Week 9: Collaboration

Respect / Listening 

R01

Discuss these questions in relation to a group creating a design in collaboration 

01 – Do you want or need respect?

I want respect – for me it is necessary as a human to be respected, acknowledged, accounted for.

I also need respect – for example, when driving a car, drivers need to respect one another and follow the road rules. This is crucial to avoid accidents and death.

02 – Is there anybody in your class who does not give you respect?

I think most people in my class/life give me respect. Sometimes I am not respected by strangers/people who don’t know me, whether it be in a shop or a pub…

03 – If so, how do you feel about them?

Being disrespectful to another human is rude.

04 – Is there anybody in your class who you do not respect?

No. I believe everyone deserves respect despite what he or she is like/what they do and whether I agree with it. I don’t always respect person’s actions, but as we are all humans, I think everyone should do others the decency of respect.

05 – If so, how could you change your feelings to be more naturally respectful?

Be more reflective; separate persons actions from the person.

06 – When do you find yourself not listening in class?

When I am trying to multi-task, when the conversation trails off.

07 – What sort of people bore you?

Self indulgent, self-absorbed people.

08 – What sort of people are bored by you?

People who don’t take the time to try to understand or care about what you are saying/doing. Could be someone that has opposite interests to myself.

09 – Do you ever find that other students or teachers are not listening to you?

Yes.  Sometimes due to others’ lack of manners and at other times I think because I am quieter by nature.

10 – If so, How could you improve this situation?

Persist with sharing thoughts and ideas.

Being Supportive

In regard to creative collaboration:

1 . Do you get the support you need?

In relation to creative collaboration I think I get support by way of direction and encouragement. People in class are always willing to give constructive feedback on my work or help me out if I get stuck.

Eg. Many times others have shown me helpful shortcuts or techniques in design programs.

2. What percentage of students in your your origination class do you support?

100%. On a regular basis, I usually bounce ideas off one or two other students, but as a group we all support each other well with the tasks at hand. Eg. Making the exhibition poster, we all had to arrange a time which considered everyone’s agendas to take the photos for it.

3. How?

If anyone needed help, support, or feedback all they would need to do it ask, and I’d be in there doing what I could for them. I am a good listener and quite observant so often, asking is not even necessary. 

4. What about the others?

Although I support everyone in the class, I could actively support more people by encouraging communication. Eg. Sharing thoughts, hearing thoughts, contributing ideas.

5. Could you improve the way you support others?

Yes, I can communicate with others more and continue listening and being understanding. Eg. As above.

6. How?

Listen, be understanding and encourage communication.

R01: mowillemsdoodles.blogspot.com/2009/03/listen.html

Week 9: Origination

The Laws of Simplicity

Chapter 8: Trust

R01

1. Provide an example of a situation where you have to have trust – in the same vein as the author in his swimming lesson example. What made you trust in this situation and how did you feel?

Currently my fiancé and I are deciding on the location for our wedding next year.

Whilst we are fairly certain where we would like to have it, neither of us has been there. We have done lots of research and spoken to people there and also other people who have been to this location. We cannot visit until early next year, however we will need to book it before then and make a considerable deposit (which we will not get back if we cancel). Despite feeling slightly hesitant, we have to put our trust into our research and into the people we have spoken to and hope that this location will be as good as we think it will be for our big day! 

This TED Talk by Jonathan Zittrain claims that the internet is "made up of millions of disinterested acts of kindness, curiosity and trust" R02. As an example of how internet addressing and routing works, he likens it to a fog-filled room of people. Each individual cannot see how many people are in the whole room, so instead, each person tells the person on their right what they see on the left and so on until they have a general overall understanding. This system is based on kindness and trust.

2. Where in our exhibition do we need to instill trust? Give examples. How are we going to achieve this?

We have to show that we are capable and know what we are doing not only in the set up and smooth execution of the week-long exhibition, but also in our individual works, presenting ideas with professionalism.

