Posts tagged “craft”

ChittahChattah Quickies

  • [from steve_portigal] Shit Painted Gold – [Post-modern detachedly-ironic consumerism makes the brain work hard. We'll tell you these products are crap and that we've not added any value by changing the color, but we have transformed them nonetheless. So, we hope you'll be happy to pay a bit extra for them. Now, please exit through the gift shop.] Nothing looks fancier in your home, office or garbage than shit painted gold. these amazing one of a kind art pieces will legitimize your ability to say to people, "why yes, that shit IS gold" [Thanks, Jeannie Choe!]
  • [from julienorvaisas] What comes after One Day for Design? [AIGA] – [Along with many others, we participated and commented on the 1D4D experience. AIGA hints that they are analyzing conversations and data gathered that day to guide their very reinvention. Stay tuned…] On April 13, we reached out through the existing networks of several prolific tweeters who led exchanges on the future of design, the concerns of today’s designers and the opportunities for design communities…Together with our partners in this project, the independent branding collective VSA Partners, we are now synthesizing the comments and discussions generated through this event. We will share the results here as we summarize them and develop ways for AIGA to respond. In June, our national board and chapter leaders will review all of this research from the past year—including the results from “One Day”—and work with us to outline the next steps. This is the year that AIGA will pivot toward new forms of serving the profession and its members.
  • [from steve_portigal] Pink Tools for Women: Learn today, Teach tomorrow, Build forever. – [Had this one sitting around forever. Love the message of empowerment; I'm willing to buy the pink-as-brand and NOT pink-as-shallow-way-of-feminizing-design but what else are they doing (besides Tupperware business model) to make these products specifically for women?] Founded by three women deeply entrenched in do-it-yourself projects, Tomboy Tools was launched in 2000 as the dream-turned-reality of being able to provide women with hands-on education, high quality tools and a fun way to make a living from home. Our Mission Statement: To build confidence and empower women through education, quality tools and an independent business opportunity. Today, while our mission statement rings as true as ever, our slogan is shorter and more concise. Our slogan underscores the power of Tomboy Tools in the marketplace and the value we provide both to female customers seeking hands-on education with high quality tools and Home Consultants looking for a great career.
  • [from steve_portigal] Conversations With Bert: Andy Samberg [YouTube] – [As a fellow introvert, I recognize Bert's slight shift into a more deliberate and mannered "interview mode." While he's not quite Terry Gross (and has a way to go to do the type of interviewing that we do), this short clip is a good source for a number of interviewing techniques, mixing equally between "what to do" and "what not to do." I'll have to use this in my next workshop and ask people to make note of the ways that Bert is successful or unsuccessful as he asks open-ended questions, reveals his own perspectives, redirects the conversation, feeds back, acknowledges what Andy says, and asks follow-ups.] Sesame Street's Bert sits down with comedian and Saturday Night Live cast member, Andy Samberg, to talk about life, literature, cuisine and of course, socks.
  • [from julienorvaisas] Memories destroyed in a flash [The Independent] – [Nice discussion of pros and cons, and implications of the broad transition to digital photos. This cultural shift will have huge implications generationally.] Spend a few minutes watching a Facebook feed and you quickly see it is not just our viewing experience that has changed. The way we store and display our pictures has radically altered the nature and type of photograph we take. A high proportion of photos on social networking sites tend to be posed self-portraits, the telltale arm holding the camera often hoving into view at the side. The breadth and scope of the pictures we display has decreased. We've moved away from Sontag's idea of photos as being accessories to our memories, towards photos as a brag – a way of telling the world what fun we're having, and how good we look having it. "You can guess it's taken for the benefit of an audience: It's not necessarily better or worse – just different. It was never so much the case with your personal album."

ChittahChattah Quickies

  • [from julienorvaisas] StatSheet Is Writing Sports Stories With Software [NYTimes.com] – [And you thought mainstream sports writing was formulaic now…] I asked Michael W. White, a specialist in the field of natural language generation, for his professional opinion of the quality of the writing. We visited the StatSheet site for Ohio State’s team and looked at the write-up of its Nov. 12 season opener, written expressly for Buckeyes fans: ”Ohio State Gets 102-61 Monster Win Over North Carolina A&T.” “Ohio State has already started living up to monumental expectations with a good first game,” it began. “On November 12th on their home court, the Buckeyes waxed the Aggies, 102-61.” The story had 10 sentences and 156 words. Over all, Professor White said, it read “pretty well.” He praised the first sentence as very good and said the use of “waxed” in the second was a nice touch. Then he pointed out some glitches. It was a bit overeager to show that Ohio State was undefeated so far this season, when its record was still just 1-0.

