Converge: Disciplinarities and Digital Scholarship encourages design educators, design researchers, and designers to take advantage of opportunities in digital scholarship, learn how to collaborate on interdisciplinary projects, and find new intersections within their existing research trajectories. To redefine what it means to be a designer and a design researcher today, we ask: How can design converge with digital scholarship in more than a superficial way? How might aspects of digital scholarship impact design research? What are the key questions at the intersection of design and the humanities?
This conference took place June 1-3, 2017 in Los Angeles, CA.
Keynote Speakers
Johanna Drucker
Breslauer Professor of Bibliographical Studies, Department of Information Studies, UCLA
Casey Reas
Professor, UCLA Design Media Arts, and Co-Founder, Processing
Erik Loyer
Creative Director, The Alliance for Networking Visual Culture
Conference Location
School of Cinematic Arts (SCA)
University of Southern California
900 West 34th Street
Los Angeles, CA 90089-2211
Connect
converge.aiga.org
converge.aiga@gmail.com
facebook.com/groups/AIGAConverge
twitter.com/aiga_converge
#aigaconverge
Organizing Committee
Jessica Barness
Associate Professor, School of Visual Communication Design, Kent State University
Her research resides at the intersection of design, humanistic inquiry, and interactive systems, investigated through a critical, practice-based approach. She has presented and exhibited her work internationally, and has published research in Design and Culture, Dialectic, Visual Communication, and Message, among others. She recently co-edited a special issue of the journal Visible Language with Amy Papaelias entitled “Critical Making: Design and the Digital Humanities” (2015).
Vicki Callahan
Associate Professor, School of Cinematic Arts, at the University of Southern California.
Her research and teaching is focused on the integration of theory and practice with attention to issues in film and media history, feminist studies, digital culture, media strategies for social change, and public scholarship. She was an NEH fellow for the inaugural workshop, “Scholarship in Sound and Image,” on Videographic Criticism at Middlebury College, and in 2015 she was in residence at University College Cork, Ireland as a Fulbright Scholar with a focus on digital media praxis.
Heather Corcoran
Director, College and Graduate School of Art; Professor, Design, Washington University in St. Louis
Her work explores relationships between information and expression in collaborative projects for social impact and self-generated projects for exhibition. She was lead author on the article “Making cancer surveillance data more accessible for the public through Dataspark,” published in Visible Language in 2013, and co-principal investigator on a grant funded by the National Cancer Institute (NIH), 2009-11. An exhibition of her work, Reading Time: Visual Timelines, Texts, and Canons, opened at Gallery 360 at Northeastern University in Boston in 2014.
Sarah Lowe
Professor, Graphic Design, University of Tennessee
Her work across technology, cultural heritage and museum studies researching the design of digital engagement with the public has led to research partnerships with The National Park Service, The US Holocaust Museum, and the Eastern Band of the Cherokee Nation. Her work has been presented at CUMULUS, NORDES and the Museum Computer Network (MCN) in addition to several DEC conferences. In 2012/13 she was a Fulbright Scholar at the University of Oslo, Norway, researching the design of educational technologies in relation to learning theory.
Amy Papaelias
Assistant Professor, Graphic Design, SUNY New Paltz
She has presented her design research and pedagogy at Theorizing the Web, the Type Directors Club, NYC DH Week, TypeCon, and other DEC conferences. In 2013, Amy participated in One Week One Tool, an NEH-funded Institute for Advanced Topics in the Digital Humanities. She co-edited a special issue of the journal Visible Language with Jessica Barness entitled “Critical Making: Design and the Digital Humanities” (2015). She is a founding member of Alphabettes.org.
