Introduction to CT: #ctec502
Week 2
CoLab ethos

http://tinyurl.com/RegisterYourTumblrBlog
In case you haven’t: Create your blog (choose a
professional name that includes the acronym BCT,
as you will be using this blog for 3 years) and
register the URL here:

1. A few videogames^
2. A car^
3. A bungalow^
4. Kitchen appliances
5. Toys
6. Farm tools
7. Learning spaces
8. Museum exhibits
9. Playgrounds
10. Point-of-sale
11. Handcrafts
12. Phone cabin
13. Stairs
14. Interactive displays
15. Websites
16. Virtual galleries
17. Office furniture
18. Lamp
19. Suitcase
20. Chairs and benches
21. Book covers
22. Picture frames
23. Interactive toys
24. One thousand products, websites, systems, services#
25. Rapid prototyping machines#
26. Fifteen companies#
27. Doors*
28. Car dashboard displays*
29. More cars*
30. Robot-friendly furniture*
31. A visual divergence test
32. Reconfigurable robots and social robots
33. Curriculums, syllabus, activities, support materials
34. Design platforms, methods and techniques
^ as a teenager, before entering college
# by around 1000 design and engineering students in 6 countries
* by computational generative systems that I’ve authored

https://www.harpercollins.com/9780062296009/the-evolution-of-everything

Zacoalpan, 1995
http://huaracheblog.wordpress.com
http://www.flickr.com/photos/mexicantextile

Tzintzuntzan, 1996
http://www.artemolinero.com.mx

Zipiajo, 2007

‘ROBOT GRACIOUS GAIT’ RoboMods
Sosa, R., Mohan, R.E., Rojas, N. and Nansai, S.

https://www.metmuseum.org/toah/images/hb/hb_1993.132.jpg
https://upload.wikimedia.org/wikipedia/commons/thumb/5/59/Falcon_Heavy_Demo_Mission_%2840126461851%29.jpg/1200px-Falcon_Heavy_Demo_Mission_%2840126461851%29.jpg

Science as Art Archives http://www.mrs.org/science-as-art-archives

Welcome (again) to the 2018 edition of #CTEC502
This paper is a “Deep Dive” into Creative Technologies (CT)
In 2017 we redefined the content and delivery, this is an iteration
The main goal is to introduce you to the ethos of this cross-disciplinary area
ICT is a core BCT paper, with CTEC500 and CTEC600
0
2
4
6
8
10
12
14
16
A+ A A- B+ B B- C+ C C- D
Grade Distribution

Weekly Activity:
Create a 3-minute vlog
“I decided to become a Creative Technologist because…”
How to vlog: https://www.wikihow.com/Make-a-Great-First-Vlog

On successful completion of this paper students will be able to:
1. Demonstrate competency in creative, critical and reflective thinking.
2. Describe the nature of the creative industries and how the
convergence disciplines can contribute to the development of a creative
knowledge economy.
3. Analyse and critique historical and contemporary practices in the
creative technologies.

LO #2
LO #3
LO #1
(you)
(the world)
(CT)

Rubric (or how to score an A+)
Fail C region (>49.5) B region A region A+ (>89.5)
LO #1:
Demonstrate
competency
in creative,
critical and
reflective
thinking
Students achieving
this grade do not
provide evidence that
demonstrates
competency in
creative, critical and
reflective thinking.
Incomplete or
insufficient evidence
is made available, for
example no or few
blog posts exist and
assignment
submissions are
missing or
incomplete.
Demonstrates weak or very
limited capacity to critically
analyse and produce creative
responses. Instead, views are
largely uninformed,
ungrounded, taken at face
value, and go unexamined.
Assumptions remain implicit.
Ignores key arguments, facts,
and precedent ideas that are
central to the topic. Simplistic
and arbitrary views.
Inconsistent and
unsubstantiated claims and
conclusions. Due to a lack of
awareness and depth, creative
ideas are lacking in originality,
relevance, and value.
Demonstrates some capacity
to critically analyse ideas,
theories, and practices or a
limited capacity to creatively
respond to assessment events
and instructions. Views include
terms that are misused, remain
ambiguous, or are not framed
in context. Some interpretation
of sources but not sufficient to
develop meaningful
arguments. Little questioning
of opinions and facts.
Misattributions or sources that
remain unspecified. A
combination of naïve and
simplistic views with some
more informed and structured
ideas. Due to a limited
awareness and depth of
reasoning, most ideas remain
inauthentic, only marginally
relevant, largely unoriginal,
and of limited value.
Provides evidence of a
developing capacity to critically
formulate ideas, revise views,
judge sources, and identify
authority and relevance of facts
and expert opinions. Identifies
debates and tensions, multiple
views and levels of arguments,
and makes some connections
between themes and domains.
Inconsistently applies critical
and creative reasoning based
on a growing awareness of the
context. Ideas are a
combination of simplistic and
insightful, average and high
originality, high and marginal
relevance and argumentative
quality. Evidence can be
incomplete at times, and
inconsistent in clarity,
recurrence, and quality.
Consistently provides ample, clear, and
well presented evidence of an
extraordinary capacity to critically
analyse ideas, challenge views, question
beliefs, and build arguments. Identifies
relevant and at times little-known
sources of high quality and authority.
Connects ideas from non-obvious
origins creating insightful linkages and
valuable observations. Based on a
strong awareness and deep
understanding of the issues at hand,
generates creative ideas that are
authentic, original, and of high value to
others in the field. Clearly demonstrates
a superior learning motivation and
engagement that permeates to other
learners in the class.