ChittahChattah Quickies

  • [from Dan_Soltzberg] Book review: In the Loop – Knitting Now [we make money not art] – [Another form of handheld diversion – knitting. No chargers or connections necessary. Check out Mark Newport’s wonderful superhero pix halfway down the page.] In the Loop shows the different aspects of contemporary knitting practice and transforms our understanding of knitting away from retro hobby to mainstream craft and artform.
  • [from steve_portigal] An Evolution In The Data Collected By Economists [ABC News] – [Recalling the adage "You manage what you measure"] The US is deluged with economic data, yet figures cannot conclusively answer even the most fundamental questions. A handful of data-loving economists are pushing for alternative measures to provide a clearer picture of how well the economy is working. No one is talking about jettisoning the GDP, the broadest measure of the nation's economic output. By combining that information with deeper understanding of how people live, work and feel, officials hope to identify economic trouble spots more quickly and make better policy decisions. Two new sets of statistics are due to be launched next year. The Labor Department is working on an enhanced time use study to track what Americans do all day and how they feel about those activities, a project that draws on Krueger's academic research. The Commerce Department is planning a new poverty metric it hopes will provide a more up-to-date measure of which groups are struggling to meet basic needs.

An interview with Eric Ludlum of Core77


In 2009, Industrial Design supersite Core77 took the extraordinary step of launching its own product: the Dutch Master bicycle, made in New York City. While they had experimented with the Fila Blu Fom sneaker in 2006, this effort was marked by a more deliberate consideration for product design over mere cross-branding. I talked with Core77 partner Eric Ludlum about the Dutch Master effort and what it revealed. A condensed version of our conversation was published recently in Ambidextrous Magazine (view the PDF here) while the complete interview (which explores some other issues around craft production and craft consumption) is below.

Eric Ludlum: The Dutch Master project is a natural extension for Core and also myself. Having gone through the industrial design program at Pratt Institute, and then founding Core77, covering industrial design, with Stu Constantine and myself always being on the outside of the industry in terms of actually participating, but then covering it, watching it from the inside. The Dutch Master, and previous to the Dutch Master, the Blu Fom shoe have been our attempts at doing some product development and design.

In particular, the Dutch Master being more of a story than a product. Our background is as a magazine and place where design stories get told. So if there’s any kind of expertise we have it’s recognizing good stories and promoting them. With the Dutch Master, we actually got to write the story and promote it.

Steve Portigal: Was there an aspect of that with the story of the Blu Fom shoe?

EL: The Blu Fom was just a name, and actually, the concept behind it came from the model-making material designers used to use – mostly. There’s not too much use of it now, but the insulation foam that would be used to make the mock ups, either ergonomic models or actual look models of products. Definitely from my experience in school back in the mid-’90s, it was a staple of the process. With Core77, it was an insider take on industrial design. It was our insider wink-wink product. Very quintessential ID project. I think it was 2005 that we came out with it, and it had 300 pairs made by Fila. We worked with Phil Russo while he was there. Again, it really central to the story of it and the presentation on the web, pushing that out to other blogs, other web based media.

SP: So when you had this opportunity to write the story for Dutch Master, what is that story?

EL: With the Dutch Master, we wanted to take the starting point with New York City manufacturing. The interest level was there for a bicycle in Core77 because we’re all very interested in bicycling. A few of us actually commute by bike, so it was a natural product choice for us. But once we started getting down to the actual decision about what it was going to be and what the story was going to be, we were looking at New York City and the disappearance of manufacturing, and how really stunning it is to find something still made there.

That was the Worksman frame, and made in New York City for over 100 years. It formed the basis of the project. From there, it was like how do we create a product around it and extend the idea of New York City manufacturing and local production, as well as trying to be saleable. Hit some market price points that would make the project economically viable for us.

SP: That makes me think about who is the target customer. Did you have a sense of that?

EL: I guess there would be two. To some degree, we knew that the bike itself wouldn’t a real profit center for us. There’s the market of the consumer of ideas that’s out there on the Internet. In that case, it’s like a branding exercise for us. To be like, “Here is something we feel represents our nature as a company. Here is a way to communicate it to people.” There’s one market there, which is the much broader market. People consume that product by just seeing it.

