02.18.2024

Advisory Recap

As an 80’s kid the best way to answer any curious question that came to mind was to ask a grown-up, and if their answers were insufficient, or flat-out indiscernible bullshit—go to the library.

When my family’s first Personal Computer with an internet connection showed up on the kitchen counter in 1994 it served up enough instant information to satiate every question in real-time.

As I’ve grown older, my mind is no less curious, but the thrill of instant information has lost a bit of its glow. I’ve missed the hunger pangs of having an unanswered question, and the chewing on potential solutions. For the last tenish years, I’ve decided to leave room for organic information and refuse to Google every question that comes to mind.

My two favorite questions to chew on have been:

  • What is on the other side of my belly button?

  • What is a is a chrysalis? What happens in there?

In my first advisory meeting, Yoon Soo shared the mystery of the chrysalis…it’s all goop in there, no discernable common anatomy exists in the transition. I was blown away by this information, and thrilled with how it was received. Finding the answer to this long-pondered question is far more magical in this context. Thank you Yoon Soo!

Keep Gooping
My primary take-away is to keep GOOPING. Keep dissolving the membranes between all the categories of myself and the subjects that often fuel my desire to write and make. To keep investigating ways of representing these ideas in ways that challenge design and social hierarchies, and be open to discovering what new thing emerges.

Check out Chromophobia by David Batchelor to further inform ways of thinking about color, and opening students up to the world of storytelling through color—a part of the design process that students often express anxiety over. This resource will probably continue to inform my Colorisms prompt.

Check out Near Sighted Monkey for examples of interesting creative prompts.

“Not Lost” posters led me to the “Still Missing” book, which sparked thoughts on potential answers to James Chae’s question “What is YOUR relationship to Chicanø/Pochø visual culture?” And the idea of cultural anthropology is conducted through the gathering of things made by a people that teach us something about the people. Colby Graphics posters are an example of an entry point.

Consider 4 stages of learning:

  • Learning the rules

  • Breaking the rules

  • Pattern recognition

  • Challenging the paradigm

    Read Functional Criticism: How to have Productive Critiques in the Creative Classroom. 

    I am going to practice this model in my next Typography critique.

    “Just because I don’t care doesn’t mean, that I don’t understand.”

    —Homer

    I’ve actually heard a male professor tell a female student that he “stopped caring” about her project.

    Things I want to integrate into the pedagogical Imago Design framework:

  • Consent

  • Agency

  • Confidence (a salve for imposter syndrome)

    Words/pharases I loved

    Typographic Hygiene!

02.28.2024

Imago Design Exercise

RADICAL CRITIQUE LEXICON

Critiques often feel like the most labor-intensive part of the teaching and learning experience. The act of pinning work to a critique wall to elicit feedback has the sudden effect of tightening the air in the room and causing your students to shrink by several inches. Sometimes, you get lucky, and one or two students are excited and ready to start the conversation; they also tend to disproportionately occupy speaking time.

After conducting a student survey at the beginning of the semester, I learned that one of the aspects of learning that students are most anxious about is, unsurprisingly, the dreaded critique process. Beyond their obvious discomfort at making themselves vulnerable, students expressed fear over saying the wrong thing, not having anything to say, or not sounding “professional” enough.

To help alleviate these anxieties, I have created a tool called the Radical Critique Lexicon. This exercise invites students to collaboratively create a list of words and phrases that can be used during critiques.

Part One: A stack of index cards, markers, alphabet stickers/stencils, scissors, and glue are provided, and students are asked to generate cards featuring adjectives that describe the kind of work they hope to make throughout the semester using words or phrases that range from casual to professional. After creating a card, they pin it to the crit wall under a label that reads “radical critique lexicon.”

Part Two: During critique, students are invited to take cards from the radical critique lexicon and post them next to projects that they believe exemplify those ideas. New cards may also be generated and added to the discussion with each critique.

Part Three: The physical part of this exercise allows students to become embodied and present again, moving out of their anxious mindsets. As the verbal part of this discussion begins, each project is surrounded by several words that give speakers an entry point into a conversation about the work.

Examples of words and phrases generated for the Radical Critique Lexicon by students:

02.26.2024

Introduction

Imago Deisign

As a design educator, one of the most satisfying aspects of the profession is creating the type of learning experience you wish you had as a student. Even if your professors were exceptional and you thoroughly enjoyed your education, there is always a desire to innovate. Advancements in technology and cultural shifts also require us to adapt our teaching methods and course content to stay current.