Rubric (or how to score an A+)
Fail C region (>49.5) B region A region A+ (>89.5)
LO #2: Describe
the nature of
the creative
industries and
how the
convergence
disciplines can
contribute to
the
development of
a creative
knowledge
economy
The work does not
provide evidence
that the student
grasps the nature of
creative professional
practice and how CT
develops from the
convergence of
domains, disciplines,
and fields of
practice.
Provides scarce evidence
of understanding the
integration of disciplinary
knowledge and practices
that gives form to Creative
Technologies. Little
evidence that this student
is aware of the range of
sources and domains and
the larger trends that will
shape the future of
technology and the
impacts and
consequences in society,
the economy, and the
environment.
Some but inconsistent
evidence is available to
identify an informed and
critical understanding of
the role of technology and
creativity in the local and
global contexts. Limited
views about the
disciplinary principles and
professional practices that
have shaped and will
continue to shape the
societal, economic, and
environmental dimensions
of the future.
A combination of views and
sources of varied relevance
and authority are provided
about the constitutive
elements of Creative
Technologies. Evidence
shows an understanding of
the factors that shape and
are shaped by technology in
the world including societal,
economic, and
environmental. Student
shows an awareness of the
future opportunities and
challenges for the study and
practice of CT.
The work submitted demonstrates an
engaging, clear, and well developed
understanding of the various sources
that have shaped and will continue to
shape Creative Technologies. Views
about the future of the field are
insightful and contribute to a better
understanding of what Creative
Technologies can become in the future
and their value in the local and global
contexts.

Rubric (or how to score an A+)
Fail C region (>49.5) B region A region A+ (>89.5)
LO #3:
Analyse and
critique
historical and
contemporary
practices in
the creative
technologies
The work does not
provide evidence
that historical and
contemporary
practices in CT are
understood.
Provides very limited
evidence of understanding
the past and present
context of Creative
Technologies. No or little
evidence is made available
to show that this student is
aware of core theoretical
ideas, methodological
principles, and current
professional practices in the
field. Views about CT
practices are shallow,
uninformed, and
unsubstantiated. Only
“That project is so cool!”
type of responses are
expressed.
Limited evidence is
available to identify a
familiarity and awareness
of the state of the art in
the field of Creative
Technologies. Limited
views about the past and
the future of the field.
Reference to some
theoretical principles and
professional practice cases
are made, but include
erroneous or limited
information. Views of CT
practice are inarticulate
and intuitive.
Patchy evidence with a
combination of views and
sources about the context
and trajectories of Creative
Technologies. Can include
simplistic and common
tropes that go unexamined
(including myths) with some
more substantial and
interesting views about the
field. At times shows some
understanding of the
trajectory of theories and
practices in Creative
Technologies, but can fail to
connect ideas from a range
of sources. Evidence can be
unclear, ambiguous, difficult
to access or understand,
and of limited engagement.
The work submitted demonstrates in
clear and engaging ways that this
student understands the state of the
art in Creative Technologies. This
authentic and broad understanding
includes concrete references to
theoretical ideas and principles, and
cases from professional practice that
are of high relevance, accuracy, and
interest to the future of the field and
beyond. This student shows signs of
being deeply engaged and interested
in developing a personal and well
informed position about the past and
future of Creative Technologies. Views
of CT practice show evidence of
reflection as well as introspection.

