinking and positing. Participants have also highlighted their thoughts after the workshop, which is really looking at and thinking about possibilities and how to overcome certain hurdles through 174

Y3S2 – LASALLE COLLEGE OF THE ARTS thinking via imagining and making. They do this in realising that while not everything is possible or feasible, they can still imagine solutions for them, and being comprehensive in terms of what is feasible or possible and writing down certain assumptions allow us to keep those things in mind but it does not limit us from thinking further out of the box. This in itself is a manifestation of an alternative and guided approach to Critical Design in the format of Participatory Imagining. They have also realised that multiple perspectives on an idea in critical design is important, so that one does not remain too focused on self-validation, and that constructive and vested conversations and idea sharing really helps build ideas. As a result, there is a consequential shift in initial assumptions versus current thoughts – critical thinking in design shouldn’t be limited by current possibilities but as long as it provokes thought, it is still fruitful to a certain extent. For some participants, the process of coming up with imaginings was very helpful - having read on speculative projects has astounded them to question how designers come up with ideas like that: this workshop provides as a more concrete way of speculating about design. They added on that if it was an individual effort, it might be difficult to start if they simply read about it online – reaffirming the research objective of the workshop, which is to establish a resource or guided nuance for people to have an easier start with Critical Design, specifically so in the strain of Participatory Imagining. 175

CREATIVE PROCESS JOURNAL WEEK 11 – Post-Workshop: Actual Run Thoughts and Reflections On Personal Reflections and 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 to 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: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 a while now. Perhaps I should reward myself when the actual run is over... Hm. I remember the previous night that I was on the verge of breaking down again, because I was thinking to myself that it might be hard to get back up again should the outcomes of the actual run be as detrimental as it was in the trial. I tried to do all the things I run to for safety, drinking milk and sleeping early and being in the right ‘vibe’ or frame of mind before the next day came. And somehow, as I am now reflecting on the whole process of the actual run, that everything turned out well. As much as the actual 176

Y3S2 – LASALLE COLLEGE OF THE ARTS run was not perfect (hardly anything could ever be), it received much positive feedback, more so than the trial ever was. I went in, quiet, but steady. The people I had invited were those whom I could trust, those I could really be open and receptive in feedback about. Perhaps that added onto my sense of confidence and the honesty to be truly myself around them. The video presentation, as much as it was unconventional, received ample support. At the end of the workshop, I can only describe the experience as Godsent, that I am only beyond thankful for the things that have transpired, lest I would not have been able to achieve what I had done without the amazing support from these people. At the end of it, as much as I was on the verge of zoning out (again), I managed to use the remainder of my mind and concentration to pull through the critique session with feedback to the participants, to which I genuinely felt for and resonated within. All is well. I could not have asked for more. 177

CREATIVE PROCESS JOURNAL WEEK 11 –Helping Brigid!!! Proud Friend A* The Relentless Female Fighter To be super duper honest, I felt that Bridget’s project premise and idea is probably the toughest to tackle, because of the scope of research that was needed as well as the intense amout of technical work that needed to be done both ethnographically and executionally for the project to be tested. I would not and could not imagine myself doing this scale and measure of project if I was her! Bridget has always been relentless as a fighter and leader, even at the times when she feels down, there’s kinda a kindling in her that never backs down, and eventually steps back up to defeat the giant. I also feel super thankful for her being the class’ representative: it really is no easy job having to handle the class/ cohort’s logistical issues and managing her own project of such a tough premise. I am really glad that this sem she saw the importance of self-care and that spirit to not fall into that deep puddle of black again! I feel that it generally would take anyone a lot of effort to try to evade that dark space, but I’m happy and really proud that she has managed to find ways of coping, to be in a better state of mind for her project to flourish naturally. GO DGET. !!!!!!! Excited for your outcomes as I write this. Blessed. 178

Y3S2 – LASALLE COLLEGE OF THE ARTS 179

CREATIVE PROCESS JOURNAL WEEK 11 – A visual update on Current Collaterals And moving towards Week 12 180

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CREATIVE PROCESS JOURNAL WEEK 11 – A visual update on Current Collaterals And moving towards Week 12 (continued...) 182

Y3S2 – LASALLE COLLEGE OF THE ARTS Working Towards Week 12 Selected outcomes from the participants’ imaginings from the workshop will then be designed in formats of 3D renderings or printed materials, as well as 2D graphic interpretations. 183

CREATIVE PROCESS JOURNAL WEEK 11 – A visual update on Current Collaterals And moving towards Week 12 (continued...) Form Material+Print Colours + Embellishment 4C Print 184