Holly Willis
Chair, Media Arts + Practice, School of Cinematic Arts, University of Southern California
Former DEC Steering Committee co-chair, Holly works at the intersection of cinema, design, media literacy and the humanities. She co-founded and launched the practice-based Media Arts + Practice program integrating design research and critical theory/making, and is currently involved with USC’s Mellon-funded Digital Humanities Program supporting humanists in manifesting their research through media-rich experiences. She has helped organize and has presented at many previous DEC conferences, including New Contexts/New Practices, Schools of Thought III and NEXT
SPONSORS
USC School of Cinematic Arts
Washington University in St. Louis
Kent State University: College of Communication and Information, School of Information, School of Visual Communication and Design
Browse the Converge: Disciplinarities and Digital Scholarship Collections
Erik Loyer Keynote06/02/2017“Embodied Convergence: Personal stories of interdisciplinary collaboration and the impacts it has on the lives of the collaborators”Erik Loyer is a digital media artist and designer who uses tactile interfaces to tell stories and make arguments. Whether original or collaborative, fiction or non-fiction, non-profit or commercial, Loyer’s apps, websites, and creative tools have received international recognition in the digital humanities, electronic literature, indie games, and digital comics fields. This was a Keynote on June 3, 2017. 5:00–6:00pm (SCI 106) |
Envisioning A Backer-Centered Design Approach For Crowdfunded Projects06/02/2017Andrea Marks, Oregon State University This lightning talk will introduce a new research project (related to user-centered design) focused on a specific audience—the backers of Kickstarter projects. We will share the project goals, research methods, and several case studies with the intent to prompt discussion and solicit feedback from the audience. Our research study connects three areas: data visualization, graphic design, and entrepreneurship. In particular, this investigation intends to explore the way in which the design of the Kickstarter crowdfunding platform is primarily creator-centric, without fully acknowledging the needs of backers as both users of the platform and critical participants in the success of crowdfunded projects. Our central research question asks, “How might we use data visualization as a tool to give backers of crowdfunded projects predictive agency through a clearer understanding of the variables associated with success or failure of the campaign?” While creators of crowdfunding projects are provided with a range of resources—including data- and analytics-driven tools—to help ensure project success, the other necessary participant in a crowdfunded campaign, the backer, is given little to no data to make informed decisions. Our initial hypothesis is that the design and display of a data visualization would improve backers’ understanding of potential risks, which would lead them to make more informed and successful funding decisions. While this research has direct application to the structure and success of crowdfunded projects, we anticipate that the outcome of this project could also be relevant to the broader areas of design, business, and the digital humanities.
Andrea Marks is a professor of design at Oregon State University and a faculty member in the College of Business, where she teaches classes in entrepreneurship, design and innovation. Prior to joining the College of Business, she was the coordinator of the Graphic Design Program and developed coursework in typography, design and writing and design history. She is the co-director and producer of the documentary film Freedom on the Fence, the author of the book Writing for Visual Thinkers and has curated several poster shows. She has contributed to books and journals including, Icon Magazine, Becoming a Graphic Design and Digital Designer, Citizen Designer and Design and Culture. She is the recipient of numerous grants including an NEA Design Arts grant for her project Women of the Bauhaus. Andrea was co-chair of the 2014 AIGA Design Education Conference New Ventures and has served on the AIGA Philadelphia Board of Directors. She received a BFA in graphic design from University of the Arts in Philadelphia and was awarded a Fulbright International Education Fellowship for her post-graduate work at the Basel School of Design in Basel, Switzerland. Brad Tober is a designer, educator, and researcher whose work investigates the potential relationships of emerging code-based and interactive visual communication technologies to both design practice and pedagogy. His practice-led research is characterized by a speculative approach to design that recognizes that forms of and methodologies for contemporary practice that spans design and technology are best developed through flexible and exploratory processes. Prior to his current position as Assistant Professor of Design + Visual Analytics at Boston University, Brad spent five years as Assistant Professor of Graphic Design at the University of Illinois at Urbana-Champaign. Brad holds an MDes from York University (Canada), a BFA in graphic design from the Savannah College of Art and Design, and a BA in mathematics from the University at Buffalo. This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 106) |