Session date Key concepts Activities Assessment event Self-directed learning
27 Feb Education; Creative praxis; Designerly culture; Introspection RTPS: Swanson, 1994 and Cross, 1982. NA Rich Gold: “4 Creative Hats”
06 March
Introspection; Wicked problems; Studio learning; Reflective
practice; B.S.
TPS: Why Universities, Why study CT? Blog post: “My first BCT impressions” (formative) Massimo Banzi https://goo.gl/6YvFu3
13 March Language; Concept; Aphorisms; A to Z of CT Mapping A-Z terms NA Joseph Weizenbaum: “We have the choice”
20 March Creative confidence + Critical reasoning Active Listening Week 4: 3-minute “vlogging” (summative 20%) Andrew Huang https://goo.gl/OQdVvb
27 March Collaboration DAE-type Activity Blog post: “Creative collaborations” (formative) Steve Jobs https://goo.gl/1zsSrm
03 April (Easter) Complexity academy https://goo.gl/UX4kq7
10 April Precedents +Journaling ELI5-type Activity Blog post: “Fix a broken blog post” (formative) Steven Johnson https://goo.gl/on2FQz
AUT break w1
AUT break w2
01 May Foundations of Visual Language + Process or Journey TIL-type Activity
Week 8: Reflective journaling (summative 40%).
Qual. criteria: ethos, authenticity…
Critique of a Art Science Dublin project
08 May Humans CMV-type Activity + Design with Intent NA
“Things Every Designer Needs To Know
About People”
15 May Integrative Thinking + Playfulness ASK-type Activity Blog post: “My creative process/journey” (formative) L. Lessig TBD
22 May Creative Industries IAmA-type Activity (Guest Speaker) TBC NA
Gender and Inclusion in Creative Industries:
“Critique of Creativity” excerpt
29 May Failure + Prototyping IAmA-type Activity (Guest Speaker) TBC
Blog post: “Ethical dilemmas, tensions, and blind
spots” (formative)
FuckUp Nights: https://fuckupnights.com
05 June Evaluation and feedback + Post-Disciplinary Practice IAmA-type Activity (Guest Speaker) TBC NA Writing tools
12 June Week 14: Individual position paper (summative 40%)

“Wicked” Problems
Ill-defined or “untamed”:
• No definitive or single formulation
• Every problem essentially unique
• Every problem a symptom of another problem
• Choice of representation determines resolution
• No stopping rule
• Indeterminate solution space
• No true/false solutions
• No immediate or ultimate test
• Every solution transforms the problem (co-evol)
(Rittel and Webber) 1973

http://www.jstor.org.ezproxy.aut.ac.nz/stable/20027998

CoLab Studio Ethos
• Be present
• Find your passion
• Learn with others
• Reflect in/on action
• Listen to feedback/feedforward
• Understand, connect, integrate
• Question, inquire, synthesise
• Make a dent
• Iterate
(All of the above apply to students and
instructors)

Problem-Based STUDIO
http://www.studioteaching.org
http://studiobasedlearning.org/
http://www.edi.msstate.edu/work/pdf/history_studio_based_learning.pdf
http://www.bie.org/
http://www.teachthought.com
Characteristic of Art & Design
• Origins: apprentice in the atelier
• Students gather the individual instructor’s
Weltanschauung (worldview), with each new
studio another possible approach to design is
layered upon the last
• Regular critique: the instructor reviews the
student's progress, suggests revisions. This process
of revisiting and revising design iterations occurs
dozens of times (2 or 3 times a week)
• “Ritualized contexts”: pin-up, interim or midterm
crit, and final crit
• Teaching tends to be individualistic, intuitive
• Learner agency is heightened
Characteristic of Engineering Design
• Origins: early 20th-century educational theorists
• Students go through a process of inquiry in
response to a complex question, problem, or
challenge
• Projects are carefully planned, managed, and
assessed to help students learn specific academic
content
• Teaching may occur before the project starts
• Includes many “needs to know” (“It’s hard to over
plan a project”)
• Risk that teaching becomes disingenuous and
formulaic
• Teacher agency is still dominant