We need to have trust in each other as we have to work as a team and complete our respective and assigned jobs to a certain standard. Trust allows us to feel confident. For example, we can achieve this on our opening night in particular by offering visitors/guests food and drinks as a gesture of hospitality.

3. What strategies are used to instill trust? Examples? Where do we need to employ this in uphere? How are we going to do this?

Employing the strategies that Maeda suggests in Chapter 8, we can execute the following for our exhibition:

Relax. Lean Back – make sure everything is organized, well signed, well presented and professional for guests to be able to arrive, relax and just take it all in.

Trust The Master – show them that you are capable and confident in not only organizing and hosting the exhibition, but also in our individual works. The guests are trusting us to put on a quality exhibition which they will enjoy.

Just Undo It – by trial and error, we can correct things that come up along the way. For example if something doesn’t work well on one night, we can change the process/display, etc for the remainder of the exhibition. Nothing is permanent and it is good to explore your options.

Trust Me – knowing your work and your classmates work will allow you to have greater control in your overall presentation of professionalism and skills.

4. If you could “undo” any aspect of the preparation for the exhibition to-date, what would you “undo”? With this in mind, what would you change now in your preparation strategy to overcome having to “undo” anything?

I would like to “undo” some of the hesitant and unsure feelings from people at the beginning of the organisational process. It was time which could have been utilized much better had we had some more clear direction from people who had organized an exhibition before. I think a lot of students felt like they were being ‘thrown in the deep end.’ With the future preparation in mind, I think we need to adhere to deadlines and be as productive as we can with the time we have.

5. Homework: How are you using the laws in relation to your contribution to The uphere exhibition? Provide a short explanation and example for each of the laws so far. Use your work towards and your examples. 

Law 1: Reduce

“The simplest way to achieve simplicity is through thoughtful reduction” R02 and this can be done using methods such as SHE (shrink, hide & embody).

Lanterns are my contribution to the exhibition and I am working on the premise that less is more. I am experimenting with simple shapes (tetrahedral) and am trying out some simple yet effective patterns/designs to put on them.

Law 2: Organise

Maeda discusses ideas like SLIP (sort, label, integrate & prioritise) to help organize anything that needs organising. He also suggests that the quick path to simplicity is by using computer shortcuts (such as TAB) and knowing your way around your computer. This efficiency is important when I am designing my lantern patterns to reduce clutter/chaos, maximize use of space and increase visual appeal.

Law 3: Time

Designers can integrate time into their designs in various ways, such as progress bars, giving up the option of choice and hiding time.

In relation to my exhibition contribution, time relates to the above law, organize. By saving time (using shortcuts, etc), it can translate into more time I can spend assembling and experimenting with the physical lantern. Also I can save time in the set up and storage of the lanterns for people if it is a simple and durable design.

Law 4: Learn

Metaphors are useful in transferring large amounts of information from one context to another in an easy and relatable manner. Concepts like BRAIN (basics, repeat, avoid desperation, inspire, never forget) are applicable to the designs I am creating which I have learnt to do in programs such as Illustrator. Last semester, we learnt the basics and had to repeat them often in assignments. When there were times I was confused or something wasn’t working for me, there was always someone to ask and inspiration was always a click away with works of great designers at our fingertips. I have been repeating these skills constantly ever since learning them!

Law 5: Differences

Simplicity and complexity need each other – without one, we could not recognize the other when we see it. We need the contrast to help us identify the qualities we desire. Maeda likens the relationship between simplicity and complexity to a beat/rhythm and it is about achieving balance between the two.

In relation to my lanterns, I was thinking it would be effective if I had a complex pattern on a simple lantern, or vice versa to try and achieve this balance.

Law 6: Context

Contextualising is knowing what’s around you and applying it to what’s in front of you – this helps us determine its priority by putting it into perspective. This is different to focus, as focus is just concentrating on what is at hand – sacrificing everything in the background for the sake of attending the all-important foreground.