Entrepreneurship-Corporate Identity Interdisciplinarity06/02/2017Jan Ballard, Texas Christian University The Entrepreneurship-Corporate Identity Program offered Graphic Design undergraduates a new opportunity for interdisciplinarity beyond the classroom, matched students with entrepreneurs in need of authentic design solutions for start-up businesses. The program’s concept was proven viable through a limited Spring 2016 pilot that paired 21 design students with entrepreneurs from TECH Fort Worth and the Dallas Entrepreneurship Center. The process produced a Corporate Identity package for their entrepreneur start-up partners, which included a logo, stationery package, website landing page mockup, and a basic Brand Standards Guideline. Students combined their new knowledge of the entrepreneur’s product or service with their design knowledge and skills. The student designer entered their start-up partner’s world and through listening, questioning, reading and additional background research, developed a base of knowledge sufficient to produce materials that visually communicated to the business owner’s satisfaction and demonstrated effectiveness in a competitive marketplace. Through practical application, gained an understanding of the design process, along with the associated information gathering and problem solving, helped to shape a mind more adept at interdisciplinary inquiry. The Entrepreneurship-Corporate Identity Program incorporated a number of key concepts from interdisciplinarity research, the core of which is synthesis, or the combination of elements created something new: 1) Creativity required interdisciplinary knowledge. Graphic design required that the creator apply not only the tools of their discipline, but background knowledge from other disciplines. 2) Many problems required interdisciplinary approaches. Solved problems in emerging technology and medical innovation that involved an understanding of scientific, social and other factors. Effective graphic design required an understanding of the entity for which one designed and its context. 3) Experiential Learning. Interdisciplinarity promoted the relevance of learning to the world-at-large, and “doing” fostered understanding. While design students obtain lots of hands-on practice with projects in the classroom, going outside the classroom for experience greatly enhanced learning. Download PDF: Jan Ballard Entrepreneurship-Corporate Identity Interdisciplinarity
Jan Ballard holds the BFA from University of Illinois at Urbana-Champaign. She joined the Texas Christian University faculty in 1986. Since then she has taught and assisted in the development of a gamut of courses including Typography, Corporate Identity, Publication Design, Professional Recognition, Portfolio and Marketing, and Senior Thesis. Her teaching provides students with a solid foundation of the history and anatomy of type, and an examination of the principles of hierarchy and legibility at work within an individual letterform, to sentence, to paragraph, to page. In her professional practice, she has worked for local design studios, regional advertising agencies, and a national public relations firm. Jan’s design work has been featured in Print’s Regional Design Annual, Fort Worth ADDY Awards, and International Association of Business Communicators’ Bronze Quill Awards. She is committed to arts in elementary education and is a founding board member of the Fort Worth Academy of Fine Arts charter school. Recently, Jan was selected as one of fifteen international participants in the School of Visual Art (SVA) Masters Workshop in Rome with co-founders Steven Heller and Lita Talarico. She worked with faculty including Louise Fili, Mauro Zennaro, and James Clough. She is also a frequent attendee and presenter at TypeCon sponsored by the Society of Typographic Aficionados (STA). Jan has been nominated for the Wassenich Award for Mentoring, and was honored as the Faculty of the Year in the TCU College of Fine Arts by the TCU Student Government Association. This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby) |
Empowering Teachers as Designers: A Design Case on the WASH Curriculum design for Under-Resourced Schools in Papua New Guinea06/02/2017Khendum Gyabak, Indiana University Bloomington This design case chronicles the collaborative effort to design the Water, Sanitation and Hygiene curriculum by elementary school teachers in rural Papua New Guinea (PNG). The outcome from the project resulted in the creation of a teacher’s resource manual that could be used by elementary school teachers to teach WASH topics based on active learning principles. This design case describes the context of the design, making of the design team, the design process and the rationale behind the design decisions. Consistent with the structure of a design case, this case will not address generalizable lessons for how design should be done and it is primarily written to describe how design was carried out in the context of PNG. Khendum Gyabak is a design researcher and instructional designer. My scholarly work centers around understanding the design practice of teachers engaged in designing teaching and learning materials in underserved communities around the world. I have done extensive research work in Papua New Guinea and Bhutan and am currently writing my dissertation on the design thinking and actions of teachers’ who have taught in highly under resourced schools in Bhutan. This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 108) |
