E KIM'S PORTFOLIO

This is everything that Erin did either for a uni assignment, as a side project, dance and to rant ya kno :)

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Week 11

This week had to be my least productive week as I caught a cold. If being stressed wasn’t enough, I couldn’t do anything because I was bedridden from a fever. I did attempt to do things here and there, such as playing around with the Miroboard (shown in Fig 1). 

Fig 1. Miroboard reaarangement

Once I recovered, I could come to the design space and catch up with my peers. I was overwhelmed as it seemed that due dates kept changing, so my plan kept on changing (shown in Fig 2), which is good in the sense I have time but also the fact that I have coming out from a cold and I am struggling to process everything going on with my circumstance and design.

Fig 2. My planner

I know this is my least productive week, but it had me reflect on my current circumstance and try to keep my composure, hence this saying:

“Kotahi karihi nana ko te wao tapu nui a Tane. The creation of the forests of Tane comes from one kernel [Starting small leads to growth] (Elder, 2020).”

Reference

Elder, H. (2020). Aroha. Penguin.

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Week 10 BLOG

My focus was to get input from the stream leader regarding my approach to my design, especially the prototype, considering the time limit and capacity within the next couple of weeks. I previously wanted to show a mock performance. Still, knowing the ethics regarding bringing performers and the structure of the redesign showcase, my options were highly limiting, even with negotiations with teaching staff. Hence, my approach would be to create two prototypes:

“Lead up to the performative art and telanoa.” This phase is demonstrated as a low-fidelity prototype, rough advertisement, or hand-drawn poster.

“After performative art and telanoa resources and take away.” This phase is demonstrated as a high-fidelity design, a functional website using Wix (shown in fig 1).

Fig 1. plans for DES301 and DES302

These are possible and something that I can execute. However, the discussion with my store leader left me in a doubtful spot (potentially returning to the Te Rapunga phase); my doubt came from her unsure of my current approach and vision. The question in our discussion was whether I was no longer doing performative art. This had me contemplating to the point where I questioned changing my whole project, which is challenging at this stage. Nonetheless, I am demotivated and hopeless.

I found a saying that might put back that spark I have lost:

“E tu te huru ma, haramai e noho. Etu te huru pango, hanatu e haere. Let the white hair remain here, let the black hair get up and go [We must follow our dreams] (Elder, 2020).”

Reference

Elder, H. (2020). Aroha. Penguin.

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Week 9 BLOG

There was a lot planned for week nine as I had to apply feedback to my design and slowly start storyboarding or at least come up with scenes that I will need for my video deliverable (planning can be shown in Fig 1).

Fig 1 Planning from after mid-sem break to week 14

However, before getting into storyboarding, we had a chance during studio hours to play around with camera shots and angles, which we played around with my project as the baseline for how to film. Due to my project's dance and movement-heavy nature, my peers played around with angles and how the camera follows the human subject matter (shown in Fig 2). In the test film, I had to act as a dancer as I was the only dancer in my group, and I did not have a chance to direct and play around with shots, angles and panning shots, which implies that I would be taking up time, but it is what it is.

Fig 2 Video of the the camera exploration and testing

Afterwards, I started ideating with camera scenes that I could create within a limited timeline and my ability to edit (shown in Fig 3). I have slowly started using tracing paper to add additional notes, which I love and will be utilising in the future. As I drew out the elements and scene, I discussed with my peer about colour palettes. I originally was going to approach the assignment in black and white, but after the debate, I realised that my proposal and slides consist of a salient colour: tangerine. I used it as a pop of colour and realised upon discussion that the nature of the project is political, and the tangerine colour is reminiscent of the voting mascot (see Fig 4). This realisation added another dimension I didn’t think I could add—nonetheless, a discovery.

Fig 3 Visual guides of the video scenes and elements

Afterwards, I started ideating with camera scenes that I could create within a limited timeline and my ability to edit (shown in Fig 3). I have slowly started using tracing paper to add additional notes, which I love and will be utilising in the future. As I drew out the elements and scene, I discussed with my peer about colour palettes. I originally was going to approach the assignment in black and white, but after the debate, I realised that my proposal and slides consist of a salient colour: tangerine. I used it as a pop of colour and realised upon discussion that the nature of the project is political, and the tangerine colour is reminiscent of the voting mascot (see Fig 4). This realisation added another dimension I didn’t think I could add—nonetheless, a discovery.

Fig 4 Screenshot of the miro board

Otherwise, it was a productive week, and the subsequent action point was to start the film. And heres a Whakataukī to motivate myself fpr the upcoming weeks:

“Tama tu, tama ora; tama noho, tama mate. He who stands, lives; he who does nothing, perishes [Just do it] (Elder, 2020).”

Reference

Elder, H. (2020). Aroha. Penguin.

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Week 8 BLOG

This week I have received feedback on my experience and performance art (shown in Fig 1) from my peers. The intention behind getting feedback is to make more performance pieces have an impact on the audience.