I would like to put my lanterns into the context of everyday life. I want them to be usable and re-usable. So I have to consider what materials I can use to integrate them into people’s daily lives easily, ie a lampshade or a string of lanterns on fairy lights (as opposed to singly hanging from a ceiling, etc).

Law 7: Emotion

“Everything starts from being sensitive to your own feelings” R03 so in relation to my contribution to the exhibition, I need to appeal to visitors’ feelings and emotions in my work. Etiquette, presentation and aichaku will all help to inspire respect and affection for my work. Also if my work empathizes with the surrounding environment, it becomes more relatable to the viewer.

Law 8: Trust

Some of the strategies that Maeda suggests to encourage trust from others are; Lean back. Relax; Trust the Master; Just Undo It; and Trust Me. In relation to my works, I need to demonstrate that I am professional and organised, that I have adequate skills and am confident in my abilities.

R01: www.savagechickens.com
R02: http://www.ted.com/talks/lang/eng/jonathan_zittrain_the_web_is_a_random_act_of_kindness.html

R03: The Laws of Simplicity, John Maeda, pg1

R04: The Laws of Simplicity, John Maeda, pg64

Week 8: Collaboration

Vanity & Ego

01 – Are you capable of being vain about your art & design?

Yes. I think most people would be capable of vanity in regards to their art and design as it means to be excessively proud (or concerned) about ones appearance, qualities or achievements. R01

02 – Do you have a healthy ego?

I think I have a fairly healthy ego – I believe it is fairly well balanced between the extremes of not having good-self esteem and egotism. I have a good sense of self – I know what I am capable of yet I am always challenging myself to achieve greater things.

03 – What defines an unhealthy ego?

Either of the extremes: not having good self-esteem/self-image or being conceited and full of self-importance.

04 – When others want to change your ideas, do you get offended?

Not at all. I appreciate when others are willing to speak up and give constructive criticism. I’d rather have others’ opinions to keep it balanced and in perspective.

05 – When you are asked for opinions on other’s work, do you compare it to your own?

Yes, at times, and other times I might compare others’ works to notable designers, etc, as a benchmark. Although most of us would probably do this, I still try to remain objective, constructive and mindful of other people’s feelings.

06 - When you are asked for opinions on your work, do you compare it to others?

Yes, at times, and other times I might compare my work to notable designers, etc as a benchmark. I try to be honest, yet balance in my opinions of my own work.

07 – If somebody plagiarised your work, would you be proud?

This has actually happened to me before – and at first I was quite annoyed because parts of my work, were blatantly used without any credit given. But then there was a strange sense of flattery that someone else considered my work good enough that they wanted theirs to look/be just like it.

08 – What is the difference between pride in your work, and vanity about your work?

It is good to have confidence and a high opinion of yourself and your work, but it is also important to not go over board and be excessive in your pride and self-importance.

09 – Do you expect others to listen when you speak?

Yes – it is a sign of respect.

10 – When somebody else speaks are you thinking about what you are going to say

next?

Yes, I am guilty of this at times (especially when I have lots going on in my head). When I catch myself doing it I quickly bring myself back into the moment to just listen.

11 – Do you form opinions about others quickly?

Generally not. I like to give everyone the benefit of the doubt. My opinions usually form after they’ve had a few chances to express themselves.

12 – What percentage of you judgements about others talents are right?

Having an idea of the field you are judging others talents in certainly helps. Perhaps my judgements about others’ talents are approximately 70% correct.

R02

Idea Evolution

In regard to creative collaboration:

1 . Do you have a strong belief in your personal ideas?

Not always at first. My own belief usually becomes stronger when I get other’s positive opinions about it. Eg. If I am working on a particular design in class, sometimes when you’re so absorbed in it, it is hard to look at it objectively. I work well bouncing ideas others, and it helps build a strong belief when I get a positive response. Sometimes judging by the response I get, my work may not have been as good as I thought, or perhaps it got a better response than I was anticipating.