I created the Imago Deisign framework as a means of documenting the teaching practices and methods I have cultivated, embraced, and integrated into my educational environments. A significant portion of these practices has been generously imparted by fellow educators, and the methods I developed owe their creation to collective knowledge sharing and affirmations of necessity by both peers and students. Nothing has been shared without permission and consent, and credit is given everywhere it is due. My objective is to broaden and diversify the resources available to design educators, as well as engage in the dynamic dialogue that is reshaping the profession's paradigm.

These teaching practices have made significant impacts on both professional and personal outcomes for myself and my students. Many of those outcomes are recorded anecdotally, or through data visualizations (when data is available).

I acknowledge that each educator holds their own unique set of values and priorities. In my hierarchy of values, I prioritize recognizing graphic design as both a labor-based practice and a form of creative expression. Bearing this duality in mind, I prefer to craft projects and exercises designed to equip students with the practical skills necessary for success in a fiercely competitive field, while also providing enough creative space to challenge existing paradigms and cultivate confidence in students' capacity to narrate stories of personal interest as design auteurs.

My experiences as a member of a mis/underrepresented demographic within the realm of generating and consuming visual culture have served as a driving force behind my commitment to promoting diversity within the profession and enhancing representation. To this end, my curriculum emphasizes cultural literacy as an essential component of the designer's toolkit, centers the student voice and perspective, and offers expansive approaches to teaching and contemplating foundational concepts such as color, grid, and semiotics. This framework diverges from the well-worn path of Eurocentric design pedagogies and forges its way toward broader cultural and historical perspectives.

The format for this toolkit was inspired by Tarot/Loteria decks, objects that invite elements of chance, and divine intervention. The publication provides a deep dive into exploring how you want to shape the way you teach through essays, and interviews, while the deck of cards provides exercises for you to test and incorporate at your interest/comfort level and pace.

For those at the beginning of the journey: You do not need to throw everything out and start over to do the work. Do what works, in your own time. For some, this may be a week-by-week process, for others, it may be semester-by-semester. For all of us, this is a career-long adventure of transformation—bite off only what you can chew.

“Be a caterpillar.”
—Yoon Soo Lee

03.31.2024

30 Days of
Social Media Sobriety

Yesterday I reached a 30-day benchmark of social media sobriety.

Social media use began in my early twenties with platforms like Friendster and MySpace. Back then, access was limited to web browsers, necessitating a personal computer and a stable internet connection. You had to be at home or wait until returning home to engage with these platforms. Initially, I used social media to stay connected with friends and colleagues, sharing photos, planning gatherings, and exploring art, design, and music. Any political content in my social feed leaned toward the liberal end of the spectrum, reflecting the demographic of early adopters.

It was FUN. I typically left my feed feeling good, inspired even.

As technology evolved with the release of the iPhone, social media became portable, enabling real-time engagement from anywhere. Instagram became my favorite app, and while my usage increased social media remained a platform for discovering art, design, and music, as well as sharing experimental media, thought-provoking ideas, and pictures of food.

Like the previous gen-X internet pioneers, millennials were figuring out how to use this tech to pull themselves out of an economic hellscape. Social media marketing created jobs for a demographic of young people who entered the economy at one of the worst points in financial history. The influencer era emerged, offering avenues for self-publishing and crowdfunding-supported ventures. Content became globally commodifiable.

Social media also became a powerful tool for political organizing, as seen in the Arab Uprising of 2010. It facilitated the communication of events to a global audience and made street journalists viable competitors to mainstream media. Unless their internet service was disabled.

The content I generated and shared was an earnest cataloging of my own life and experiences, design work, and ideas. My feed was maturing, and twenty-something exploits were replaced with engagements, wedding photos, pregnancy announcements, and professional milestones. I was also staying socially/politically informed through the channels of BLM founders, global news sources, and political accounts I had chosen to follow.

In 2016 I decided to quit Facebook cold turkey after my boomer parents and all of their friends had figured out how to use the platform and ruined the party. This cultural shift caused a mass exodus remarkable enough for someone to manufacture “Make Facebook Great Again” hats.

Instagram remained a place of solidarity, connecting me with a community of folks with shared interests at the intersection of design, education, and social justice. I found myself feeling less lonely, and deeply inspired througuh our interactions.

There have been times in my social media life that were far less rosy though.