Fig 1. Rough journey map of the experience and critical takeaway

The points that I took away from the review (shown in Fig 2):

My prompts should be broad so that anyone, regardless of whether the context is relevant, can apply and contribute to the experience.

A straightforward action point and/or Whakataukī (message) must be present.

The shape needs to be relevant and have thought put into it. This was the case when the context affected was exclusively Tamaki Makaurau and not the whole of New Zealand (which was the end shape).

I expected more critical feedback, but I was glad the feedback that I received was minor, which I can easily apply to my design. Further development of the experience will pause as I need to plan immediate for the video deliverable (shown in fig 3).

Fig 2. Feedback notes and doodles

Fig 3. Action plans

Otherwise, it was a reasonably reflective week, and with that being said, the Whakataukī of the week:

“Me te wai korari. Like the nectar of the flax flower [Joy in small things] (Elder, 2020).”

Reference

Elder, H. (2020). Aroha. Penguin.

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Week 7 BLOG

I finished my research during the break cam across a challenge regarding the deliverables (fig 1). My original plan was to make a video to mimic the performance art and audience experience. This was challenging as I am designing an experience so they only option at the time was to illustrate the experience through storyboarding (hence video). The deliverable asked for a tangible prototype and even if I were to submit a video, then I would end up submitting two video submissions which comes to the challenge of how I can exhibit two videos.

However, I came up with a to show an experience with tangible whilst following the grading criteria. It is to create a diorama: which illustrates the space with supporting archives of the mock performance art.

Fig 1. Screenshot of the assignment 3 criteria section.

Before creating a diorama, I need to get peer feedback, which I will show through the paper “prototype” or ideated journey map of the experience. I don’t intend to ask for feedback on the performance art itself (although debatable). Still, I will ask whether the performance art conveyed the message of design and safety (whether one of the corners of the te whare tapa wha was threatened or harmed). As much as I wanted to create a radical and impactful message, I did not want to create an unsafe space for the audience and performers.

Fig 2. Journey map

My action plans for next week will be:

- Plan for the next 7 weeks.

- Discuss with peers about initial prototype

- Organise miro board

To end my weekly blog, I want to introduce a Whakataukī to reflect on my mindset each week.

“Ko Atutahi te whetū tārake o te rangi. Canopus is visible out in the open expanse of the sky [meaning an outstanding individual] (Elder, 2020)."

Reference

Elder, H. (2020). Aroha. Penguin.

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Blog week 6

So far, I haven’t been as productive as last week and couldn’t fulfil my action plan, primarily because I was focusing on the presentation slides for the DES302 proposal. Regarding the execution, I was not proud of my presentation, especially the oral and confidence aspects. I had a traumatic response that, before my presentation, was a personal matter that I had no control over. Despite that, I feel satisfied that presentations are over until later in the year, so I was at ease.

Despite not completing my action plans, I started ideating my deliverables and asked Roma questions about ways to execute the exhibition [shown in Fig 1.] and showcase my capstone for Redesign.

Fig 1. Brainstorming ways to exhibit my work. 

During studio time, I randomly ideated what my performance art would present. This process goes against my plan of analysing previous performance art before starting the ideation phase. Still, I had a random idea that came to mind, and I immediately wanted to jot (and draw) my idea at that moment [shown in Fig 2.].

Fig 2. Concept illustration of my idea

Before the idea, I discussed it with Marco (who presented his capstone process and journey to class). The keynotes are discussion notes, which are shown in Fig 3.

Fig 3. Screenshot of the discussion notes and the Te Whāinga.

Those discussions were helpful in a way that contributed to questioning my work and adding to what I missed in my process. I am playing out with the layout of the miro board so it is organised and easy to read [shown in Fig 4.].

Fig 4. Miro board layout.

Despite the lack of action, I have action plans that I have over the break:

Annotate the existing performance art, put them from extreme to safe scale, and highlight the elements potentially used in the capstone.

Apply Te Whare Tapa Whā in my design.

Solidify my design.

Create a journey map of how the audience interacts with the performance.

Create a storyboard of the performance.

This blog is concise and anticlimactic, so I apologise and I will show you my cat to compensate the lack of content [shown in Fig 5.]. YAY 

Fig 4. My burnt loaf called Noel :)

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draft

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Week 5 blog

Previously, I had the chance to ask the stream leaders regarding the following:

Consent from performers and the audience regarding being filmed.

Can we temporarily book a space to simulate a mock exhibition?

The deliverables for the capstone, as my plan, lean towards the experience rather than a tangible product.

Resources for executing the project.

This was necessary as this could dictate the scope and capability of the project for creating the deliverables and managing my time. These were the notes and responses to the questions:

(The following questions are reordered to show main concern to minor concern.)

Fig 1. My notes and doodles.

Consent from performers and the audience regarding being filmed.

There needs to be ethics that are taken into consideration regarding the performers being filmed. The way to mitigate this matter is to have the performers wear masks to maintain anonymity.

