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Learn to Create and Infuse Poetry into Designs to Make Them Sing.

by Ko Nakatsu

When the credits start rolling, you don’t immediately go back to the beginning of the DVD and say “That was great! Let’s watch it again!” At minimum you might wait another five months before you see this movie again, regardless of goodness. Whereas if you hear a great song, you can listen to it start-to-finish, over-and-over, twenty times in a day. This was pointed out (1 hour 4min in) by director and artist Oliver Gondry, Michel Gondry‘s brother. The significant difference between a movie and a song is that “it’s not a story, it’s the feeling”. Music is emotional and it’s able to transcend from artist to audience. It’s not about conveying information, but it’s about sharing a feeling.

A song consists of music + poetry. If you want to communicate a feeling, you have to infuse poetry. It’s the rhythm of poetry and music in sync that causes emotional-transcendence. If you want someone to feel your happiness, you don’t say “Hey you! Be Happy!” and the feeling magically transfers from one person to the next. No, you have bring the skills of a great poet, and intertwine it with some other medium to share that happiness.

But poetry is for pansies. It’s touchy-feely wussness prancing around in a shroud of words. So I used to turn away from its existence. My scientific mind had no room for such fluff. Science is logic and the search for an answers.  The poet, Rives, performed a poetry about the internet and it bridged that scientific mind and poetry for me. Nerdy – yes, wussy – sort of, melancholic-funny-happy-awesome – definitely. His world of Slam Poetry was certainly not for the wuss and certainly didn’t lack any energy. (I wish I’d known about it when I lived a few blocks away from the Green Mill in Chicago where it emerged as its permanent home in the 80’s. Note to self: find inspirations sooner than later.) He infused poetry into performance, with the content about science.

Benjamin Zander infuses poetry into his lecture on the world of possibilities. In thirty minutes he flows with elegance, carefully chosen words, and inspires a crowd through his poetry, disguised as a lecture. I watched this video three times in a row when it was released.  If a lecture can be infused with poetry, where else can poetry enter? Can I make my corporate presentations into poetry? Then, like a song, I can present it twenty times in a day and not be tired of presenting it. On top of that, the audience will want to hear it again and again. What about static designs? What about interactive designs? Where can we infuse poetry? Design can’t just be about function and form, it needs to be infused with poetry. Only then can we pursue in creating our scratch and dent dreams and create Tomorrow.

If we deny poetry when we communicate, it’s ineffective communication.  Maybe you want to share the empathy of being a teacher, deafness, being Asian, or being really really Asian. That passion and feeling can only be conveyed through the poetic verse. As designer’s we can create without poetry, it’s a choice that we make before its release. That choice is whether you want the result to create any meaningful relationships between humans, or not. Learn to create, write, infuse, poetry into designs to make them sing.

Where to Find the Good Stuff: The Outer Fringe

by Ko Nakatsu

© 2010 Ko Nakatsu

You throw away the outside when you peel an orange. It’s what’s inside that counts.
When you meet a stranger you judge them on their character. It’s what’s inside that counts.
“Guns don’t kill people, bullets do”. It’s what’s inside that hurts.
“Sticks and stones may break my bones, but words will never hurt me”. It’s the strength of what’s inside that protects me.

When it comes to singular things like fruits, people, and guns, what’s important is what’s inside. When it comes to Ideas in our culture, or inspiration in our culture, it’s what’s outside, what’s on the fringes that counts.

The tourists travel along the Yamanote Line (the green line) in Tokyo. Plenty to see! It’s a train system that travels in a continuous circle around the center of Tokyo. There’s no need for a tourist to venture out of this circle. The Shibuya stop has all of the trend-of-youth, Akihabara stop has the bizzaro otaku-meets-radioshack culture, and Hiroshi Fujiwara‘s Harajuku is where the “Fruits” of fashion bloom. When I went to Japan last year, a couple of local friends guided me on the fringes of the Yamanote line. They showed me what’s outside of the main-core.

If you go out too far from the core, it’s a barren land of residential buildings and convenient stores (“combini”). There’s an area on the edge of the core though, the crust, the rind, the fringe, the right distance from the main core, where all the good stuff happens. This is where the interesting locals live. Fascinating-people don’t live in the heart of Tokyo, they live on the fringes, the people living the creative life, the stores that support a niche group, the restaurants experimenting with tradition while respecting it, can’t afford to live in the main-core of inflated prices, but they can’t live without that culture. So they live on the fringe.