When I experienced pregnancy loss in 2013 the tidal wave of grief was compounded by the stream of pregnancy announcements in my feed, and I felt that this was something I couldn’t talk about in that space. There were no hearts, hugs, tears, or angry faces to click in support of friends going through a difficult time. Facebook didn’t add these features until 2016, after Mark Zuckerberg and his wife experienced their own difficulties with fertility and pregnancy loss.

Later I had an experience with a person that creeped me out so badly that I made my primary account private and created a public-facing account where I did not post photos of my home or my children, or real-time whereabouts.

Finally in late 2019, when my marriage imploded, I discovered that folks were nosing their way through my feed to try and fill the gaps in the chismé. I felt like a walking telenovela. I stripped my public content down to just a handful of design-related images and stopped posting original content regularly for almost three years. While me and my marriage are healthier I have not returned to posting the way I used to.

This brings us to my current day relationship with IG, where I’m more of a passive user. I scroll, I re-post, and send friendly Dms. However I've noticed a marked uptick in feelings of anxiety and desperation after using the ‘gram. My current algorithm seems to be: “This is what people like you are doom spiraling about —we think you’ll freak out too!” Our cultural zeitgeist is still working through the grief brought on by the pandemic. There is frustration at the slowing momentum of social justice movements, and anxiety over the rise of alt-right politics. Oh yeah, we also wrecked the planet, and we're most likely 40 years past the turning point. Mix all of that with the fact that America has drained the joy out of life by politicizing dumb stuff like pop stars and proven centuries-old medical science. 😑 Rome is burning, and social media makes me feel like all I can do is watch.

The most morally troubling bits of content for me are not legitimate pieces of street journalism or calls to action—it’s the endless amount of people streaming their trauma responses into their phone cams—most of whom I don’t remember following and have never had any type of direct interaction with. While I am sure there is some real catharsis in stream-valving your hard feelings into the social media ether, I am also sure that being on the receiving end of all of that activated trauma is not good for the amygdala. In a single IG session, I’ve witnessed innocent people die, mothers wailing in grief, a person yelling “It’s not that complicated” into the camera, and somewhere after that a chubby puppy is sleeping peacefully on his back.

I can feel myself disassociating amid the confusion I have created for the primal part of my brain designed to figure out how to stay alive for another day. I believe that bearing witness to the suffering of others and holding space for each other is an essential part of the ecosystem of healing—but our brains were not designed to bear witness to this much chaos.

At first, I felt guilty for leaving. I felt like I was turning away, but something in me said “Fuck that. Do it.” and I decided to check in with my privilege offline.

Over the last 30 days, my mind has become a much more peaceful and hopeful space. I’ve used this time to reflect on the organic vs. engineered aspect of “community” and what it means to be a citizen for the greater good vs. slipping into artificially induced martyr syndrome. In my community, my people know that if they need to pull up on my couch and pour their hearts out until the early hours—I’m here to offer them a plática. If they need help, I am here, with an ofrenda. I take care of the people I know and love, and they have taken care of me. In the local and immediate sense, that is what is tangible. In a global sense, I’ve always held myself accountable for staying informed and sought out the practical actions my privilege affords me to influence change.

I’ve also reminded myself that Instagram is a business that runs on paid ads. They’ve been caught red-handed as a bad actor when it comes to knowingly damaging the mental health of their users in the name of profit. Their goal in all of this, is to navigate my burning Amygdala toward click-through ads promising to sell me wellness in the form of recycled yoga leggings, video meditations with celebrities, and subscribing to empowerment courses with güerita self-care coaches. What?! No.

I’ve spent more time studying Spanish, and I’ve been able to converse with my 84-year-old Nana at deeper levels. She so funny! My daughter was so excited watching me use the Duolingo app to learn Spanish, that she asked to have the app installed on her device too—now we’re learning together. I’ve finished two of the seven books I’ve been reading and started a couple more. I’ve read essays and articles written by experts, and I’ve had conversations with people way smarter than me about how we keep moving forward. I’ve also slept better and I’ve been able to give calm and clear attention to the present.

Does this mean I will never return to social media? Nope. However, I will be practicing better social media harm-reduction strategies. I miss connecting with my design friends who are spread out across the globe, and I feel like I want to share more of my creative work again. I’ve installed daily time limits, and I am scrubbing my “follows” clean of celebrities, and people whose names I cannot put a face to, and will be thoughtfully focusing on engaging with the people and content that inspires me to keep making art, and writing and being a joyful advocate for justice online and off.

03.03.2024

The Alchemy Gland.

