Showing posts with label Visual Communication. Show all posts
Showing posts with label Visual Communication. Show all posts

Saturday, November 24, 2018

Designing to Demystify Development Doings

Last year, I advised the 2018 Detroit City of Design Strategic Action Plan's creation as part of a group of other UNESCO/Detroit Design-connected peers (if you want the fancy technical term, we're referenced as the Peer Advisory Board on p. 147) -- though I'd be remiss to say a lot of the comments and advisory I contributed went unheeded by the consulting firm tasked to do the report.

In particular:
1) the need to address the legacy of economic suppression, divestment, or even outright oppression that made and let institutionalized racism continue in the city
i.e. from removing skilled trades and the arts from k-12 in recent years and dismantling the public school system's efficacy, or a highly segregated population that results from a mix of insurance and housing policy that resulted from remnants of the early 1900s when supremacist/terrorist groups groups like the KKK openly influenced and controlled business districts and cities.
2) the need to shift toward skill-based "gig economy" resilience rather than building more job pipelines
3) the role of cultural competency and "industry translation" for delivering genuine inclusion and better informed public decision making that lets people take advantage of the projected surge in industry and Detroit's shiny new "UNESCO City of Design" status.
One of the best ways to do that is to connect the every day practical things that normally seem out of reach to the average Detroiter with better communication, and not all of it should rely solely on written word (and yes, I realize criticizing the bias in communicating with text with an equally lengthy article-sized written narrative isn't optimal but we're starting here with a different audience in mind).

Which brings us to the Development industry. The more we learn about the development industry, the more I find it's traditionally about making debts profitable (at least for the big players, but really, when was the last time you ever heard about a small-player in the development industry, if you ever hear about the development industry at all?).

So with an article from early 2018 about Dan Gilbert's desire to use tax breaks and funds that normally would go to things like schools and corrections (go read it and then come back to finish this), it's an opportunity to demystify a bit of this further--here the question becomes whose debt and to what end does it become a profitable investment--for the public and/or Dan Gilbert's works.

In this case, by capturing the tax revenue via brownfield redevelopment incentives (for those without an environmental science or economic/city planning background: brownfields are land that's been contaminated with something like industrial waste, fuel spills, etc. that would make it unsuitable for normal living/farming etc.; but still useful for developing buildings on top of or "fixing" aka remediating the soil so that it's healthy again).

That normally would go toward basics like education. For others (like Ben Mallah of Koncrete's "Life for Sale" show), it's often by flipping large properties--sometimes accelerated by using bank-loaned money to achieve aggressive profit margins (i.e. 2:1 ratio of profit to investment) -- so they're constantly burning to find another bigger property to pay back the investing bank(s) before they get into hot water with their lender(s).

Yet even when we teach people to read in the U.S., we begin with picture books -- yet here we are attempting to learn and teach with the limits an ambitious and dedicated journalist is limited to working with by deciphering troves of text.

So here's a design challenge: I'm certain there's a way to turn the following chunk of text excerpted below into a diagram, infographic, or something that more people would be able to quickly understand:

So how does all this work when you get down in the weeds? One incentive Gilbert is using is called a "brownfield." It allows developers like him to collect property tax revenue to pay for remediation costs after they redevelop contaminated or seriously blighted properties.

In a hypothetical scenario that illustrates how brownfields work, Gilbert's Hudson site property is valued at $100 in 2018. Let' say later this year, the city and state approve a brownfield incentive for it. Next, Gilbert builds on the land, so it's worth $150 in 2019. The city and state continue to collect tax revenue off the original $100, but Gilbert collects tax revenue off the $50 increase.

Gilbert then captures tax revenue off the property tax increases for the next 20 years. So if the property is worth $1,000 in 18 years, Gilbert collects tax revenue off of $900, and the city and state still only collect it off of $100.