Life-Size Gundam Bigger than Paul Bunyun © 2009 Ko Nakatsu

On the fringes of Tokyo is where they built a giant life-size anime mecha-robot, Gundam. The 6-story gargantuan robot was built in Shiokaze park. Why? Do you need a reason to make a life-size space robot? And People who live on the fringe are allowed to build a gigantic robot for no reason.

On the fringe of Tokyo, lies an ex-fashion-center the size of a typical American Mall. It housed all of the high-fashion brands in the 80’s. Once abandoned, it’s now replaced by every collector-related store imaginable from rare books to rare comics and ofcourse, rare robots. It’s like eBay walked in to this building and exploded into a million carefully dusted goodies with a sprinkling of double-rainbow. The collector’s paradise attracts old people from the outside of the fringe, and young people from the main-core. They mingle together on the fringe and bring ideas from the opposite generations. My friend explained that the popularity was nostalgia for the older generation and the younger generation seeking an imaginary time of innocence.

On the fringe of Tokyo are the real Fashion Fruits that party ’til 8AM and too busy to hang out in Harajuku and care less about being photographed by tourists. On the fringe are fresh raw chicken dishes, sashimi style, killed to order. On the fringe is where lives intermingle, and experiments happen, pulling people in from the main-core and from the Outside Lands.

The fringe has the good stuff, the necessary stuff, so look carefully before you throw away the peel and rind, because you just might find a 59 foot robot and the neglected-inspirations.

The Importance of Colliding Ideas in Your Brain

by Ko Nakatsu

I spoke with Steven Johnson today, who recently spoke at TED. He promotes the intermingling of ideas that occupy different spaces, not on any sort of spectrum, to create good ideas. These ideas also don’t have to happen at a cultural level or even a physical space like a coffeeshop, which he describes in his lecture, but it can also happen inside one-mind. He explained that it’s where he came up with the idea for one of his books. He was writing two separate books, one on neuroscience, and one on cities and couldn’t decide which one to focus. Coincidentally he was given two copies of the same book of 19th century maps from his Dad and Friend for his 30th birthday. In it, he saw a city map of Hamburg Germany which looks like a brain. It inspired him to combine the two books into one and he wrote Emergence: The Connected Lives of Ants, Brains, Cities, and Software”.

It’s this intermingling and twisting together of ideas that build into great ones. In a lot of ways what he seemed to be saying was that the characteristics of someone with good ideas are someone that’s like a 概(gai)-shaped designer. Other characteristics of historical figures who came up with great ideas were people with extended social networks with diverse but weak ties to people, people who have tons of hobbies, and writes down furiously, all of their ideas, then goes back to read them. Being creative can help by colliding ideas with people different than you, subject matter where you know nothing, and your ownself from the past.

So maybe to increase the collision and the intermingling of ideas, the more confined space, the better. Kinda like if you want two pandas to mate at the zoo. Lock-em up, so that from its loins births a cute cuddly sneezy ball of awesome a result of the cross-breeding of ideas. The Confined-Space approach is more than just an multidisciplinary group working in close proximity but a full-on make-out session of different fields so bits of saliva invade each other’s thoughts. That might require years to develop that level of comfort of the free flow of ideas from one person to the other. The closest example is probably your friend-colleagues. If we want to do this in the One-Mind, it would require designers to read more on subjects like neuroscience, economic theory, behavioral science, astrobiology, or poetry, to really have any profound effect in our industry and the rest of our culture.

Be Safe to Be Creative.

by Ko Nakatsu

I interviewed Lynval Golding of the Specials when I ran a ska/punk magazine and I asked him about how he felt about the ‘scene’. Was dressing up in two-tone suits, just like everyone else, just a sign of conformity? Wasn’t dressing-down, way-down, in mohawk, leather and chains, like everyone else in the scene, going against the anti-conformist attitude of punks? He said it’s not about  conforming or individuality, but it’s about being part of a community. By being part of the community, you can dress different than the rest of society, identify each other on the street, support one another, and feel safe. Safety helps you seek comfort in a chaotic world. We are rather insecure social-beings after all. The result of that feeling of safety and comfort is the freedom to be expressive and to be creative.