Y3S2 – LASALLE COLLEGE OF THE ARTSSpecifications‘Bureau’ Writeup 185 (Project Objective) 3D Printed 2D Printed Graphical Material in Interpretation Dome 780mm (160gsm) Longest Hologram Bureau Labels paper size from RJ

CREATIVE PROCESS JOURNAL WEEK 12 – Preparing for ‘Open Studio’ Thoughts and Reflections The Slight Disappointment, but Hopeful The artistic direction for this semester is modelled after a speculative-investigative agency the exists in an Anthropocenic landscape within Singapore. In the manner of participatory imagining workshops, the agency calls for millennial designers and/or creatives from multi-disciplines to gather and participate in imaginations of speculative outcomes as a response to the Anthropocenic era. This final output is decided upon after looking and considering the most apt scenario that would consequently bind the body of work together. The collaterals belonging to this participatory imagining workshop are efforts of the agency. The designer’s role here is to act as a member and volunteer within the agency to collate these formats of information which will be curated and exhibited at the grad-uation show. Despite the onslaught of the virus and the cancellation of many many events, to which belong to the Open Studio and Graduation showcase as well, there is definitely the disappointment involved, especially when it is finally our time to graduate but the chances for work exposure are limited by the situation that is going around. It is especially so when I see that the range and possibilities of work for this year are so varied, possible and interesting! The sudden turnaround for 2020 to be such a disastruous year plagued by near provocations of war and virus outbreak was unprecedented and unwanted. However, as much as these scenarios and situations are uncalled for, there seems to be a glimmer of light that it is providing. Cities are clearing up of pollution, the pace of life in such 186

Y3S2 – LASALLE COLLEGE OF THE ARTS a hectic city like Singapore is slowing down. Even the multiciplicity of occurrences of me working at home has reduced the incidences of anxiety breakouts and panic attacks. I noticed myself slowing down to the extent where I wake up clear headed, still with enough strife to carry on the day fulfilling my daily tasks. People on the internet have seem to taken a more optimistic view on what is going on as well - which is good, instead of mere panicking and thinking of the worst with the spreading of fake news. I really do not know what is to come. Especially with the situation that is exponentially increasing in other nations. But I can only remain hopeful in such, that things will turn for the better. Right now, my only concern is to strive hard for things that come my way. I will, despite coming a long way, graduate. Whether the show happens is beyond my control, but as long as I did enough deed to myself by pushing myself to the limit, as long as I have answered to myself by deeming I did my best, I am content. Moving forward, I will dedicate the remainder of this last lap to making sure I have realise the workshop outcomes in its full potential, to not waste the hopes that people have had on me for the longest of time, and to do myself (and Him, who has so blessed me with the courage to pursue this), proud.  187

CREATIVE PROCESS JOURNAL Week 13 – Preparing for Round-Table 30th March 2020 The last few days leading up to this week saw the cancellation of the graduation show and the closure of school as a member of the staff has been down with the virus. As disheartening as it may be, I went forward with what was in plan to draft out the illustrations. The following pages point out some of the challenges that have been encountered while in the process of doing so. – Before I delve into the process of drafting the illustrations, Mimi has commented during the consult session with an alternative lecturer, that should I approach the idea of the ‘bureau’ as the key language that maybe the colours of the files be made into universal manila colours, so that they would look like actual bureau documents/dossiers. The comment was taken in and the original folders were studied and executed in the same manner. TRYOUT PRODUCTION END 188

Y3S2 – LASALLE COLLEGE OF THE ARTS _ At the point of gathering even the small number of references, I already kind of had an idea in my mind about how the visuals would look. The next step was actually to kind of draft them out in the form of sketches. The initial parameters of choosing the imaginings were laid out as at least 4 impacts that has to be covered. The hurdles that were encountered were, unfortunately, that some forms of imaginings were too hard to realise via graphical/3D printed means, or that they required a longer span of time to invest in to make the imagining seem worthwhile. For instance, it was hard to graphically represent chlorophyll-engineered skin and the related technology that was ideated by one of the teams. It is also a challenge to make sense of visually or physically for one of another team’s ideas, which is a building irrigation and cooling system - to be simply represented by a simple 3D printed HDB flat - the ideas were thus shelved and reserved for further references should the need for them arise. In case of such, one impact was repeated twice (the reduction in biodiversity and greenery) because of the length of elaboration and depth of research that was justified, as well as the higher potentials of it being represented within the means of my own technical skills, which is also dependent on my own measure of stretching them graphically. In doing so, at least I had made a logical attempt to categorise them and break them down into further detailed imaginings rather than plain choosing the most ‘exciting one’, which might be too superficial on one hand. The next few pages would illustrate some of the sketches that I have done in response to the selected ideas. 189