2. How do you evaluate your personal ideas over a period of time?

I work best given a bit of time to mull over ideas. My ideas constantly evolve over time and with exposure to other things in daily life. Evaluating them often involves comparison and getting others’ opinions.

Eg. When I paint, I often evaluate my ideas as I go along. Quite often I will stare at a blank canvas for days/weeks/months before I decide which idea is worthy enough to be expressed on the canvas. One day I might think I have a good idea, but I’ll sit on it for a bit as it quite often evolves into something better. This process can even happen once I start painting so the look and feel of the artwork is constantly changing as I evaluate, compare and receive opinions on it.

3. How flexible are you in changing your mind about the value of your ideas?

Depending on my strength of belief in the idea. The more I believe in it, the harder it is to change my mind about the value of it and vice versa.

Eg. When I decided that I wanted to pursue a career in design, I had quite strong ambitions and drive to complete a tertiary course. Having discussed the prospects with family and friends, some suggested that I just get a full time job anywhere first and then get into the study later. The value of this idea weighed quite heavily for me and so I decided to embark on this course part time and work part time. I felt this was a valuable priority for me, but I also understood the importance of balance and earning an income.

4. How flexible are you in changing your mind about the value of others’ ideas?

I am quite flexible when it comes to accepting other peoples ideas, however if I have good background knowledge of the matter, it can influence my flexibility. Sometimes being an outsider can allow me to see things more objectively than the person in the situation or with the idea.

Eg. At work, sometimes clients have grandiose ideas about what they want in a commercial without realising what actually goes into it. As I have knowledge on how it all works, there is no flexibility in changing my mind, as I know some things just cant be done.

5. Does hanging on to your old ideas block new ones?

It can do, but sometime they can also give inspiration for new ones if you can just think about it a different way or from a different perspective.

Eg. At the moment I am pretty set on an idea that I would like to go and live overseas in the next couple of years. I am so set about making this happen that I find myself shutting off to other ideas that come up for this time. I have since stopped and thought about these other suggestions and thought, “why can’t we do that and then go and live overseas?”

6. Are you slow or fast in moving on when an idea has burnt out?

I think I am fairly fast to move on with things. There may be a bit of annoyance and disappointment for a little while, but it doesn’t help to stay stuck on an idea that can’t/won’t give any more. I feel better and more productive when I start thinking of new ideas to achieve what I want to and get around such obstacles.

Eg. I had my heart set on going on an overseas trip this year, but for reasons beyond our control (timing, cost, etc) we decided that we couldn’t do it, the idea/prospect had burnt out. Of course I was disappointed because I had already done a lot of research, etc, but I didn’t spend too long feeling sorry for myself. I felt much better when I started to research and plan ways around the obstacles we faced this time – it served as a good learning curve to (hopefully) an even better result in the long run.

R03

R01 – www.dictionary.com
R02 - www.reneelevy.com
R03 - www.rd.com

Week 8: Origination

The Laws of Simplicity

Chapter 7: Emotion

1.  When Maeda uses the “Feel, and feel for” principle, he is drawing on peoples

connection to a very personal experience: feelings. List 3 ways that would make

use of this principle to visitors of your exhibition.

“Everything starts from being sensitive to your own feelings” – so in regards to the exhibition, we need to appeal to potential visitors feelings in the following ways:

E-tiquette – when the exhibition is on, it is up to us as students and budding designers to be polite, dress/act appropriately and make guests feel welcome.

Nude Electronics – by using methods such as SHE (shrink, hide and embody) to set up the exhibition we can create a “smooth and simple” exhibition space (including using the Macs to display works). We can then “accessorise” the space and express ourselves through our design work.

Aichaku – We need to inspire respect and affection for our work - by creating emotion in our artworks we get people to engage. Also artworks that empathise with the environment around them help to make the experience more relatable for the visitor.