The property tax money that the government collects goes to several "jurisdictions," including schools, libraries, parks, jails, cities' general funds, and more. According to the MEDC, Gilbert will be collecting tax money intended for jurisdictions that fund education at the county and state level. So when the property tax revenue collected from that $900 goes to Gilbert, it doesn't go to schools.

In that way, Gilbert's use of the brownfield impacts schools.

But there's another layer. The projects are in Detroit's Downtown Development Authority district. The DDA currently receives the tax money that Gilbert will use — not the schools. Thus, Gilbert can claim that schools aren't impacted because the money is diverted from the DDA to his company. However, the DDA takes the money from the schools, so education taxes are ultimately what funds Gilbert's projects.

-Excerpted from:
https://metrotimes.com/news-hits/archives/2018/01/11/yes-dan-gilbert-wants-to-use-school-money-to-fund-his-new-downtown-projects

You could especially visualize this as an elegant sankey diagram of sorts -- see this for a black and white example in petroleum energy and this with colors in energy; better yet check out Canada's energy systems and imagine how it might be done to demonstrate tax and business investment.

For a crude attempt, here's my take on what I just read:

In a hypothetical scenario that illustrates how brownfields work, Gilbert's Hudson site property is valued at $100 in 2018. Let' say later this year, the city and state approve a brownfield incentive for it. Next, Gilbert builds on the land, so it's worth $150 in 2019. The city and state continue to collect tax revenue off the original $100, but Gilbert collects tax revenue off the $50 increase.

2018 Value (note: let each + = $10 )

$100 ++++++++++

2019 Value: Gilbert Builds on the Land ( note: let each ~ = $10 in 2016 )
$150 ++++++++++~~~~~

Gilbert then captures tax revenue off the property tax increases for the next 20 years. So if the property is worth $1,000 in 18 years, Gilbert collects tax revenue off of $900, and the city and state still only collect it off of $100.

$900 (note: each ++++++++++ = $100, and if I understand the lines above correctly, that money still comes from you, the tax payer)

Gilbert's $900 (which he and his companies will make some kind of argument that says the jobs created and the business they attract, especially for remediating contaminated soil to build upon, will make it worth while for Detroiters and maybe the state--if you're extremely lucky, maybe you can figure out a way to become a shareholder or take equity in the project to influence what happens, the odds however are extremely slim for the average person)

++++++++++
++++++++++
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++++++++++
++++++++++
++++++++++
++++++++++
++++++++++
++++++++++

Meanwhile, Detroit's $100 (which, from the ashes of taxpayer dollars, we'll hope good things will rise for the tax paying residents again--in other words, this is the hypothetical portion that the public has the highest likelihood of maintaining accountability and influence over for ensuring the revenue goes toward actual priorities in the interest of the city's residents) remains the same, possibly unadjusted for inflation too:

++++++++++


Total Hypothetical Property Value coming from the Detroit Tax Base: $1000

++++++++++
++++++++++
++++++++++
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++++++++++
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++++++++++
++++++++++

There's still a much better way to depict this which I've not taken time to illustrate with my ascii art rendition above. How could we show the money flowing from the tax base? I'd reference the petroleum diagram in terms of what the fund actually supports and how it gets prioritized for this particular development scenario. And then add the colors etc. to make it more visually appealing.

Yet where do we go to make this kind of development and data literacy happen? Design advocates would say "Designers! Ask the designers!" and inevitably you'll find there's a high-end design firm lurking somewhere in a trendy downtown office hungry for a commission or contract from someone with a decent pocket book.

As the public waits, where can we go? Perhaps someone might wish a non-profit for supporting design might exist to provide these services. In Detroit, the Go-To clearinghouse might be Design Core Detroit (formerly DC3), which is the Org I referenced at the start of this post. But they're a clearinghouse who tends to pursue big-picture funding and reputation with a limited team, it's easy to suspect a measly infographic isn't really in the scope of their perceived responsibility. In function, they're a Chamber of Commerce who laid claim on Detroit's "creative + design industry" and replicated all the traditional organizational functions a typical Chamber of Commerce does to keep its membership and influence in a city.