CREATIVE PROCESS JOURNAL WEEK 13: Preparing for Round-Table Refining Colour References, Sketching COLOUR OPTION 1 COLOUR OPTION 2 COLOUR OPTION 3 Because the initial three INITIAL PROPOSAL SKETCH colourways have covered most of the spectrum, I decided to use what is within the spectrum that has not been used yet, mainly a heavy marine tone and a bright yellow. 190

Y3S2 – LASALLE COLLEGE OF THE ARTS LAYOUT ON DESK V1 DRAFT CONTENTS 191

CREATIVE PROCESS JOURNAL WEEK 13: Preparing for Round-Table Drafting The initial drafts of the illustrations involved using payable 3D models as points of image generation, which proved out to not work out as apparently the content, even stills from the website, turned out to be protected by license. A quick check-in with Stan revealed that it might not be worthwhile to email and ask for permission, as they might be a profit-driven company and small projects like these won’t matter. 192

Y3S2 – LASALLE COLLEGE OF THE ARTS As the drafting of these imaginings went on, slowly there seemed to be a need to incorporate texts and details of the imaginings into the working document. However, dumping the whole lot of the informa- tion into the working canvas might be too heavy in terms of body text. Thus I proposed a side blib of sorts that readers might use them to know more of the considerations and features of these imaginings. The format of the canvas was also made vertical as it might be easier to purview/is more accessible by the audience. NEW TABLE LAYOUT 193

CREATIVE PROCESS JOURNAL Week 13 – Round-Table: Comments 31st March 2020 The roundtable commenced in the morning over the Google Meet session online. While I acknowledge that there is no better way to do this, I also feel that taking classes online to only specific students at one time (as best a measure as it is in the meantime) does hinder the ‘stamina’ in which we get to our work. I do not see any better ways of putting it but I am comforted that everyone is still trying their best amidst a tough time. The following are short comments from the round-table. – 1. While these ideas are speculative in nature, other similar initiatives like MIT engages scientists and climate change activists to ensure that there is accuracy in the ideas via solution based frameworks. How practical are your ideas in this case then? A: While I acknowledge that my project is definitely of a smaller scale, that the exercises in themselves have accounted for sense-making them in situ to make sure that certain ideas are backed up by nuances of secondary research. While this may not be the best method, it is the most ideal method in which positing for the futures can exist in by taking the initial effort to sense-make these ideas. 194

Y3S2 – LASALLE COLLEGE OF THE ARTS 2. While it is good that the execution of the workshop is done and carried out well in the final actual run, and it is good that there is an attempt at improvement at the running and order of the workshop, how do you justify the aesthetics that you have tagged along your collaterals, while they seem to be anti-aesthetic? A: The comment by was something that could have been foreseen. While Stan and I have been talking about art direction for a while, but since you have already gone ahead with most of the collaterals and design, I have to weigh the balance of not just how much you want to change but also what you want to change. Also I personally do stand by my point in justification of the choice of aesthetics. To reinstate, it is more than a means of plainly referencing Metahaven, an established critical graphic design agency of sorts, but use that as a constraints in experimenting with visuals to make sure that they are well-grounded on. REFER TO PAGE 24-26 FOR METAHAVEN JUSTIFICATION. 3. What is the possibility of looking at current (present) thoughts and ideas of the participants now as compared to when they were first introduced to see if there are any deeper seated effects of the workshop? A: Stan thinks I need to consider what participants can add that I do not already know. Of course ideally it would be amazing that they have not only learned from my workshops but also applied it in their practice, but with such a short turn around time from the workshop till now, it may also be hard to say definitely that they will and have applied what they’ve learned in your workshop. What might be nice is to reach out to them again one the website is almost complete. Just to see if they see that the website can be a repository of methods and ideas that they can continually draw from in the future. 195

CREATIVE PROCESS JOURNAL Week 13 – Round-Table: Moving On Moving on, I would be sticking to the aesthetics I have decided for in the first place. Also, a last post-post-workshop survey has ben drafted with the following questions to see if there has been a deeper seating of the impact of the workshop with the participants. Hi there, it has been about 2 weeks since the running of the workshop, and I am writing to you to see if there has been any deeper-seated effect that the setting of the workshop might have provided for. This allows for a more well-rounded approach at looking at the effects to which the workshop might have had, whether it is pertaining to Critical Graphic Design, or the context of the Anthropocene. On Critical Design While modes of criticality has been defined in many other academic papers, the workshop has instead worked on Critical Design as a practice that is constrained to the definitions of Speculative Design, Design Fictions and Participatory Design. Reference: ‘Critical Graphic Design: Critical of What?”: https://designobserver.com/feature/ critical-graphic-design-critical-of-what/38416 1. While given the existing definitions of criticality, has any shifts occurred in your own idea of criticality after the happenstance of the workshop? How, and why? 196

