Adding to design education

[T]here are other things that must be added to the education of designers to enable them to participate as something other than visual packagers […]: writing as a means of conceptual and expressive development; techniques of verbal expression, rhetoric, narrative and storytelling (the engineering underneath verbal communication); the grammar of film, particularly the syntax of editing, cross-cutting and sequencing in time to create narrative; sound; the grammar and psychology of games, which function as narrative structures as surely as storytelling or film; techniques of visual rhetoric, syntax and semantics, using examples from the high art to popular culture, including advertising; the awareness and critique of communicative systems as artificial constructs; understanding the social, cultural and functional possibilities within the realms of real and simulated space, the public and the private; collaboration; “knowing what you don’t know,” looking at models of other team-produced design (advertising, film making, architecture) that involve negotiation and accommodation, complex technical processes, and the negotiation of consensus; […] a history that expands to include a social and cultural development of media; and perhaps in contradiction to the last few points, a more serious consideration of fantasy, surrealism, game playing, pranks, simulation, bricolage and other forms of marginal subversion to map out the spaces in between, the entrepreneurial possibilities as a source of stimulation and creativity in approaching new media with a free hand.

Lorraine Wild, “That was then, and this is now: but what is next?