As Industry 4.0 and Digital Transformation efforts bear their first fruits, capabilities, business models, and the organizations that embody them are transforming. A century ago, we thought of organizations as machines to be rigidly designed and controlled. In the latter part of the 20th century, organizations were thought of as knowledge to be cultivated, shared, and expanded. But “as intelligent systems gain traction, we are once again at a crossroads – where organizations must create complete and meaningful experiences” for their customers, stakeholders, and employees.
“Participatory Art” doesn’t just mean creating things that are pretty to look at in your office lobby or tradeshow booth. It means finding ways to connect with your audience in ways that help them find meaning, purpose, and self-awareness – the ultimate ingredient for authentic engagement.
Designing experiences to make this happen is challenging, but totally within reach. Learn more in today’s new article!
So much innovation in STEM is fueled by imagination and exploration, and in my opinion, we don’t communicate that very well to younger people. A great gateway drug for this purpose is art. There’s even a movement underway to expand out vision of STEM, and more tightly and more essentially integrate aesthetics, form, design, and fun into what we do via STEAM (Science, Technology, Engineering, Art, and Math).
STEAM doesn’t advocate just doing the arts alongside more traditional science and engineering. It actually requires that we look towards how we can use STEAM to create meaning for ourselves and our communities. In other words, it can help us get our mind off of science and engineering to understand and control the world around us – and focus more on how beautiful and intriguing things are that we can learn in those domains.
The picture above is the interactive zonohedral dome (or “zome”) that our students created specifically to engage others in the fun of integrated science and engineering. Here’s how they summarize their project:
As our communities expand rapidly, both physically and digitally, we can lose our sense of connection and togetherness. Interactive and participatory art interventions cultivate community by provoking engagement in unexpected areas. In this project, the prototype for an interactive zonohedral dome (or “zome”) was constructed as a proof of concept for an art intervention to engage students in collaborative STEM (Science, Technology, Engineering, and Math ) learning, by creating feelings of connection with the technology and with each other. Consequently, it demonstrates the values of the STEAM (Science, Technology, Engineering, Art, and Math) movement in education. Design elements (and an assessment approach) were selected based on a comprehensive literature review which focused on the aspects of engagement that would boost participants’ interest in and proficiency with STEM subjects.
A zome is a structure that supports itself solely due to its geometry. No nails or glue are used in the construction. The interactive nature of the structure emerges from sensors that detect occupancy, with music and lights automatically responding to the pattern of people entering and leaving the zome. Many technologies were combined to create this experience, including SketchUp (to design the components), Makerbot Replicator II (to build the structure), Arduino (to detect occupancy via phototransistors), LightShowPi (to generate Fast Fourier transforms of music files and control the frequency and amplitude of audio communicated via LEDs), and RaspberryPi (a microcomputer to run LightShowPi and translate the signals from the Arduino to play audio at pre-designated decibel levels).
We’ll post a video of the zome in action very soon. It’s so fun to look at, and play with… and what better way to learn programming than to make a structure respond to the presence and motion of the people around it?
When I was invited to a MoMA Board meeting a couple of years ago to field questions about the future of art with Google Chairman Eric Schmidt, we were asked about how MoMA should make acquisitions in the digital age. Schmidt answered, Graduate-style, with just one word: “quality.”
And that answer has stuck with me even today, because he was absolutely right – quality trumps all, whatever the medium and tools are: paints or pixels, canvas or console.
The problem is that what “quality” represents in the digital age hasn’t been identified much further than heuristic-metrics like company IPOs and the market share of well-designed technology products. It’s even more difficult to describe quality when it comes to something as non-quantitative – and almost entirely qualitative – as art and design.
Last month, I shared what I’ve discovered over the past 7 years, as I’ve aimed to answer the question “What is Quality?“ By applying the ISO 9000/Mitra perspective that I described, the MoMA dilemma (and others like it) may be easier to resolve. My approach centers around the ISO 9000 definition that quality is the “totality of characteristics of an entity that bears upon its ability to satisfy stated and implied needs.”
These stated and implied needs translate into quality attributes.