Then the actual market for the bike itself: Through the process of developing the bike, the market started to move higher and higher based on this being a craft process where there’s a lot of skilled labor involved with actually producing it. It naturally tends to push the market price point higher. That informs the aesthetics of the products as well. Once you start moving into that higher rent neighborhood, it means that certain things are going to have to look a certain way. So inclusion of other accents on the bike, or an overall aesthetic that matches the rough luck look that you’d see out there in trendy restaurants or hotels.

SP: I had this reaction when I saw the bike, and I saw what it was selling for. I was surprised. I’m not a connoisseur of bikes. I haven’t shopped for a bike. I haven’t bought a new bike in a very, very long time, if ever. It wasn’t an informed perspective, but in general, I think of a bicycle as a commodity product. When I saw that it was more of an exclusive product, with some of what you’re describing it and at that price point, I was really surprised.

It makes me wonder in general about commodities going exclusive. Someone was telling me about heirloom chickens. I believe as a consumer that there’s more quality in those things. I wonder if you have any thoughts about this general movement towards many things being created at a level of – I’ve got to be careful with the word – I’ll call it exclusivity.

EL: Yeah, I think maybe in the case of the chicken as well, but definitely in the bike, the marketplace dictates where the opportunities lie for small run manufacturing or small run production. So the people who are very expert consumers of chickens or bikes, they are a tiny fraction of the overall market. They’re the ones who are willing to pay a premium, so now whatever your product is, it’s going to be a fairly low volume item, meaning that if you were going to have it as a sustainable business, the prices are going to have to have a fairly high margin, so you can keep going.

In the case of the bike, we’re doing them build-to-order, and putting them out there for sale on an ongoing basis. We want orders to trickle in a bit, so that production of the bicycle isn’t a chore that we hate because we’re squeaking just a little bit of profit out of it instead of other things we should be doing that would be making money. For it to be a viable product, it has to have some kind of ongoing benefit to the producer.

I don’t know about the gap between craft production and mass-market, how people would be able to bridge that, some kind of manufactured bespoke or semi-exclusive product. It seems like if the market really does kind of push you to one side or the other.

SP: You’re bringing the the producers frame in. I’m glad to get the benefit of your perspective on it because I think of it as a consumer in categories that I’m involved in as a consumer, like chickens or bikes or ice cream. You made an interesting point early on where you said that looking at what the manufacturing process was going to do to the cost, that then informs the design, the details, the trim, the materials, and so on. It has to be chosen in a way that supported the price point. Is that right?

EL: Yeah, definitely.

SP: So if you’re going to choose to do it in a small manufacturing way, it needs to be done in a way that is beneficial to the producer, and then the sort of details of the design have to send a specific message to the consumer. So you create a coherent story. I hate to bring up chickens again, but kind of a chicken and egg between the whole set of decisions. I guess it comes from choosing to be small manufacturing.

EL: Yeah. As an example, perhaps sports cars or other performance related products. Maybe like high-end electronics. The aesthetic becomes one of communicating that added performance, as an exclusivity or surplus of its abilities. I think that’s something that mass manufacturing picks up on and imitates in the mid-market, like in vehicles, for instance.

SP: There’s a look to an organic farmers’ market. You go into your grocery store, you can find some of those visual cues being replicated.

EL: Right now, it is a trend and will have a life cycle within the marketplace. It starts out as a fringe kind of happening, and then it will move, be adopted, and make its way through. I don’t know if we’re seeing that too much with actual consumer products, but we definitely see it with things like the chocolates or the craft brewing, like micro brews with the larger breweries. Budweiser or Michelob, even though they don’t replicate the taste of craft beers, they’re replicating the packaging and coloration.

SP: I read an article in the New Yorker about the craft brewing movement. They pointed out that micro brewing and craft brewing are actually very different. The scale of micro brewing is enormous relative to scale of craft brewing. You had mass breweries, and you had this micro‚Äëbrewery emerge that entered the public consciousness. That lasted for a while, and now you’ve got this even smaller business able to compete in some way for shelf space and for mind share. That wasn’t possible before.