Say what you will about the New York Times, but spend enough time looking at their work and you'll find outstanding work when it comes to conveying some of the data they use to examine stories -- take for example this piece that points to school segregation and success by comparing money, race, and student success.

For the City of Detroit (and the world at large), one thing that would distinguish its industry might be the way it communicates important data -- the kind that's visceral to our day to day lives like traffic accident statistics, crime, disinvestment/investment/development, accessibility, education, home and utility affordability, glocal civic engagement (as in, how local decisions and elections intertwine with global issues) etc. in a way that accelerates public literacy and competence around the issues.

While data for literacy rates in Detroit might be a contested topic, the reality that most people tend to do better with pictures

On the other end of the spectrum, we might appeal to the Designer's Guild for Justice or maybe some kind of diasporic remnant of the Occupy Movement's Design and Research collectives.

For now however, I'll leave this question "who's going to do the design work?" to all of you...


Detroit native Aurora guides a group through the stories in this Detroit youth-made mural during an anniversary observance of Vincent Chin's murder and in solidarity with the Detroit Asian American community on the final remains of Detroit's Chinatown. Shortly after telling her story, she expressed her frustration and surprise that she discovered the city of Detroit was bidding on a rail transit development proposal through a late night broadcast on BBC World News before hearing anything from the City.



REFERENCES

Life for Sale: Focuses more on large multi-unit buildings (Apartments, Senior Citizen Homes, Shopping Plazas), but gives you a taste of how developers would focus on large tracts of land. I don't necessarily agree with or enjoy his sense of humor, you'll still learn a lot about the scale of investment in the industry from watching the early episodes in the series.

This episode turned on the "Aha." for demystifying how real estate development works and looks like:
https://www.youtube.com/watch?v=8gC8dUcoKFE

The trick is to continue buying and selling else he'd have to pay tax--I don't understand all the details yet but I get the impression there are a lot more millionaires out there who are just as caught up in a similar game:
https://youtu.be/TGEPle4uFPU

Awaiting the close of a deal between a bank loan, etc.:
https://youtu.be/3YoAbBRCa34

Buying/Flipping a Senior Citizen Complex:
https://youtu.be/GjCBJtibA7k
https://www.youtube.com/watch?v=3Zfq5-Sj4GU


Detroit's #1 Billionaire, Dan Gilbert technically does want to use money that funds schools for his development projects; also thinks people miss the nuances to why big developments deserve tax breaks.
https://metrotimes.com/news-hits/archives/2018/01/11/yes-dan-gilbert-wants-to-use-school-money-to-fund-his-new-downtown-projects

NOTE to people about tax breaks:
For environmental science students who took Dr. Riebesell's land use planning and management course, development incentives -- especially brownfield redevelopment, etc. -- these are typically emphasized as a good thing. A brownfield is normally a contaminated (i.e. risky, somewhat toxic or at least polluted enough that you can't just set up and do typical building on) site that people stay away from--real estate developers are more likely to sprawl out their developments and encroach upon pristine land (i.e. cut down a forest, drain a wetland, or push out a historic neighborhood as the likely alternatives).
However, I question whether certain habits become relevant once an individual or entity reaches a different scale. A billionaire like Dan Gilbert might be able to defend his actions by pointing to the basics for how a profitable business needs to run. Yet he no longer operates a basic business or like a normal business person starting at ground zero from scratch--he literally influences governments and entire media cycles with his mere presence. He has the capacity to look at prioritizing his funding and investments in ways that consider the constraints and needs of the environment he chooses to operate in beyond a traditional charitable-foundation model. So unless he's operating on archaic development business practices, cleaning up a brownfield development project likely can be done without taking all of the incentives that the media suggests he's requesting.