2. What is animism? Why do you think the “Tamagocchi” craze of the ‘90s became

such a craze? How can you apply this to your exhibition?

Animism believes that everything in our environment, including inanimate objects, has a living spirit and deserves respect. Tamagocchi’s ‘yearned’ for human attention and they also create an illusion of life – people need contact. Tamagocchi’s often took the form of a pet/baby – convenient and fashionable (at the time), but non-committal in the long term. 

The following YouTube clip challenges the assumptions of animism by comparing the feelings of that of a wall or a bicycle to a dog; or in other words, the inanimate compared to the animate.

 

3. Name 2 products that you have purchased that gave you that feeling of “Aichaku”.

What feelings did those products evoke? Was it the feeling that sold the product

to you?

Aichaku is the Japanese term for the sense of attachment one can feel for an artifact.

MacBook Pro laptop – sense of value, freedom, convenience, I would be lost with out it. The feeling of Aichaku came after I had purchased it.

My engagement ring – although this was not purchased by me, I have a huge emotional attachment to it for what it symbolizes. A very close friend also handmade it, so it has that added element of preciousness.

4. How do the references to emotion relate to the simplicity/complexity relationship

discussed in Law 5 - Differences

With emotion comes more complexity.

If something is perceived as too simple it can become emotionless and “ugly”. It can also be perceived as having less value.

Week 7: Collaboration

The Legal Framework / Creative Content

PART 1: UNDERSTANDING THE LAW

1. The Berne Convention

It is an international agreement for the protection of Literary and Artistic works governing copyright. It was first accepted in Berne, Switzerland in 1886. Below the blue counties represent the signatory countries:

“The Berne Convention requires its signatories to recognize the copyright of works of authors from other signatory countries in the same way it recognizes the copyright of its own nationals” R01

Copyright under this convention must be automatic and the agreement also requires members to provide strong minimum standards for copyright law.

2. IP (Intellectual Property) legislation in Australia

Intellectual property represents the property of your mind or intellect. In business terms, this also means your proprietary knowledge. R02

The following are different types of IP:

• Patents – for new/improved products or processes

• Trademarks – for letters, words, phrases, smells, shapes, logos, etc. Anything that distinguishes the goods/services of one trader from those of another

• Designs – for the shape/appearance of manufactured goods

• Copyright – for original material in literary, artistic, dramatic, musical works. Films, multimedia and computer programs.

• Circuit layout rights – 3D configuration of electronic circuits/layout designs

• Plant breeders rights – new plant varieties

• Confidentiality/trade secrets – including know-how R02

Formal steps must be taken to register your IP to obtain the legal rights of ownership (copyright and circuit layout rights are automatic).

Registering your IP rights in Australia does not give you international protection – this must be applied for separately. R02

Different IP rights vary in the protection they provide – more than one type may be necessary to fully protect your creation. R02

3. Australian Copyright Law

Copyright is free and automatically granted when an original work such as writing, images, music and film is created. It is a type of legal protection to prevent others from doing certain things (such as copying and making available online) without permission. R03

Copyright protects the form or way an idea/information is expressed, not the idea or information itself.

4. Creative Commons

Creative Commons (CC) is a non-profit, world wide project that encourages copyright owners to allow others to share, reuse and remix their material legally. R04

The organization has released several copyright licenses known as Creative Common licenses free of charge to the public. These allow creators to communicate to communicate which rights they reserve and which they waive for the benefit of other creators/recipients. There is a factsheet that details the 4 licensing protocols and 6 standard CC licenses that can be created from them, which can be found at:

http://creativecommons.org.au/learn-more/fact-sheets/what-are-the-cc-licences

Creative Commons was invented to create a more flexible copyright model, replacing “all rights reserved” with “some rights reserved”. Wikipedia is one of the web-based projects using a CC license. R05

5. P2P networks and software licenses

P2P or Peer-To-Peer networks refer to a combination of things: software applications, network technologies and the ethics of file sharing.