This is a design experiment in writing inspired by Heather Snyder Quinn's "Matriarchal Futures" workbook and the futures cone. This is a playful attempt at mapping out how a scientific discovery could heal the emotional trauma that causes human dysfunction and abuse, while simultaneously closing the wealth gap. The following story was first written in my words, and then edited with the help of Chat GPT to use stronger “Sci-Fi” language.

In the year 2031, a consortium of scientists spanning the globe unveils a paradigm-shifting revelation: a clandestine gland nestled surreptitiously between the gallbladder and the enigmatic lower posdnous. Through exhaustive inquiry, they unravel its purpose: akin to the appendix, this clandestine organ acts as a crucible, transmuting the detritus of emotional trauma into coveted assets. Essential for the preservation of mental well-being, it purifies the emotional immune system, expunging the burdens of trauma and transfiguring them into golden treasures, excreted through the bowels. Coined "emotional alchemization," this transformative process heralds a new dawn for humanity, christening the organ as the venerable alchemy gland.

Upon uncovering the gland, scientists embarked on a quest to unravel the mystery of its dormant state. Through meticulous experimentation, they unearthed a startling revelation: a vital mineral absent from our dietary intake lay at the heart of its dormancy. When coupled with magnesium, this elusive element surged to life, akin to the infusion of energy into a child's mechanical toy. Thus awakened, the gland embarked on its sacred duty, a beacon of hope amidst emotional turmoil, tirelessly mending the fractures of the soul.

As the ramifications of this discovery unfold, the very fabric of human existence undergoes a profound metamorphosis. With each expulsion of trapped trauma, a tide of prosperity washes over humanity, ushering in an era of unprecedented material abundance. Yet, beyond the tangible riches lies a deeper transformation—a collective awakening to the imperative of conscious, equitable, and compassionate action. In the wake of this revelation, humanity stands poised on the threshold of a new epoch, where the bonds of suffering are shattered, and the seeds of a harmonious future take root.

——-original text——-

It is the year 2031, a group of scientists collaborating internationally have made a groundbreaking discovery: a mysterious gland in the body has sat hidden between the gall bladder and the lower posdnous. After extensive research, they have identified its function. Similar to the appendix, the gland gathers what may be defined as "impurities" and transforms them into assets. This function of the gland is an essential part of maintaining a healthy emotional immune system by ridding it of trauma. Its role is to purify the emotional immune system by cleansing trauma from the body, capturing, and processing it to be expelled as golden nuggets through the bowel. They've termed this process "emotional alchemization" and named the organ the alchemy gland.

Upon discovering the gland, the scientists next needed to ascertain why it was not functioning as it was designed to. Through a series of scientific trials, they found that a key mineral missing from our diet was the cause. When combined with magnesium, this mineral behaves like a fresh pair of batteries placed in a child’s walking robot toy. The gland comes to life and gets to work to repair the emotional brokenness of its owner.

The impact of this discovery has the power to radically change human life on earth. As trauma trapped within the body is expelled their is a simultaneous increase in material wealth, as well as a desire to act more consciously, justly, and generously.

———-

Heather Snyder Quinn’s Matriarchal Futures Workbook is an invitation to contemplate what I would envision as an ideal outcome for humanity. I desire a world where all war-induced trauma is eradicated, where everyone is fed, clothed, housed, and has the time to learn, discover, practice joy, and experience wonder. I envision a society where people understand that mindset produces a force, where love begets more love, where there is a minimal need for forgiveness and contentment prevails. A future where we are able to return to the garden , and practice what God(s)/creation has always asked of us: to love them and to love each other.

Yet, I'm apprehensive about sharing these desires openly. It feels foolish, like something that would be torn to shreds in the comments. But then, I think of my children and how they would look at me, and I wonder if I could summon the courage to express my longing for a future marked by healing, radical love, joy, visibility, and acceptance. The only pathway to this future, I believe, is by recovering from, and thereby reducing human-imposed emotional trauma.

The notion of addressing emotional trauma akin to treating a vitamin deficiency is pure science fiction, what we do have to treat trauma is therapy, curanderas, spiritual practices, and many other practices that are proven to increase mental well-being. The healing part of this story should not be as far-fetched as it initially appears.

03.6.2024

The Giving ‘til It Hurts Tree


The Giving Tree by Shel Silerstein stands as an iconic touchstone in children’s literature. The story of the relationship between a boy and a tree is cherished and embraced as a canonical standard within the genre.