Sankey Diagrams:
Petroleum Energy -- Black and White, corresponds to a common source
https://goo.gl/images/vDLyJY

Energy -- Note for Colors
https://goo.gl/images/wknBV2

Canada's Energy System -- Probably the best of the three diagram examples I provide yet
https://goo.gl/images/u11J6t


NY Times Interactive Data: Money, Race, and Success -- see how your school district compares to others:
https://www.nytimes.com/interactive/2016/04/29/upshot/money-race-and-success-how-your-school-district-compares.html

Wednesday, November 14, 2018

Qhipu! (Or Khipu - does a K or Q really matter?...)

This article reads like a thriller, the title begs us to question who "we" really are though:
https://www.newscientist.com/article/mg23931972-600-we-thought-the-incas-couldnt-write-these-knots-change-everything/

​​Imagine a friend hands you a bundle of knotted thread and you smile without breaking eye contact as you "read" what it says without looking. This is what the Incan knot system, qhipu, likely let people do--you could "read the threads" by looking, and probably "read" simpler threads by feel too.

It's also why it's silly to judge others and assume "written language" and "thinking in words" is the only form of tangible or abstract path for communication or the only way to think. A good chunk of the time, people often make hasty calls choosing convenience over learning the nuances -- only to live in the irony of their own arrogance when time makes its final call.

"English is the first form of programming most of us learn."-Onyx Ashanti

Language is the first form of programming that people learn, and it often reveals a lot about how people tend to think, how they organize, and what governance tends to look like too. We can only infer, but from the article it sounds like the government and economy functioned very similarly to the way the qhipu is made and organized: federalized with a control economy, much like how one core thread serves to anchor lots of other pieces in place.

When you look at how English (and likely other Western, especially Romance, languages) is written and constructed, much of it points toward consolidation and objectification--about 70% of the language exists as nouns --"people, places, or things" -- relationships are frequently couched in transactional terms, and how we refer to non-people also lends it to "thingness".
i.e. "Who owns that dog?" remains reflexive vs. "Who leads that dog?"
We're still in an age that, for most U.S. Americans, comfortably refers to other living things from a frame of ownership -- just a few percentage points away in DNA from chattel slavery.

In an excerpt from the book, Braiding Sweetgrass, the author notes that Potawatomi (an Aanishinaabemowen language -- so related to Ojibwe and shares some common roots with Algonquinaak* [the name for the Algonquin language?] ) is comprised of about 75% verbs. Lots of the things we consider as things in their noun-form are described in states of being. The rock is being, a river is being, etc.
So imagine referring to a trail or road as a noun and verb at the same time--"I MichiganAvenued [to] work today." would mean you drove on Michigan Avenue, which might imply all of its potholes, construction, and traffic patterns that are typical of the avenue for where you live. The place and thing has its own dynamicism while maintaining a degree of specificity to it that doesn't need to become an abstract geographic fact to memorize disconnected from the rest of its social and physical context. One beauty of a language with this orientation offers is that it suddenly puts almost everything we engage into context as a relationship--things suddenly have a degree of action, dynamicism, and maybe even agency to them.

Verbs are the grammatical abstraction of a relationship -- it's an action which implies cause, consequence, and something or one as a party to initiate or orient around the action. Relationships invite the opportunity for more nuanced ethical consideration -- we're literally called to reckon how an action to a relationship might affect an entity that's likely connected to its own set of behaviors and relationships.

There are more examples which you can read from the Braiding Sweetgrass book or hear at a discussion from Dylan Atminer who introduced it to many Detroiters this year, but for now let's return to news about the quipu and the research connected to it.

What's also exciting about this research that helps us relearn the literacy and thinking behind the quipu is that the techniques for decrypting it likely translate well into physical gestures too--know how to communicate using common syllables, words, or general concepts and you can assign them to physical movements. That's something my friend Onyx is playing with as he develops his own sono-cybernetic system.