It can be described as "A type of network in which each workstation has equivalent capabilities and responsibilities.” R07

Peers make a portion of their resources (processing power, disc storage or network bandwidth) directly available to other network participants without the need for central coordination. R06

Often when people hear the term P2P they think of peer-to-peer file sharing over the internet, rather than the traditional peer networks as detailed above. P2P file sharing systems have become the single most popular class of internet applications this decade. R07

A P2P network implements search and data transfer protocols and to be able to access these networks, users either download or install a suitable software application.

While some P2P activity such as collaboration is legal; most P2P activity of sharing and downloading copyrighted material is illegal and considered software piracy. R08

PART 2: DEFINING YOUR OWN ETHICAL APPROACH

1. Is it illegal to copy a design?

Yes it would be if you copied it exactly and did not supply a reference.

2. Is it ethical to sell a non-original design as your own?

I don’t believe it is ethical to gain profit and credit for someone else’s design.

3. What is the difference between ethics and law?

Laws are usually written and enforced whereas ethics are rules of conduct which can vary from person to person. Ethics are like the unspoken rules of conduct that people generally adhere to.

4. Do you value others intellectual property the same as your own?

Yes. I definitely wouldn’t want anyone else disrespecting my rights of intellectual property, so I value and respect others’ rights.

PART 3: APPLYING YOUR CODE

Make a list of 5 behaviour principles you consider essential for each of these:

1. At CDU in the MacLabs

• Communicating clearly

• Honouring commitments (especially for team work)

• Honesty

• Respect for other’s ideas and opinions/equipment

• Sensitivity towards classmates (ie language difficulties)

2. Outside class in a social setting

• Respect for others’ and the physical environment

• Communication

• Sensitivity towards others’ – everyone’s situation is different

• Obeying rules/laws (for overall wellbeing and safety)

• Being mindful of what’s going on around you

3.In a professional workplace in which you may be employed after studies

• Respect for co-workers and the physical environment

• Communication

• Obeying company code of conduct

• Honouring commitments

• Honesty

REFERENCES:

R01 http://en.wikipedia.org/wiki/Berne_Convention_for_the_Protection_of_Literary_and_Artistic_Works

R02 http://www.ipaustralia.gov.au/ip/introduction.shtml

R03 http://www.copyright.org.au/information/cit014/wp0125

R04 http://creativecommons.org.au/learn-more

R05 http://en.wikipedia.org/wiki/Creative_Commons

R06 http://en.wikipedia.org/wiki/Peer-to-peer

R07http://compnetworking.about.com/od/p2ppeertopeer/a/p2pintroduction.htm

R08 http://www.css.edu/Administration/Information-Technologies/Software-License-Compliance-FAQ.html#p2p

Week 7: Origination

The Laws of Simplicity

Chapter 6: Context

1.  What does the word ENTROPY mean and why is this relevant? 

Entropy means a lack of order or predictability. It is a natural decline into disorder.

This is relevant because there’s so much technology around us, at times, too much, so it can be hard to “see the wood for the trees”. Eg. You are looking for employment. You have 1000 numbers in your phone however only 5 of these numbers are for jobs. In actuality, you would be ringing 5 numbers per day not 1000.

2.  If you are attuned to everything around you, does it help you deal with what is in front of you and why or why not ?

Yes, it helps put what is of immediate importance into perspective. Eg. White/negative space on a page actually directs focus onto what is on the page. 

It’s all about contextualizing (knowing what’s around you) and applying it to what is in front of you. In a design context, designers need to communicate with their teams, individuals can’t just go off on a tangent and work on only what they think will work – they need to consider the ideas of the wider team for a more balanced approach.

3.  How is this different from FOCUS ?

Focus is just concentrating on what is at hand – sacrificing everything in the background for the sake of attending the all-important foreground ie light bulb or laser beam approach.