Y3S2 – LASALLE COLLEGE OF THE ARTS On Your Own Practice Here I am trying to see if any part of the workshop has impacted your own practice in any way. These can range to the holding of certain exercises to more abstract thoughts like what is required as a designer to be of value-add to the things that we champion for, and others. 2. Has there consequently been a shift in the way you personally approach your own practice since then? You may quote examples to support your statement. Biggest Takeaway Here I am trying to see if there is something more deeper rooted in your views of the workshop that may either be similar or differ from your initial response. 3. Looking back at the workshop that has happened two weeks ago, what is your greatest takeaway now in hindsight, as compared to when you were first impressioned in the workshop? It does not matter if you do not recall your initial response. Your current response(s) are more important! They may also exist in reflections to the ideas made in response to the Anthropocene. _ We’ll see how the responses turn out and whether there can be interventions to designing it. 197

CREATIVE PROCESS JOURNAL Week 13 – 2nd April 2020 Last-Consultation The last consultation of the semester was held online in a Google Hangouts video-chat. The call progressed smoothly, though I felt that I hadn’t had much new content to check-in with given that my round-table session was just two days ago. However, Stan still gave valuable pointers for which to improve on and to polish up some of the work, which will be discussed. Stan made comments that it was good that I have content to build on. It was also good that the website is coming along well with a good balance of visuals and written content. There were certain points of improvements which he could be made in an attempt to polish up the works. 1. Opportunities for a balance between text and images can happen in some collaterals, for instance, Project Positions and Reflections 2. To help the uninitiated go through the progress, it might help to provide a visual run-down of how the workflow works, i.e. in the form of graphs and charts, as one of the earlier pages to encounter in the site. 3. The CPJ could look at reducing the heavy content of the written script to key points that needed to be carried across. 198

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 13 – End of Contact Classes Thoughts and Reflections The Persistence of the Good and Bad I recall every semester when its near the submissions period that I’ll fall into a state of ‘contentment’, and especially with the COVID situation that is going on I find it harder to keep up to date and have the same motivation that I had had earlier in the semester to work at a comfortable pace. As I am writing this, I have kind of ‘hibernated’ quite a bit for the past two days. I am trying to push myself to get out more to work at locations outside of home to avoid falling victim to the bed. There was a comment made about the reference to local designer Vanessa Ban’s work in ‘Nominal Bliss’ during the consultations as well. I do acknowledge that while such formal qualities were referenced, they were used in a different manner – the glows were used as a metaphor to looking forward to futures, in addition to the ‘fluid’ background which represented the flux of time. – in which was different to how the glows were used in her work. This sparked the question to which I never had an answer to, as much as I can try to justify why certain visual assets were referenced, will there ever be a ‘good enough response’ to which why we reference nuances from other designers, especially so in the age where Pinterest boards and image sharing sites like Are.na are prevalent? I have since updated certain treatments of the graphic while still maintaining a similar kind of visual to that of the workshop collaterals. But still, I consulted Stan this question I do not have an answer to, which could serve as learning points for future projects and what to avoid (even if similar assets were used but resulted in different outcomes that ‘feel’ vastly different.) 199

CREATIVE PROCESS JOURNAL WEEK 13 – End of Contact Classes Thoughts and Reflections The Persistence of the Good and Bad (continued...) A call with Stan pointed out a few things: there is a need to consider what is each designer’s rationale behind using certain formal assets - keeping a CPJ and justifying why such aesthetics was used might be helpful in documenting a designer’s progress along the design process. It becomes a problem if the other accompanying graphics are similar to the extent of a direct replica, but still there is need to be aware of sometimes its ok to be influenced by visual references. But now that it looks too similar to a work, we then move onto how to design it in another way, perhaps in a better way. It might perhaps help to talk about how I have attempted to change things around from the visual references by looking through the initial documentations in the CPJ again. I then flipped back to the earlier pages and this was what I’d wrote: Lens flares are added to simulate the posturing of futures along with the gradient representing fluid futures. Along the way I have also been aware that I do not want to end up in a similar visual to the references, and have made attempts to differentiate it by playing with the blending mode of the flares; this attempt was already apparent in the designing of the collaterals that were used in the workshop. Given such, I still decided to see if I could make attempts to make the differentiation a little bit more distinct. 200