From http://ciencias.pe/sites/default/files/styles/slide_principal/public/field/image/quipu-wari.jpg?itok=vPsFV8mw

NOTE: this post was edited part way on Nov. 30th when I realized I forgot to finish a sentence that actually connected to an entire section about other languages hehe .
References:

Braiding Sweetgrass by Robin Wall Kimmerer
https://milkweed.org/book/braiding-sweetgrass

Dr. Dylan AT Miner, a Metis native artist and scholar
http://www.wiisaakodewinini.com/


Debt: The First 5000 years by David Graeber
https://en.wikipedia.org/wiki/Debt:_The_First_5000_Years

[I've yet to read it though suspect it's very relevant given how transactional everything is--"owe a life", "forgive us", "I'm indebted to your kindness", etc.:]

Conversations and observations (plus probably some essays on his blog which I haven't yet read) with Onyx Ashanti


Sunday, March 3, 2013

Ian Tran's Guide to Embracing Wicked Problems and Complex Systems

I wanted to quickly explain the basics to a bunch of people trying to solve wicked problem/complex system types of challenges amid 4 days of very little sleep and intensive projects.  I cleaned it up some and posted it for anyone interested to check out.

https://drive.google.com/file/d/0B6ZWASyBqmHHcGFyVkxWNTEyYTA/view?usp=sharing

Or for those on academia:
http://www.academia.edu/2776740/Ian_Trans_guide_to_embracing_wicked_problems_and_complex_systems

You'll need to download it and/or zoom in (it's a large document which shows up at 47% of its actual size on my screen--printed to actual size, it's 2 feet wide!) to read the content comfortably.  Despite my inclination for freely sharing information, I put up a copyright because the "infographic"(?) needs some cleanup in its design.  Given its hacked-together inception, it's not completely satisfying.  I hope to finish a cleaner version later for the creative commons.  However, if you substitute "wicked problems and complex systems" with "life", the theoretical stuff makes a profound guide for approaching any issue.

Thursday, June 14, 2012

Column--homage to Donald Judd, 2006

The installation piece below was submitted and published in the Lyceum (The University of Michigan-Dearborn's Literary Fine Arts Journal) as a collection of documentation and observations. 


Column-homage to Donald Judd
To see the placard: http://www-personal.umd.umich.edu/~idtran/Column_IanTran.pdf 
Column "re-constructed"at approximately 18:30
after an eventful day.  Photographed by Ian Tran

A fond memory from my freshman year of college at University of Michigan-Dearborn, this piece was as much a prank as it was a tongue-in-cheek nod to contemporary arts, minimalism, and call to action spurred by the lack of fine arts activity on the University of Michigan-Dearborn campus. It was up for approximately six hours and viewers/other artists (unknown) had rearranged the tables in interesting ways as the day progressed.

Inspired by very minimalistic (and almost non-functional) and unusually hip tables that populated student study spaces on the third and fourth floors of the UM-Dearborn College of Arts, Sciences and Letters building, and a bit of frustration that the Dearborn campus community was fairly deficient in the arts (no performing or applied arts majors offered, and almost no fine arts initiatives from the student body).  There's a fantastic story that goes along with the construction and conception of the piece, but you'll have to hear it live sometime as I won't fit all of its details here.  On December 6th, 2006 I improvised a descriptive art placard and affixed it to the side of the column minutes before an accomplice (Sean Clyne, a Count Ant) and I started gathering the tables from student study areas on the 3rd and 4th floor of the building.  It read:




Exhibit #1 of the Constructive Energy exposition

Column-homage to Donald Judd, 2006


This interference of the vertical space is a paradox between the literal and scientific. The medium (readymade tables ¾ utilized without the consent of the University of Michigan Dearborn department of Humanities and ¼ utilized without the consent of the University of Michigan Dearborn department of the Behavioral Sciences) in its original state has a high potential to further or enhance the learning experience of the student. At the same time, the tables (in their default dispersal) are a demonstration of high entropy. This stacked arrangement reduces the entropy, thereby raising its potential energy. Though it reduces the potential for conventional student learning, it is the artist’s hope that it will bring fine and performing arts to the attention of the public (especially the student body). To those impassive of the piece, it is merely a troublesome object imbued with capricious and mildly plausible meaning by a troublesome set of students.