EL: In that example, micro brews came out at a time when Internet wasn’t around. I feel that the Internet is what has helped drive a lot of the craft – the reemergence of interest in craft across the board. Just from DIY stuff that you see on the web to organizing small social groups or craft fairs or whatever. It seems like it really is the marketing or the communications, essentially. It’s the thing that has changed, where as even in the ’80s when you wanted to make alternative beer, if you wanted to continue to do it and make money off of it, you’d have to scale to a certain size to make it viable. Perhaps now, maybe the ethos of it has come around.

If you can just get by and consider “craft” as a profession and make enough money to support yourself with it, it’s a worthwhile thing to do with your time. Maybe it has gone hand in hand with the actual development of the communication channels that would allow you to sell your product or distribute it to a smaller set of stores or venues has gone hand in hand with emergence of that as a respectable or viable or attractive lifestyle.

SP: One of the threads I wanted to explore with this in the fact that we’re in a recession right now. Lots and lots of ink is being spilled about people giving up on this, not buying new stocks. They’re buying more Spam, or whatever it is we think people are doing.

At the same time, we’re learning about heirloom chickens and Core77 is putting out a higher priced bicycle, for example. Do you see any relationship between those two kinds of forces or events?

EL: With us and the Dutch Master, we knew that it wasn’t going to be a blockbuster for us. It wasn’t going to make a bunch of money. We’re doing it for the sake of doing it, being driven by the impulse to create. The economic climate, that contributed to that. If you’ve got a lack of options to really be productive economically, it is counter intuitive, but there’s a little less pressure for us to measure projects economically. Maybe it’s slightly defeatist, but I guess when it comes back to the value system, if the economic value system is being downplayed for companies or individuals within a certain economic time, you look for other value systems that can justify what you’re doing. In the case of the Dutch Master, the first audience that I mentioned that would consume the idea, if part of the idea was that a web magazine could produce a bike, why not. In a way, it’s an empowering idea. Creating things isn’t solely the domain of big companies or companies that have a focus on producing things. It’s just the idea that we’re pushing forward to that first audience – these things are possible. If you can put together a story behind it, you can probably do it on an individual level.

In our case, it’s throwing support behind the value system of craft, which is basically producing. There is value in making things by hand or just for the sake of producing. A form of expression via product. In our case the economic times have lead us to measure this project in those terms. A large part of it is not economic, it’s more ideas that it represents. I think in the case of crafts on the web, or with industrial design or furniture design, and people who are students or fresh out of school people who end up making projects that aren’t necessarily going to be produced ever, but will go out onto the blogosphere and get a fair amount of publicity, they’re being paid in “ego bucks.” Their idea is receiving some kind of play, not necessarily a direct relationship to some benefit to them in the future, either job offers or having their objects picked up. It’s rewarding itself because they do have this new venue that wasn’t there ten years ago. The web allows their ideas to receive some kind of feedback. It allows them to gather some momentum and enthusiasm from the audience. There’s certainly a part in Dutch Master of getting positive feedback. That’s just encouraging that there’s some kind of payment and producing something that people like. It’s untethered from economic – or the marketplace.

SP: A lot of the projects highlighted on Core77 are things that might fall under the label of bottom of the pyramid, really amazing design solutions where somebody takes materials that are worth nothing and solves some incredible problem through a real clever use of design. You guys have highlighted many of those stories. I don’t know what the price of the Nano car in India is, but it’s some manufacturing and design revolution that will create change in that society by producing this affordable vehicle. It makes me wonder about could Core77 create a story around a bicycle or something else. A $49.00 bicycle that has a story, showcases a different set of design values that you guys also champion.

EL: Certainly. In that case, there’d be a different starting point for us. The starting point we took with the Dutch Master, which was the local manufacturing in New York. Our price point was predestined to creep higher and higher. Resetting it to the starting point of a rural Indian manufacturer and their capability, whether it’s metal forming or some other natural resource that is readily available that could be packaged into something, that would definitely lead into an entirely different product.

The story is that the first audience for that would be the same. Ultimately, with the Dutch Master, the story we were trying to tell to our audience, which we always focus on more of the insider aspect of our total audience. So the people who are actually involved in the design that we really want to speak to. I think the Dutch Master might have been one of trying to show that we have some affinity for the values of craft versus the values of mass-market manufacturing, whereas in the case of that project, more of a humanitarian aspect, it would be communicating to the audience that it’s a worthwhile application of design. I think both of those ideas are generally accepted already. It doesn’t need too much pushing from us, either of them. I guess if we do have any thought leadership role within the industry, it would probably be more on that side, the humanitarian side. So perhaps for the next project.