For art, the object of art is the entity. If that art is functional or interactive, then there are stated needs that relate to its ability to function within a given context or towards a given purpose. These may relate to quality attributes like conformance, reliability, or durability. (If the piece is not functional or interactive, then there are quite possibly no stated needs to meet). However, there will always be implied needs which relate to the meaning and purpose of the art; does the object help achieve the goals of art in general, or of the individual interacting with or observing the art?
Similarly, since art is in many ways a personal experience, does the object help the individual by inspiring, connecting, engaging, encouraging, illuminating, clarifying, catalyzing, transforming, encouraging, or revealing aspects of the self and/or the environment? Does the object stimulate an emotional experience? (Any of these aspects might indicate that the object of art is meeting quality attributes that are related to implied needs.)
A subset of Mitra’s model is relevant to examining the quality of art and design. Note that to assess the quality of an example of art, such as a videogame, we might focus more on the objective quality and the consequences of quality, because the antecedents will be more useful if we are attempting to improve quality over time:
Antecedents of Quality (conditions that must be in place to quality to be achieved): contextual factors (e.g. whether the environment/culture – or enough people within it – are ready to recognize the piece as art), quality improvement process (what mechanisms are in place to continually improve the ability of the artist/team to deliver high quality work, e.g. practice or evaluating other artwork), and capabilities (whether the artist has the skill to create and share the art).
Objective/Product Quality: This asks “how well does the entity meet the stated and implied needs?” Does it meet all of them, or just some of them, and to what degree or extent?
Consequences of Quality: This is the combined effect of the quality perception process (whether the piece meets each individual’s standards for value) and the broader impacts that the piece has on individuals and/or society in general. Quality perception is, necessarily, an individual process – whereas broader impacts involves factors such as how many people did this piece impact, and to what extent.
So, are videogames art? First, we have to check to make sure they meet their stated needs – and since they were produced and successfully distributed by companies to people who played and enjoyed those games, we can assume that the stated needs were met. So, what are the implied needs of videogames as art? This depends, like many things, on how you select and define those stated needs. Ultimately, you want to take into account the emotional and transformative impact of the piece on one person, and then across individual and demographic designations to see the impact of the piece within and between social groups.
IMHO, I was personally inspired to learn more about computer programming before I turned 10 by playing lots and lots of Pac-Man and Space Invaders. I was an empowered fighter in a world of power pellets, ghosts, strawberries, and bananas, and so were lots of my friends. We connected with one another, and with the era in history that is the 1980’s, as we do today whenever someone reflects on those games or the arcades in which they were played. Because the games inspired in me an emotional experience, that today is tinged with nostalgia, I’d say that videogames are just as much art as the beautiful cars of the 1950’s that catalyzed the same feelings in people of that generation.
Kudos to MoMA for casting their net wider.
What do you all think? How can we effectively assess the quality of art and design?
On Thursday, Morgan and I attended the first meeting of the Congressional STEAM Caucus on Capitol Hill… “a briefing on changing the vocabulary of education to include both art and science – and their intersections – to prepare our next generation of innovators to lead the 21st century economy.” STEAM seeks to promote creativity and innovation as key elements of Science-Technology-Engineering-Math (STEM) education. The “A” in STEAM reflects the growing awareness that art and design can be effective enablers, catalyzing the kind of creative thinking and openness to risk-taking that is critical for success in STEM. Although initially conceived byJohn Maeda of the Rhode Island School of Design (RISD), the idea is catching on, and there are now many supporters scattered across the country.
I want to know how you— the quality professional — handle failure in the workplace. Do you try again until you find a solution? Are you penalized for failure? Or do you avoid it altogether? How much risk are you willing to take to find solutions to quality challenges?
That is, to invent (and ultimately – by understanding how to create value for others – innovate).
Your weaknesses may actually be the keys that reveal your secret strengths. As educators, it’s up to us to help facilitate this process of discovery, not to fail our students for engaging in it. As business leaders, this can be more difficult because many of us have convinced ourselves that we should only have to pay for those things that “pay off.” However, the lessons learned from traditional failure are often the most empowering, even though our ability to honor them may be weak.