The ideal approach to any project is using context and focus together. Eg. When using Illustrator, the most effective approach to work on detail is to use the zoom tool, but it is also important to put this detail into perspective of the whole design, and therefore you need to zoom out and see the picture in its entirety. 

4.  Being “comfortably lost” is a balance between what 2 feelings? 

Knowing where you are can give you a sense of comfort and familiarity. It can generate positive feelings when things feel safe makes complete sense, however this can also feel boring. Being lost can evoke negative feelings of danger which to some, can also be a thrill.

5.  Describe a recent scenario when you found yourself to be “comfortably lost”. Did you enjoy the sensation?

As a part of the Darwin Festival, my partner and I participated in En Route.

http://www.darwinfestival.org.au/Theatre/en-route.html

Yes, I enjoyed the sensation – I guess I was comfortable because even though it was an individual experience, I had someone there with me, I was walking around a city I am generally familiar with and I was being guided by text messages being sent to the mobile phone with me. I was lost in the sense that the music and narration of what I was listening to taking my mind to another place and in the literal sense when we were wandering through areas that I never knew existed. It was like a walking meditation. In some ways your senses are more attuned to what you are seeing and experiencing, rather than finding your way.

6.  If you couldn’t hold back the urge to write on the “don’t write on this page” page – what would you write? 

I wouldn’t write. Instead I would probably draw something like a smiley face. However, because of the challenge Maeda put out to the readers about writing on the blank DON’T WRITE ON THIS PAGE page, I wanted to resist the temptation.


This YouTube clip is a lighthearted approach to using words out of context. It demonstrates the importance of understanding subject matter and the importance of context in communication:

THINKING GAME – LATERAL THINKING DISCUSSION

Edward de Bono’s “6 Thinking Hats”

• Which HAT best represents your group?

The Blue Hat best represents the Logistics group.

• Why?

It is all about the managing the process of organising an exhibition as a whole.

Depending on where the over all decision making process needs to head, our group needs to direct the activity to the appropriate group.

• Describe an Exhibition Group meeting where you may adopt the BLACK hat

Perhaps when a group is suggesting something that isn’t practically possible in the timeline, we may have to adopt the black hat and make them aware of why this idea/suggestion may not work.

• In your blog write 6 labelled paragraphs on your group’s progress to date, using each

of the 6 hats as a perspective.

Logistics - White Hat

Each week we focus on the data made available to us from what other groups post on Google Docs. I put this data into a calendar which is presented to the class each week so everyone can see exactly what is happening and when theoretically across all groups. We take things at face value and focus on the practical side of things such as deadlines.

Logistics - Red Hat

We try to encourage all groups to participate equally (by sending out emails and suggesting the use of templates to make it easier). Praise is given to the groups who are contributing valuable information. By taking on a ‘red hat’ approach we can be more diplomatic when dealing with individual people and groups.

Logistics - Black Hat

As we are keeping an eye on the overall timeline for the exhibition we need to be able to foresee why ideas/suggestions and activities of the other groups may not work due to time constraints. By taking an overall approach we can lessen the risk of failure and come up with contingency plans.

Logistics - Yellow Hat

Again with our ability to look at the overall progression of this exhibition project, we are able to give positive feedback on progress and encouragement when everyone can see the advancements we are making.

Logistics - Green Hat

Logistics can contribute to the overall creativity of the exhibition by liaising with and directing activity to groups such as Theme & Branding and Print.

We can also come up with our own solutions to keeping everyone informed and engaged with the use of visuals such as the weekly calendar.

Logistics - Blue Hat

This is what the Logistics group has to do in a nutshell – as explained, we manage the whole process of organising this exhibition. We need to direct activity to the appropriate groups to get the specific jobs done within the specified time frame. A weekly logistics report is given to keep the class up to date with the overall progress.