Create a safe space and maintain Tikenga with the performers and the audience.

The deliverables for the capstone, as my plan, lean towards the experience rather than a tangible product.

Being aware that the prototype required [insert criteria], my options were limited, so I suggested some alternatives, either picking two or all of the possibilities. The following options are:

Agenda

Run-sheet

Poster

Video capture of the performance

Luckily, these were all doable options, as my stream leader and course coordinator said.

2. Can we book a space temporarily to simulate a mock exhibition?

Using the design space to create a mock showcase or even booking out a dance space.

3. Resources for executing the project.

I asked the technicians, and there were camera options, so that wasn't a number one concern. There were 360 cameras, which is something that I am looking to use.

Fig 2. Screenshot of the sticky notes on my Miro board.

Fig 3. My notes, doodles and to-dos.

My queries were somewhat solved, especially the performers' consent and resources needed for execution; however, I am still not satisfied with the questions, which left me feeling more restricted about what I can create for my deliverables. However, rather than dwell on it, I decided to look for precedent performance arts through what I already knew and what I studied in my Art History papers. I was happy to utilise my Art History primary knowledge and apply it to my design research. I was pleased to find performance art done locally in Aotearoa, New Zealand (Fig 4. My questions and doodles). My next step is to annotate the existing performance art, put them from extreme to safe scale, and highlight elements I could apply to my project.

Fig 4. Screenshot of the finding art history precedents.

Besides that, I was working on my slides for the DES 302 proposal presentation (shown in Fig 5.). Unfortunately, due to my laptop crashing, I had to create new slides by scratch (as I refuse to use pre-made templates and still want to stand out from other designers). Although it was time-consuming, it was a noticeable upgrade from my previous slides (it looked rushed because that was when my laptop crashed).

Fig 5. Presentation slide process.

Overall, I made more progress and I am pretty happy with my progress! Moving from Te Kitenga to Te Whāinga with the progress.

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Week 4 Blog

Previous phase;

I was at Whakarite (preparation) phase where I slowly started being more productive, reflecting on my proposal from DES300, doing further research, adding on scopes and creating a draft timeline (which is still a work in progress); essentially, putting together existing research onto Miro.

fig 1. Miro board

Current phase:

My mood has been downgrading as I lose confidence in my vision after seeing other people’s plans. Before submitting my slides, my laptop started to crash; hence my presentation slides were underdeveloped, so I feel like I didn’t present enough relevant information and graphics to my peers. I felt an immense sense of shame, so I neglected my research, feeling like being back to Te Rapunga (venturing the unknown) phase, where I was lost and felt underdeveloped in my research.

fig 2. DES301 presentation slides

Although I may have struggled with productivity, I can relate to the Hautū Waka framework, which looks into a level of certainty of where my capstone is going. I aim to go to Te Kitenga (sighting) slowly, a phase where I can develop further research to validate my plans.

Next phase;

Despite the lack of productivity and seeing what my peers have done, I plan on further expanding my scope, creating mood boards for each idea, and discussing with the stream leader whether that is executable.

fig 3. Plans and scope on Miro

If I am honest, I am leaning towards Plan B. Plan B looks into speculative and critical design, where I am designing an exhibition space to provoke controversy and discussion. Hence, I have questions that I would like to ask before considering my options regarding the following:

Consent from performers and the audience regarding being filmed 

Whether its possible to book a space temporarily so simulate a mock exhibition.

Overall, it is slowly moving towards the next phase of the Hautū Waka.

fig 4. The lab team. (2022). Practice Foundations: Hautū Waka. The Auckland Co-design Lab.

Practice Foundations: Hautū Waka — The Lab

Our work is a deeply navigational practice, navigating the complexity of systems to build inter-generational equity and well-being. Much of

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WEEK 1 to 3 blog

This reflection is very short because I have only managed to achieve some progress regarding how I will approach the capstone project. In addition, I have managed multiple tasks outside of design. So at the moment there is a certain level of uncertainty but I am confident about my vision.

My plan is to incorporate mixed mediums and software throughout the documentation and project. I would like my project to lean towards a more artistic and speculative approach by merging fine arts and digital software. I made an initial start by taking photos that I will use as assets for my DES 301 presentation. The images shown below is me setting up the photoshoot and with the help of my friend took photos. They understood my vision as I provided a mood board and my direction.

I will then put them through Photoshop to play around with visuals to capture the audience.

This does mean it takes more time to get the design I want. However, I know it will be worth it because the final product or presentation will best reflect my identity as a designer as well as my passion. Hence, I am satisfied with the progress I have made until week 4.

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i finally started tumblr because my wix website sucks ass and want to start fresh :)

btw this is a snippet of one of my projects where i smeared black face paint. the black paint represents mental and hidden scars which contrasts the playful nature of the person looking into the camera. as if the person is wearing a glass mask; masking the scars with a positive facade. but yee that's me