Sudhir Venkatesh befriended a drug dealer and eventually studied the leaders of the gangs and how they ran their “business”. He wrote a book on his ethnographic study of gangs. Much like in the regular economy, in that underground criminal community, the economics developed in a highly creative fashion with their own stories of creative espionage and hierarchical management-order. It paralleled the regular economic theories of our mainstream economy. My guess is that the gangs that came out on top had a strong internal community where everyone felt comfortable to offer up new ways to commit crimes, had a leader who was highly creative, were able to look holistically at all the obstacles (cops, junkies, etc.) and had a group of people he trusted, where he felt safe and comfort (although probably few in number).

From an outsider’s perspective the circle-pits of hardcore shows, moshpits at punk shows, and skanking at a ska show looks chaotic, but it is culturally-creative, it has never existed before, and it is mentally-comforting for the people in the scene.

If you fall in a mosh pit, your community will pick you up.
If you jump off the stage, they will break your fall.
If you crowd-surf, they will hold you up.

Knowing that you’re in a safe place, allows the environment to breed creativity. Bands experiment with new sounds and the audience tries out new dance moves. Once it becomes popular and the community-bond dies, so does the feeling of safety and comfort, and out goes creativity. As outsiders come-in, the original community feels compelled to harden their views and stick to the original plan. You can’t be dorky and make mistakes any more because you have to intimidate the outsiders. It’s a very fragile and short road to blandness.

Being in a safe environment is the foundation for creativity. That’s where you can feel comfortable applying all of the other skills like rapid-prototyping or brainstorming and not be ostracized. When you feel safe you can be a nerd, a dork, or a punk and you can share your alternative views from that perspective. If you’re worried about what your boss might say or if you’re worried that you wont look “cool” in the circle pit, then you won’t try anything creative. Create a safe environment, if you see someone fall, pick them up, if you see someone jump, break their fall, if someone wants to surf, hold them up. Be safe and be creative.

ISMs

by Ko Nakatsu

Robert Guyser on a linked in forum got me thinking about ISMs like modernism and minimialism…

ISMs are about absolutes, a belief in a set of principles to guide how you see the world. As an example in the design world maybe there’s something like: consultancyism. A belief that there are set of formulaic processes that can solve ANY problem (i.e. research > prototype > design > release). This gospel-of-process by many design consultancies preaches that it can be applied to design anything and that’s easy on the ears for risk-adverse business-minds. A repeatable process makes them feel safe, comforted in their past. But like all ISMs, it puts the blinders on and limits our ability to come up with a real solution. If we all believed the gospel of modernism and minimalism, we’d live in a world of smooth black bricks Apple-pod-a-la-mode-style. Over simplification perhaps, but any mass-uni-directional philosophy would lead to a rather sterile world indeed. (Which is why there’s a movement away from it in the design community. London Design Week is showcasing quite a bit of biological forms this year. Lots of anti-smooth, anti-rounded-edge-rectangle designs, regressing back to super-ancientism perhaps (nature) .)

The rejection of the ISMs with the punk attitude is beneficial to the designer. The Anti. By not being “for” anything, it allows freedom and maximum flexibility to seek out a solution from any angle. The design itself could have a point of view, as punk does, but still not subscribe to any ISMs.

The Potential in the Void

by Ko Nakatsu

Kenya Hara, the art director of Muji, spoke about their philosophy of “emptiness”. The concept of “emptiness” is a philosophy that is prevalent in designs throughout Japan. He gave a similar lecture at Google headquarters that you can watch here.

In a recent blog post on Core77, I commented on a misconception of the futon’s fold-away function. Contrary to the author’s point that it is good for “freeing up useable square footage in a space-tight country”, it’s actually a much more spiritual and philosophical reason. That notion is merely a benefit from the true meaning and original philosophy of a futon. It has nothing to do with the density of the population but the true reason for the fold-away function is so that you can create a “void”.

By creating a void, or an empty-space, it allows for limitless potential of reasons for the room’s existence. It could become a tea room, dinner room, bedroom, entertainment room… the empty room creates “potential” to be any room. Traditional rooms in Japan (which are becoming rare) often have nothing that is permanent, even the “walls” or fusuma, slide away to create a larger expansive empty-space. The people, wall, furniture, and artwork, enter and then leave the room, to return it to empty-space, full of potential. This philosophy can often be seen in many parts of the country, from objects to culture, to even an international company like Muji (“Mu” meaning “empty” or “absence” or “void” with a hint of “tranquility” and “potential”. That would be the closest translation in English. )

Next time you’re in Japan, look for things that you cannot see, the potential in the absence. It  might change the way you perceive everything around you in this American life.