Elevating the Role of Design Within the Humanities, Science, and Education Scholarship06/03/2017Jeremy Swanston, University of Iowa Design plays a fundamental role in the effective presentation of complex information. Given the emphasis on scholarship and collaborative inquiry, university campuses often present ripe opportunities for cross-disciplinary research that can elevate the role of design in projects involving the humanities, science, and education. Beyond incorporating design and aesthetic principles to engage the target audience, designers can harness the potential for connecting with the user in a digital environment, effectively showcasing design’s function in not only packaging scholarship, but defining the very way such projects are conceptualized and communicated. The role of the designer as an active agent in shaping scholarly inquiry goes beyond that of the traditional broker, one that simply educates and guides non-design experts while working with them to realize a preconceived vision. Designers can instead present design as an essential dimension of scholarship, one that can transform the conceptualization of inquiry from the very beginning, creating purposeful, meaningful, and evocative connections between researchers, users, and the broader community. This presentation will focus on three case studies that highlight the fundamental role of design in the conception and execution of impactful cross-disciplinary scholarship. Design & Humanities Case Study: Word Thug Word Thug is an all-volunteer digital literary multimedia magazine that challenges the boundaries of language access, power, and privilege through creative expression. It is conceptualized as an interactive space for any artist, writer, or citizen who has things to say through the creative word, but who has not always been afforded the time, space, and/or opportunity to express them. This scholarly project infuses the fields of graphic and interactive design, creative writing, language, literacy and culture. From the conceptual branding of the magazine, to experimentation with user interface and experience, prototyping and usability testing, this case study will illustrate how design can forge powerful and dynamic connections between a disenfranchised community and the creative arts, effectively removing traditional barriers and promoting positive social change. Design & Science Case Study: Gravity Simulator The Gravity Simulator is an interactive sandbox that simulates gravitational dynamics and was developed to teach astronomy to middle school students. Utilizing a 3D camera, and inputting information the user provides through an app, the simulator projects computer-generated graphics onto the surface of the sand. This scholarly project infuses the fields of interactive design, astronomy, physics, and computer science. For this project, the functionality of the simulator and potential for teaching depended on the app component, with user interaction, interface, and usability testing being an essential component to realization of this project. This case study will illustrate how design can visually bridge abstract concepts and simplify them for the young user, creating a fun and engaging learning experience. Design & Education Case Study: SO•BE Stories SO•BE Stories is an educational app that teaches Kindergarten students social skills. Through interactive stories and games, students navigate social dilemmas and practice positive behaviors. This scholarly project infuses the fields of graphic and interactive design, school counseling, and education. From conceptualizing characters, story environments, and game play, to usability testing, and interface design, this case study will illustrate the central role of the designer in creating a social skills intervention tool that emotionally connects with the user and creates measurable change. Jeremy Swanston is a graphic designer whose research interests pertain to the utilization of graphic design in visualizing data in an accessible and meaningful way. He is passionate about the impact social design can have not only in an academic environment, but also to the community, and has developed several socially-based projects, including an educational app (SO.BE Stories) for preschool students. Over the past decade, he has developed extensive print and digital skills to meet the design needs of diverse clients, including the United States Congress and the Department of Justice. During this time, Jeremy has worked as a graphic designer in Washington D.C. for the Woodrow Wilson International Center for Scholars as well as the United States Government Publishing Office, where he conceived and carried out high-level multimedia communication and brand identity projects, including the 2013 Presidential Inaugural materials. This was a Long Paper Session: Improving the Case for Designers on June 3, 2017. 11:30am–1:00pm (SCI 108) |
Elephants Everywhere: Incorporating Divisive Topics Into Design Curriculum06/03/2017Audra Buck-Coleman, University of Maryland College Park Immigration. Religious differences. Police Brutality. Stereotypes. Prejudice. Racial disparities. Systematic disenfranchisement. Black Lives Matter. Gender inequality. So many messy, conflict-ridden issues permeate our world and can seep into our classrooms. They can also make for rich project content and productive collaborative experiences. But how do you engage undergraduates in topics most adults are reluctant to confront? Further, how can you create opportunities for undergraduates to address these topics with stakeholders directly affected by these issues? This paper will offer a range of different research methods and design project outputs educators might consider to create dialogue and understanding around discordant topics. It will also include the successes of two case studies that attempted to do just this. Each incorporated different measurement techniques to assess their impact. In the first project, design students worked with campus “Asian Pacific American” (APA) students to create participatory activities aimed at prompting audiences to reconsider the heterogeneous identities undercut by such a homogenous term. Together, the students created an event with participatory activities to celebrate the similarities and differences within the APA community. In the second project, college design students collaborated with high school students from West Baltimore to create message that addressed the 2015 Baltimore Uprising provoked by the death of Freddie Gray and the one-sided media portrayal of racial disparities. These students spent months getting to