For those curious about  Donald Judd and why I made this an homage:  Donald Judd is a famous minimalist artist who has one of his installation pieces (a stack of blocks adhered to the wall) on display at the Detroit Institute of the Arts.

Column mid-day; also pictured: Professor Lee Brooks
of English Composition
Photo credit to Brandon Segrest
Column circa 16:26
Photographed by Ian Tran
What's minimalism to me? Here's my take--be concise, communicate an idea with simplicity. You'll hear the maxim of simplicity in minimalist music as well, though repetition may be more prevalent over conciseness . I think the "stack" sculpture of his on the wall of the Detroit Institute of the Arts is a pretty good example of that.

Monday, April 9, 2012

Shallow connections: Military and Powerpoint

I'm preparing a presentation for my senior capstone project on meaningful education through sustainability and participatory approaches in higher education.  I came across these gems in pondering alternatives to a powerpoint {I refuse to capitalize the "p"s for proper brand recognition} presentation:

Why yes, even the U.S. military is guarded about powerpoints:
"A recent reference in the New York Times indicates the U.S. Army is close to declaring war on PowerPoint. Army Gen. Stanley McChrystal, who heads U.S. and NATO forces in Afghanistan, told the Times, 'It’s dangerous because it can create the illusion of understanding and the illusion of control. Some problems in the world are not bullet-izable.' "
 ( http://blogs.oregonstate.edu/instructionaldesign/2010/05/25/nonlinear-presentations-alternatives-to-%E2%80%9Cdeath-by-powerpoint%E2%80%9D/ )

Note how this person likens powerpoint presentations to a crime scene--bodies strewn everywhere and an abundance of bullets:
http://prezi.com/nwo0v98wquco/msu-prezi-demo/

Saturday, January 14, 2012

Ahhh, beautiful...resume!

I recently applied for a campus job as a lab proctor.  Even though it probably didn't require much (entry level, high school degree, computer skills, good disposition for friendly service* [*that last one is actually a scalable quality--for an ethical individual it demands as much as you can put forth and, in my opinion, can make a huge difference ]), I decided to explore some new ideas with my resume.

It worked so well, I got an interview before I even finished writing the resume!  Actually, a miraculous set of coincidences and other events resulted in getting an interview date set up as I was still typing the resume--a story worth telling in itself--but I digress.  I hastily incorporated these ideas into my #1 resume (for longer-term employment prospects in corporate sustainability consulting) and the image above captures the outcome.

There are four new(ish) things I feel somewhat successful in implementing/addressing with this new edition of resume:

  1. Can you make your name more memorable?  This part was inspired by Rachel Dearborn's wonderful resume--a real eye opener in so many ways for me.
  2. How can you organize your information better?  I'll attribute this to a friend, Sarai Richter, whose resume utilized a two column layout (it almost blew my mind when I first saw it--"You can use the page like that!?!  Wonderful!").
  3. Can people check out what you've done?  This is my own innovation--perhaps other people have done it elsewhere, and credit to them, but I came across this on my own.
  4. Serif/Sans Serif font use.  Huh?  I've got Palatino Linotype and Calibri (or maybe Shruti, I don't remember which I chose for this) in the same document.  Sans serif fonts tend to be associated with futuristic things, and seem to read more quickly.  In a way, it reminds me of handwriting:  people who write in ALL CAPITAL LETTERS TEND TO GET THINGS DONE WITH A STEADFAST, BLUDGEONING STYlE, while those with all lower case characters tend to have a more subtle approach. Yet those who do BOTH seem likely to mix it up in moderation.