I remember as a child being captivated by the tree's creativity, and her ability to provide every need the boy has as he progresses from child to, adult, and finally to an elderly man. At first, she gives him shade, then place to climb, swing, and play—all gifts befitting a tree. As she provides for the boy, he is happy, and so she is also happy. As the story goes on, the boy begins to grow and his needs become increasingly strange, and yet the tree always finds a way. When he says he needs money, she gives him her apples to sell. When he needs a home she lets him cut off her branches for lumber, and when he wants to sail away—she lets him cut her down to a stump to build a boat from her trunk. My little brain marveled at her ingenuity “Is there anything this tree cannot do?”

When I became a parent I bought a copy of the book for my children’s library, they were finally beyond the age of picture books, and they could sit still through a story if I made funny voices for the characters. And so, one night they chose The Giving Tree and we sat on the floor for their bedtime story. I was so excited. It had likely been several decades since I had last read the text. I began to read the story to them, and this time I heard my voice as the narrator. I was returning to this familiar place as a grown-up. As I read though, I began to feel increasingly uncomfortable. I was beginning to see the story from the tree's perspective, revealing the boy as achingly sad and impossible to please. “Is there nothing that will satisfy him?”

While the tree loves the boy to the brink of her own erasure, he never reciprocates. He never returns with a pail of water or plants seedlings beside her. To him, she is just a resource from which to take, and she seems perfectly happy to destroy herself in exchange for the meager amount of attention he gives her when he needs something. I did my best to keep reading through the story—but my mind was off to the races. I could tell by the looks on my children’s faces that I was not doing a good job of masking what was happening inside me. They looked troubled.

What am I teaching my kids right now?

ALSO! WHAT DID I LEARN FROM THIS AS A CHILD?

I managed to finish the book, exclaiming how incredible trees are. I shared with them all the everyday items that originate from trees, emphasizing how we can express our gratitude by not demanding too much from our forests. Nice save.

After tucking in my children, a son, and a daughter, I went to my room to process what was happening inside me.

I felt the heat of anger and resentment rising to my cheeks and realized I was not reading this book from a parent's perspective—this interpretation stemmed from my role as a woman in the world. In that moment the tree became an archetype for the “ideal woman.” She gives of herself and never has needs of her own. She exists to serve the man-child, who is impossible to please, even her greatest sacrifices are only his temporary fix.

The comedienne Julia Sweeney has this great bit about how her mother recounts every movie plot from the perspective of the character she identifies with the most. In her mother’s retelling, Romeo and Juliette is a story about a devoted nursemaid trying her best to protect a wreckless and unappreciative teenage girl. When it comes to The Giving Tree, I am Julia Sweeney’s mom.

Given my life experience, it feels impossible not to make the connection between the self-sacrificing tree and all the ways I was groomed to constantly yield to the wants and desires of men. It's difficult not to consider the virtue my groomers attached to neglecting my desires, and conversely, the shame I would bear if I ever gave in to serving myself. Through this perspective, the boy emerges as an archetype representing every man-child raised in a machismo culture indoctrinated to believe that the women of the world exist solely to serve him. We are expected to fulfill the roles of his mother, wife, mistress, and maid. We are never his equal, and the consequences of his greed are never acknowledged. He assumes our capacity to serve is bottomless. And when we are exhausted, when we haven’t bathed in two days, when our bodies are sore from physical labor, and our minds are tired from emotional labor and we say “no” because we have nothing left but contempt—he curses us, abandons us, and makes us disposable.

The great irony of patriarchy is that —just like the woman—the man-child never learns to care for himself either. Maybe this is why the boy in Silverstein’s opus never seems happy. He is destined to wander the world believing all of his needs are gate-kept from him, that he must constantly ask for, or demand them of others. I imagine he forms his own special brand of contempt. I imagine this is why he sometimes takes what he believes is rightly his in a fit of rage and violence.

I wonder if Shel Silverstein intended for "The Giving Tree" to function as two distinct parables, catering to both its child audience and adult readers. For children, it offers a lesson on the altruistic and generous nature of the tree, encouraging reflection on the consequences of taking advantage of such kindness. For adults, it serves as a stark reminder to reconsider cultural norms, particularly in the realm of parenting. It's a lesson that underscores the danger of endorsing exploitation disguised as virtue and the importance of setting boundaries for our children to prevent them from growing into selfish and incapable adults.

02.29.2024

Portals.

03.03.2024

Art school is for güeritos.