know one another and discussing the issues facing the high school students including the Uprising. They deliberated about what messages they wanted to convey most and then constructed the objects and components to communicate them. Their works were installed in an exhibit at an area museum. Both required students to conduct multimodal research to find out more about the issues facing these communities. Both employed assessment techniques to measure the outcomes. Each project attempted to influence societal norms, to create more awareness of the stereotypes and prejudices that help perpetuate racial inequality, and to empower the underrepresented. Through these processes students can gain deep insights into underrepresented communities and the communities can be empowered though design responses. Both can be buoyed by the collaborative experience. Collectively, these projects can inform design education practices regarding collaboration, assessment, social impact design, and ways to address complex, divisive issues. Audra Buck-Coleman is an Associate Professor and graphic design program director at the University of Maryland. She has written, art directed, curated, designed, authored, directed, and collaborated on numerous design projects including Sticks + Stones, an international multi-university collaborative design project that investigates stereotyping and social issues. Her design research focuses on social design and its assessment mechanisms, design pedagogy, and design ethics. She has presented her research internationally at the Icograda IEN, the Icograda Design Education Manifesto, the Design Research Society conferences and numerous AIGA Design Education conferences. She holds an MFA from Cranbrook Academy of Art and is currently pursuing a PhD in sociology to bridge to her social impact design work. This was a Long Paper Session: Improving the Case for Designers on June 3, 2017. 11:30am–1:00pm (SCI 108) |
DO GOOD WORK: Design Scholarship Opportunities in Collaboration with Social Sciences Servicing Community Organizations06/02/2017Cesar Rivera, Sam Houston State University In the fall of 2016, a professor of sociology lead sociology students to complete research and a strategic plan for Grimes County, TX that revealed the need for branding and website development for county offices. This professor determined her students did not have the skills to complete such interactive and branding projects and reached out to a graphic design professor to enlist the help of a design student. Work on the collaboration (design and sociology students and faculty, and county officials) is set to extend across multiple semesters with portions of the project being completed by the end of spring 2017 with a stipend of $1000 going to the design student intern for work completed. Finding common ground on the project and working with a multifaceted group of students is proving to be fruitful in the areas of design value among community leaders, faculty, and students, and evidence of positive outcomes is forming. Findings on interdisciplinary collaborative scholarly practices and activities, digital design scholarship, and civic engagement will be discussed. Cesar Rivera is an assistant professor at Sam Houston State University. This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 108) |
Digital Arts / Social Justice: Working Group And Exhibition06/02/2017Camila Afanador-Llach, Florida Atlantic University Designers in academia interested in collaboration face the need to define and highlight the value of design by building relationships, proposing, structuring, funding and sustaining collaborative projects with other scholars. The creation of spaces within universities for professors of diverse disciplines to interact is a step in that direction. In this poster, I present a case study based on my experience as part of a working group exploring the intersection of digital art, scholarship and social issues. The group was launched in late 2015 by visiting digital media artist and scholar Sharon Daniel and was composed by faculty and graduate students from the Departments of English and Visual Art. Daniel’s engagement with social issues through digital media platforms served as broad context for the group members to explore and incorporate digital tools to address and pursue research and creative interests around social justice, politics, memory and identity, among other subjects. The resulting product of this collaboration was a group exhibition showcasing screen-based work including video, data visualization, audio essays, and interactive narratives. Central to the process involved in the production of some of these projects, a question remains on the line that separates design as a service from design as a collaborative endeavor. I evaluate the work produced by the group using the distinguishing features of collaborative projects to identify challenges and opportunities. I conclude with recommendations for designers to engage in this type of work with a better understanding of the variables that characterize collaborative work. For a more collaborative future, as design educators we have the option to assume leading roles in interdisciplinary practices within academia and to bridge these into design education. Camila Afanador-Llach is a designer and educator currently based in South Florida. She teaches courses in typography, interactive design and visual identity systems at Florida Atlantic University. Camila received her BFA in Industrial Design from Pontificia Universidad Javeriana (Bogotá, Colombia) and her MFA in Graphic Design from Rhode Island School of Design. Previously she worked as an in-house designer in Bogotá and more recently for a branding and design firm in Boston, MA. Her research interests include interdisciplinary approaches to design education and the roles of design in connection to history, geography and identity. This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby) |