Drowning Out the Adult Voices

by Ko Nakatsu

Shit adults say to themselves and to each other:
“I can’t do this”
“I shouldn’t do this”
“Don’t blow it”.
“Not good enough”
“It’s wrong”
“That’s a CLM”
“No budget”
“It won’t sell”
“It sucks”
“Think about it”
“Don’t worry”
“They won’t like it”
“That’s not allowed”
“Give Up”
“Why?”
“It doesn’t make sense”
“When I’m free”
“Next Monday”

Shit teenagers say to themselves and to each other:
“I’m going to be somebody”
“Fuck it”
“Okay, let’s do it”
“Any time, any place”
“Hell yeah”
“Fuck yeah”
“Oh well”
“Mine”
“Sorry”
“It’s fun”
“Just because”
“HAHAHAHAHAHA”
“Sure”
“Don’t quit now”
“Whatever it takes”
“No one can stop me”
“You can’t label me”

It’s hard sometimes to drown out those voices urging you to be an adult. It’s haunting. I think what’s been working is to just set a course for where I want to go and then just set it to auto-pilot, cruise-control. Then I can enjoy the ride, have some fun, and assume I’ll end up at the desired destination.

Future is for the Philomath Designer

by Ko Nakatsu

I looked at the “T” in T-Shaped Designer under a microscope and the vertical is actually a lot more complex. Though the name is simplified to a marketable catch-phrase, it looks more like the image below:

The misunderstanding of the T-Shaped Designer (specialization + generalist knowledge/experience/outlook) is explained in real-world terms in much more detail here and offers solutions to some of the questions pondered in this article. Though the T’s complexity greatly enhances the value of a designer, the truly comprehensive designer needs to do better than a T.

The T in the T-Shape Designer (or any other letter in the alphabet) certainly needs to be reshaped to solve the wicked problems. “the T” is too simplistic and anglocentric to accurately explain the skills necessary for a designer of tomorrow. A critic without a proposal is just a jerk (or a republican), so I propose this:

a 概(gai)-shaped designer. (I could propose the TTTTT-shaped designer but that would just sound like I’m stuttering, or the T-Cell shaped designer but that would only apply to consultancies, or the Mr-T-Shaped Designer which is just gonna get you sucka.)

The 概-shaped designer can only be achieved by a philomath, a lover of learning, paired with a life-long pursuit culminating in some resemblance to Buckminster Fuller’s “Great Pirates”. The Great Pirates were a seaworthy “Leonardo’s” of their time, who was an expert in many sets of skills from navigation, shipbuilding, logistical strategies, experimentation, and economics. An interconnected web of experiences, an expert in the relevant century’s skills, a recognition of ignorance, a combination of learned-sense to fill in the blanks, and a master of the unformulaed-methods, the Great Pirates, flexible and creative, ruled the seas for hundreds of years. They could do all things that people on land could do, and then some. The T-shaped landlubber specialized in one-area, even with a broad perspective, couldn’t dare to compete with those with many specializations and knew the applications and realities of those said theoretical perspectives.

These Great Pirates who Fuller considered to be “Comprehensive Design-Scientists” thought more long-term and were keenly aware of their resources. In the venture-by-sea, everything is finite. Creativity, knowledge, and skills need to work in harmony at a furious pace and at a highly elevated level of standard. Or you die. It’s not so different than the companies of today sailing in a sea of publicly traded wall-street waters or our travel through time in Spaceship Earth. As they say, it’s “sink or swim.” and the 概-shaped designer knows the butterfly, breast-stroke, deadman’s float and can say “help” in 10 different languages.

Buckminster Fuller advocated people to have expertise in many fields. Being specialized in only one created too much of a narrow view. “Such over simplified viewpoints are misleading, blinding, and debilitating, because they preclude possible discovery of the significance of our integrated experiences.” The 概-shaped designer avoids this narrowing of the perspective and cross-breeds new thoughts and ideas in their own minds. It goes beyond just mere empathy that the horizontal-T gets from working with other fields, but births new fields and areas of study. The T-shaped group-project does cross-breed ideas but at a frighteningly slow pace. Their attempt at an unrefined “anticipatory-divide-and-conquer” strategy is noble but having seen one too many programs end a tragic-fate, regardless of a bunch of T’s in the room, I’d rather have a couple of 概’s working closely together.