PBL SBL
7 Dimensions that distinguish PBL and Studio
Instructions
Sequential
Planned
Team
Quantitative
Service
Concrete results
Learn to do
Inspirations
Exploratory
Emergent
Individual
Qualitative
Expression
Conceptual
Learn to become
…………..……
…………..……
…………..……
…………..……
…………..……
…………..……
…………..……
…………..……
(Note: not discrete, but each tradition emphasises more one side of these dimensions)

"The most difficult thing is the decision to act.
The rest is merely tenacity. The fears are paper
tigers. You can do anything you decide to do.
You can act to change and control your life and
the procedure. The process is its own reward.“
- Amelia Earhart, aviation pioneer and author
http://www.ameliaearhart.com/about/quotes.html

http://www.signs-derby.com/catalog/item/4027930/7618399.htm

WRONG
http://www.wall321.com/
http://www.signs-derby.com/catalog/item/4027930/7618399.htm

concept
context practice

“Those who work with their hands are labourers.
Those who work with their hands and their head are craftspeople.
Those who work with their hands and their head and their heart are masters.”
― Louis Nizer, British author (misattributed to Francis of Assisi, Catholic mystic)

Concept: head
Context: heart
Practice: hands
“Reflective practice” = head + heart + hands
concept
context practice
RP

Reflective Practice
Plan / Design
How should we do this?
Model / Prototype
What could be done?
Document
What works? What doesn’t?
Reflect
Why are we doing this?
Based on Zull, J. (2002) The Art of Changing the Brain. Sterling, VA: Stylus Publishing
Very often we do this

One of the surest tests [of the superiority or
inferiority of a poet] is the way in which a poet
borrows. Immature poets imitate; mature poets
steal; bad poets deface what they take, and good
poets make it into something better, or at least
something different. The good poet welds his
theft into a whole of feeling which is
unique, utterly different than that from
which it is torn; the bad poet throws it into
something which has no cohesion. A good poet will
usually borrow from authors remote in time, or
alien in language, or diverse in interest.
Eliot, T.S., “Philip Massinger,” The Sacred Wood, New York: Bartleby.com, 2000.
https://nancyprager.wordpress.com/2007/05/08/good-poets-borrow-great-poets-steal/

By Unknown - http://lccn.loc.gov/50041709, Public Domain, https://commons.wikimedia.org/w/index.php?curid=14901168https://themillionairedropout.files.wordpress.com/2013/05/twoc2a32.jpg

Class Activity:
Think-Pair-Share (TPS)
A. What are Universities for?
B. Why study CT?

http://tinyurl.com/RegisterYourTumblrBlog
In case you haven’t: Create your blog (choose a
professional name that includes the acronym BCT,
as you will be using this blog for 3 years) and
register the URL here:

Weekly Activity:
Create a 3-minute vlog
“I decided to become a Creative Technologist because…”
How to vlog: https://www.wikihow.com/Make-a-Great-First-Vlog

• Create an individual video: two to three-minute “vlogging”. Summative grade 20% of the semester for ICT #ctec502
• Title: “I decided to become a Creative Technologist because…”
• Should demonstrate at least 6 to 8 hours of work
• You can talk to the camera, but may also try other formats like a slideshow or simple animation techniques like stop-motion.
• Use any technique, but focus on content, not “decorations”: www.magisto.com, www.moovly.com...
camstudio.org, www.screencast-o-matic.com... biteable.com, www.animatron.com, www.powtoon.com...
• Not all content (images, video, audio) must be original, but your views have to be original, informed, critical, and broad. Credit
all your sources in the video, comments section, or in your blog.
• Think about these things from your very own personal viewpoint:
• Why go to University and why AUT?
• Why the Bachelor of Creative Technologies (BCT)?
• What is "Creative Technologies" to me?
• How do I envision my career in this field?
• How to get started?
• Sketch a storyboard as a way to plan and organise your content:
• http:// www.wikihow.com/Create-a-Storyboard
• http:// www.blogher.com/storyboarding-resources-and-vlogging-assistance
• https:// www.youtube.com/watch?v=zXtYNdCPKV8
• Look at guides, recommendations, and examples:
• https:// www.youtube.com/watch?v=GzNUNnmyjM0
• https:// filmora.wondershare.com/business/vlog-ideas.html
• Have fun!
• To submit: press the "Write Submission" button in the Blackboard Assignment and paste the URL to your Vlog there. It can be a link
to the video (youtube, vimeo, etc), or to the tumblr blog post where your video is embedded. Thank you.

http://learningfundamentals.com.au/presentations/focus/