Digital Aesthetic and Spatial Self06/03/2017Akshita Sivakumar, Massachusetts Institute of Technology This body of research contends that basic design training requires malleable aesthetic and spatial sensibilities, which in turn can cultivate a changing sense of self. “A sense of self” here draws on William James’s and Ulric Neisser’s plural conception that includes self-knowledge, sense of agency, meaning-making, ownership, and narrative continuity, which all combine to motivate our actions in the world. How we are trained to perceive, apprehend, cogitate, examine, reflect, record, and practice these sensibilities guides how we identify and piece together our experiences in the world as a series of aesthetic and spatial fragments. This construction and cultivation of malleable attributes of self is prescient and relevant to fields beyond design. The site of cultivation lies beyond the mind. I build a case that these contentions are picking up on recent waves in situated and embodied cognition, and posthuman discourse that have each reclaimed the body and the non-human respectively as extended sites of perception and cognition. Rather than working in disciplinary silos that engender the proliferation of canons and inhibit the creation of common ground, design can subsume their motivations in order to make the malleability of self operational by developing new methodologies and suggesting new materials. To achieve these two goals, I embody cognitive science and posthuman discourse, in order to make visible their pursuits, knit together their underlying values, and frame their common calls as design problems. Through this, I develop a new methodology called Performative Experiments that primes the malleability of aesthetic and spatial sensibilities by estranging one from canons and rote moves. Just as parkour engages the displaced center of mass from the human body into the surroundings that are appropriated as an extension of the body, so do performative experiments arrest the spatial and aesthetic aptitudes growing out of a malleable sense of self. I also build a case for the shadow and shadow silhouette as materials with which to engage these methodologies. By making absent inherent material, texture, volume, and depth, they are able to render equal human and non-human, and alienate known formal and spatial attributes of objects, bodies, and events. In order to enact the case I’ve built, I present Hogarth’s Silhouettes as a proof of concept of a foundational experiment in design education. My claim is that it puts into play a malleability of aesthetic and spatial sense of self, which constitutes a new form of design thinking/doing, across disciplines. Video on YouTube, Hogarths Silhouettes- https://youtu.be/eR83HywSpr4 Akshita Sivakumar is a post graduate student at the Massachusetts Institute of Technology. This was a Poster Session on June 3, 2017. 11:00–11:30am (SCI Lobby) |
Developing Complex Systems With Low-Fidelity Prototypes06/02/2017Tom Maiorana, University of California, Davis If design is to continue to make a credible claim that it can solve the world’s most pressing problems, our tools must evolve to address increasingly complex, dynamic and connected product systems. This paper explores the ways which low-resolution prototypes can be used to address complex challenges with minimal risk, investment and time. The practice of rapid-prototyping has become central to product development, but changes in the ways that products and services are conceptualized, built, distributed, and used require a new way of thinking about this critical practice. Traditional prototypes focus the object or solution. But modern products are increasingly utilizing human interaction and social systems as a core part of the offering. Technology-driven prototyping tools can handle complexity, but fail to offer the flexibility and inclusive necessary for rapidly changing landscapes where a variety of contributors and approaches are necessary. Unfortunately, most low-resolution prototypes are ill-equipped to handle these complex environments. Designers will need tools that illuminate potential futures to their stakeholders, teams, and a growing list of collaborators. And they will need to do this in less time. This paper explores ways of reimagining prototypes so that they may be used to help understand complex systems in rapid, low-risk, ways. This paper will illustrate the ways which a variety of prototyping methods bridge the gap between analog, digital and social systems. Examples from software to festivals will yield insight and actionable frameworks for designers of complex product systems and services. BMX flips as a metaphor for prototyping complexity. Faculty members from five different colleges using low-fidelity prototypes to help shape the strategy for “The Hive”. Tom Maiorana is an Assistant Professor in the Department of Design at UC Davis where he focuses on product design, design thinking, and prototyping. Tom’s research focuses on how low-resolution prototypes can help designers explore the human experience of interacting with complex systems. Tom is also the founder of Red Cover Studios, which specializes in product development and innovation strategy and uses prototyping as a central practice in work ranging from interaction design to fashion to organizational change. Red Cover Studios helped to conceptualize and launch the Hive at the Claremont Colleges and Denison University’s forthcoming Design Lab. Tom regularly teaches at Stanford University’s d.school. Tom has an MFA in Design from Stanford University and a Bachelor of the Arts from Vassar College. This was a Long Paper Session: Practice and Process on June 2, 2017. 10:30–12:00pm (SCI 106) |