I’ve worn the hat of a future-forecaster many times. One thing I can tell you is that your profession, whatever it may be, will disappear in your lifetime. It won’t exist in any recognizable form compared to today. Much like Iriving Penn’s “Small Trades” portraits, professions come-and-go to extinction in one-generations time. Like that of chimney sweeps, coal man, and the chamois sellers, the T-shaped designer will be replaced. To compete with the youth-of- tomorrow, with their embrace of technology, multi-tasking abilities, learning a-la-carte from the internet, fueled by the world’s knowledge at their fingertips, we need to start learning to become a 概-shaped designer.

The Creative Hierarchy

by Ko Nakatsu

Architects think they can do industrial design
Industrial designers think they can do graphic design
Graphic designers think they can write
Writers think they can edit
Editors think they can direct photography
Photographers think they can create art
Artists do all of the above

Sex, Trends, and Relationships: Design Needs Comedic Research

by Ko Nakatsu

“Jesters do oft prove prophets” – w.Shakespere, Tragedy of King Lear.

Being a prophet is much more exciting than someone who understands the present. It’s mystical to know the future. But the jester, the comedian, actually does a better job of knowing the present, this moment in time, better than any other profession. The skills of a comedian should be taught in every sociology, marketing, anthropology, or design research course. You can’t see the future without knowing the present.

You have to live your life on the ground and have things happen to you if you want to be a great comedian. You can’t write jokes sitting at home and imagining things. Just the same way, designers have a lot to learn from the methods of a comedian. You’re designing jokes for someone else, you have to know your audience and you have to know the real-world. The following are some inspirational skills from comedians.

Hyper Observance
Comedic performances, is just proof that they know the human spirit. Their time during the off-stage hours is where we can get inspiration. They are on-the-job 24-7, in search of the next joke. They are looking, listening, watching everything that happens around them. George Carlin’s observance on pattern-finding or any of the Seinfeld episodes bringing everyday social and object interactions to the exaggerated fore.

Art of Speaking Freely
The art of pointing out the stuff no one wants to say is one mastered only by the best comedian. They’re able to use the smoke screen created by the wall of laughter to talk about the taboo topics of politics, religion, sex. Every genre of every issue is used to speak their minds and bring to light, things we’re too afraid to say. Whether it’s Lewis Black critiquing Bush and religion or the politicomedic powerhouse Jon Stewart and his daily efforts to debunk the Republican propaganda, one laugh at a time. He possesses a skill so refined in story-telling, that his content, his candid designed presentations are able to relate at a human level through jokes. Delusions births the wrong designs, and jokes helps speak the truth.

Cultural Criticism
Using the power to truly speak without limitations, comedians critique their own culture through analysis with the intuition of a philosopher. Kat Williams may promote opportunities for African Americans to befriend white people or Maz Jobrani, part of the Axis of Evil comedy tour will make the audience see Muslims in a new light at the TED conference.

They’ll play off of stereotypes and assumptions we carry into the theater, and then they cleverly bring it to our attention on how we are wrong, and propose the right solution.

Trend Watcher
Some jokes lose its potency after a month or even a week. It simply just falls flat. As they say, “it’s funny because it’s true”, but if time passes by on their jokes, its no longer our current truth. Demetri Martin using mock presentations styles of corporate America to explain Hummer owners is one such example of bringing to light a trend to create humour. Like the evolution of trends, his jokes will certainly change a couple of years from now when the SUV dominance subsides. Louis CK’s amazement with technology and it’s affect on human acceptance of said gadgets also brings to light some changes happening as we grow accustomed to our built environment.

Tuned in on the Details of Human Relationships
Designers talk about user-centered design and understanding emotions. Kevin Hart does the same thing talking about those interactions we have with one another with all the emotions, reactions, and behaviors. He brings forth and enlightens us with our social interactions that we take for granted by objectively would seem bizarre. We can take this understanding and place it in our design-considerations.

How honest our designs would be if we were able to capture the perception of a comedian with the delight of laughter? How culturally impactful would our designs be if we could make those necessary commentaries and critiques on the status quo?  How meaningful would our designs be if we had the skills of a comedian to bring forth the right level of appropriateness with an interesting hint of mischief? The next time you’re looking for some design, trend, or market research, maybe it’s time to recruit at your local open-mic.