SP: I’m so interested in this idea of a story as a starting point. It’s not what I expected. I think about my own consumer perspective, say being in a grocery store and seeing 28 different kinds of eggs that are 99 cents or $1.29. Next to that on the shelf are eggs that are $7.00. They’re markedly different. When I look at A versus B, the producer of B has some explanation for me about why this thing is better. So my assumption is always that these are the best eggs possible. They’re healthier. They taste better. The chickens aren’t abused. They’re heirloom chickens. The thing you get for paying four or five X of the commodity solution is better. You’re going to experience that. That’s not the point you’re coming from. It’s been really clear that you’re not really thinking about it in terms of those things. You’re starting with a story and a vision for what you want to put out there.

EL: Yeah, I think that it’s the result of who we are as an organization. We’re a magazine. Stories are our strength. For some other organization it would actually be the manufacturing knowledge or the design skills of that. I think it’s the nature of the organization. We try to be self aware our own abilities, what we could actually pull off. Actually make something interesting out of it. Those people who are focused on the ten-cent price difference with their eggs, their organizational capabilities are distribution, efficiencies, or whatever else. Obviously, we’re in a position to just launch things, but they’re not essential to our core business. They have to have some revenue generating aspect to them, but the storytelling aspect, since we’re in the business of generating editorial, if they do have a strong story to them, it could come out of the editorial budget if we’re looking at it that way. The product development is the development of a story, which would then be told in the magazine.

I think I suffer and we suffer at Core77 from the solipsistic tendencies of designers in general. We want to make stuff because we want to make stuff. Your initial response to the bike with the price point and the use of our social capital in support of a cause being misdirected as you point out in your example of with India. We sometimes don’t tend to measure things along that kind of good of the whole, where as maybe we’re just focused on what is going to make our day-to-day more interesting, and what is going to maintain our interest level in something. Given that Core77 is a collection of people, Allan being a definite advocate of the green humanitarian side of things, but perhaps not being involved in the manufacture of something, like with the Dutch Master, this came from a different place. than the editorial face of the organization. It’s just a different thing. If it seems a little perhaps trite in its origin, I think that possibly it is.

Note: Since this interview was conducted, Core77 has alluded to plans to open a retail space in Portland, OR. I can’t wait to see how the ideas Eric was talking about do or don’t manifest in the new store.

ChittahChattah Quickies

  • Virtual Seminar: Deep Dive Interviewing Secrets by Steve Portigal [IxDA Munich] – “Deep Dive Interviewing Secrets: Making Sure You Don’t Leave Key Information Behind”, Steve Portigal’s virtual seminar will be shown in our next meeting. The seminar lasts 90 minutes and it will be followed by a discussion. June 30th 7 p.m., IDEO, Hochbrückenstraße 6, 80331 Munich
  • IndieReader – For Self-Published Books and the Readers Who Love Them – IndieReader is a venue for you to find and purchase books published and produced by the people who wrote them. Think of these books like handmade goods, produced in small numbers, instead of the mass-marketed stuff you'd find at a super store. And every book on the IndieReader site is reviewed prior to acceptance, guaranteeing that you'll find the "cream-of-the-indie crop". Why is this so important? Because today more than ever, almost everything we produce gets co-opted by corporate culture, turned into a business model, reformulated and churned out like soap with the simple intent to appeal to as many people as possible. In a world where almost everything is packaged by committee, IndieReader offers you books with a single voice: the writer's own.
  • The Expanding Definition of Craft Beer [NYTimes.com] – In a world where Nabisco sells “artisan” Wheat Thins, the designation of Samuel Adams as a craft beer seems perfectly fair. But the Boston Beer Company, the brewery that was founded in 1984 and makes Sam Adams, is on the verge of outgrowing its coveted craft status — at least according to the Brewers Association, a national trade group that defines craft brewers in part as producing fewer than two million barrels a year. The federal government defines small brewers similarly, imposing a lower excise tax on those that stay under the two-million-barrel threshold. Mr. Koch predicted that Boston Beer would surpass the two-million mark by 2012. But help may be on the way: John Kerry introduced a bill last month that would increase the yearly production limit for small brewers to six million barrels.
  • Icing, a meme drinking game with Smirnoff Ice [NYTimes.com] – The premise of the game is simple: hand a friend a sugary Smirnoff Ice malt beverage and he has to drink it on one knee, all at once — unless he is carrying a bottle himself, in which case the attacker must drink both bottles. Amid suspicion that the trend is an elaborate viral marketing campaign by Smirnoff, which the company has denied, new icing photos are posted daily on various blogs, Twitter and Facebook — including scenes from graduations and weddings — and sent directly to a Web site, BrosIcingBros.com. The game has exposed the mercurial line between guerrilla advertising and genuine social media trends, raising questions about how young consumers can know when they have co-opted a brand for their own purposes, and when that brand has co-opted them.
  • Rethink the Book project from Berlin University of the Art – In cooperation with the schoolbook publisher Cornelsen Verlag a student group of the „New Media Studio Class” experimented with the digital possibilities to think anew the book as media. They linked the book by visual codes with methods of "Augmented Reality". They embeded sensor technology for new forms of interaction and used new methods of production engineering like "laser cutting" to model the book as an object or to publish personalized schoolbooks. In the exhibition they show several prototypes like electronic origami paper or an interactive periodic table.
    (via @cora_l)

ChittahChattah Quickies

  • Books, Printing, and Self-Publishing » Lone Gunman – In an age of increasing digitization, objects become more valuable. And that value is the reason print media will not die, even if it does shrink. My prediction for print media, therefore, is two-fold: you will see small run, local editions of hardbound books and quick, cheap paperbacks. Couple this with our new attitudes on the democratization of content online and you are going to find quite a number of people self-publishing books. In fact, there are number of folks doing interesting things already:
  • Hybrid Books Add Video and Web Features to Reading – In the age of the iPhone, Kindle and YouTube, the notion of the book is becoming increasingly elastic as publishers mash together text, video and Web features in a scramble to keep readers interested in an archaic form of entertainment.

    Simon & Schuster is working with a multimedia partner to release four “vooks,” which intersperse videos throughout electronic text that can be read ­ and viewed ­ online or on an iPhone or iPod Touch.

    Anthony E. Zuiker, creator of the television series “CSI,” released “Level 26: Dark Origins,” a novel ­ published on paper, as an e-book and in an audio version ­ in which readers are invited to log on to a Web site to watch brief videos that flesh out the plot.

    Some publishers say this kind of multimedia hybrid is necessary to lure modern readers who crave something different. But reading experts question whether fiddling with the parameters of books ultimately degrades the act of reading.

  • New York Art Book Fair Bustles at P.S. 1 Arts Center in Queens – If you harbor even a speck of doubt about the continuing viability of hold-in-your-hand-and-turn-the-pages print publications, check out the New York Art Book Fair this weekend. You’ll find thousands of new books — smart, weird, engrossing, beautiful — that will never be Kindle-compatible. They’ll make you feel good.

You Say You Want a Revolution . . .

Alan Cooper spoke earlier this week at a meeting of the San Francisco Interaction Design Association chapter. Cooper talked about programming as a craft, and Interaction Designers as potential facilitators of that craft within the business world.

Cooper is advocating what he calls an “insurgency of quality,” which he describes as being about how software design and production processes can and should be evolving-specifically, increasing the time spent refining products before they’re released as “finished.”

It’s an old carpenters’ adage to “measure twice, cut once.” The current software production model Cooper is speaking out against might be described as: measure once, cut once, ship once, repeat all steps for version 2.

Based on the insurgency Cooper is advocating, in which Interaction Designers and Programmers would take more time to get it right before a product goes to market, the development model would become: measure twice, cut twice (e.g. validate and iterate), ship once. The idea being that what gets shipped would be of higher quality then what generally gets produced in the current way, which prioritizes time-to-market.

We work with a lot of clients who are operating within very tight timelines. I’d be curious to know what kinds of successes and failures Cooper and his firm’s consultants have been having with their clients in trying to implement this new development model on actual projects. Are the Cooper folks finding that client organizations are ready, willing and able to add more development time to the front end? If not, what kinds of strategies are working and not working in trying to encourage that kind of change?

A lot of theoretical revolutions break down or dissolve when they meet real world complexities and constraints. It would be great to have some stories detailing how the ideas Cooper is advocating are getting played out in real project engagements.

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