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main content About Videos & Slides Sponsors Boston, MA Sept 26-27 2016 Videos & Slides The Conference CSSConf is a conference dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. The presenters push the boundaries of what is possible — talking about the latest technologies, cutting edge techniques, and tools. CSSConf 2016 takes the show on the road anew, bringing two days of talks from experts around the community to Boston! Part of the international CSSconf family CSSconf Family Since the first CSSconf US in 2013, the CSSconf family has expanded around the globe. All CSSconf organizer teams share the vision of an international, diverse and creative CSS community, for which the CSSconf series offers a platform to meet, hack, share knowledge and build friendships. Talk Videos Sarah Drasner Creativity in Programming for Fun and Profit \\>> SARAH: Is that good? You have to do a lot of height adjustments when you're my size. All right. I'm Sarah Drasner. Hear to talk about creativity and programming for fun and profit. One of the really awesome things about being on this stage is that about a year ago I was on the stage before and I hadn't had a lot of experience speaking. Now I speak a ton. And it's because CSSconf really gave me a shot at it. And now I'm here giving a keynote. So I just wanted to thank CSSconf and Bocoup for allowing me to be up here again. Thanks. \\[ Applause \\] So creativity in programming is kind of like a huge topic, right? And there's no way to talk about all of it in 30 minutes. I'm going to talk about some of the key points that really make a difference for me and why it's even worth discussing. I think creativity tends to be something we push off to the side as being not that important. And maybe like secondary to a lot of other processes. But I'm going to talk today about how it's core to all processes. And like I said, my name is Sarah Drasner. I take being up here very seriously. This is me as a child, as well as my relationship to authority. I am a Web technologies consultant. So I get hired by companies to come and help out with some of their tech staff, including SVG animations and component libraries. So let's dive right in. What does it mean to be creative? Like why are we talking about this? Programming is not something that you think about and think, like, oh, creativity. But programming is, in essence, a creative act. This is a very normal kind of interview prep question, Fizz buzz. How do you write it out? Two possible scenarios. These are two functionally equivalent solutions to fizz buzz. And they look different. Every time you're giving instructions to a computer you're really communicating with other people. The compiler sees it a completely different way than the way you type it. And Kyle Simpson talks about how we spend 70% of our time maintaining code and only 30% of it writing. So this kind of the way that we write things and the way that we're communicating with each other is an act of creativity. It's the way we're expressing ourselves. The one on the bottom, only 58 characters, was a creative endeavor. That's not something you're probably going to put in a code base like the one on the top you can read and communicate with more humans more easily. So it's important to your business. When we're talking about, like, creative forces and questioning things and why we're even engaging in this, it might seem like that's secondary to business efforts, but Hewlett Packard puts a good amount of money into R&D. In 1999, $2 million and saw profits of 42.37 billion. That was a huge return on investment. Frito Lay had a cost savings of $600 million due to creativity programs. And CEOs, when interviewed say that creativity across the board is the number one thing they look for in potential candidates. Over being hard working, over being loyal. And that was a survey across 33 different industries and 60 different countries. It's also important for you. Let's go into why. A lot of you have probably heard of the phenomenon of flow. It's complete immersion in your tasks. What I mean by that, you lose track of time. You're engaged, totally, fully in that activity. You forget to go to the bathroom, forget to eat. Somebody has to tell you put the computer down now. Shares traits with hyper focus. And people get these two things mixed up a little bit. When you're really trained on finding the solution to something, you can be in hyper focus. But usually it's not the same thing. You will notice if you're hungry, stressed in hyper focus. Pushing out code for a deadline at work, you're often times in hyper focus, not in flow. And creative program tends to put you in a flow state. So you have a loss of self reflective consciousness and your experience of time is kind of altered. What ends up happening, people who experience flow talk about this being some of the happiest points in their entire life. So when we're talking about burn out at a company, if you're continually programming in order to get something pushed out and continually programming to get something done and you're stressed when you're programming, you have this association with programming and this stress. So it's actually like a way that you can fight burnout. Burnout is fought a lot of times by resting. But it's not the only way you can fight burn out. The way that your brain works, neural pathways get set, you have the joined synapse and they're firing, programming and stress and programming and stress, you lock those two things together. If you start to do creative activities, you start to refocus the neural pathways, join them. You actually increase plasticity in your brain and you can start to tie that creative and happiness and fun along to programming in a way that you didn't before. If you have done a side project that works really well. Sometimes I did really drudgey things at work and work on something that was a side project in my spare time, and come to work rejuvenated, feeling happy and excited. And that's contagious. That actually kind of ekes into all of your program processes. So flow plus this thinking can actually reduce stress and cause happiness while you're programming other tasks. So I made this kind of like little silly demo. If this is your understanding of things and these are all the things out there that you can learn, every time you're pulling something into that sphere, it's actually growing your understanding. But if you try to learn too much at once, it's not really going to work, right? You're going to glaze over it. You have to focus on that activity and bring it into that sphere. So we talked a lot about the whys. Now let's get into the hows. I'm just going to talk about my hows. I'm not going through every way you can go through creative programming. There's tons and tons of ways. But we're going to break down as many as possible in this short amount of time. So one big thing is questioning the base premises. Another is to impose artificial bounds. Another is re purposing, another is combining, and the last one is using open source as a tool. So let's start with questioning the base premises. Because that's a really, really big one. So when we're thinking linearly. Thinking A equals B, think of something like we reduce cost by spending less money, right? So if you're thinking laterally, okay, what if that's not true? What if we spend more money? What if we spend more money, but on fewer vendors, and place larger orders on some vendors and get bigger price breaks. The source here, if you want to read more, is igniting innovation. And more than a million dollars’ worth of savings at a company based on one hour creativity sessions. This is happening in programming as well. So you have the Ethernet. A series of computer networks, there were token ring networks. And you can think of token ring networks, they're kind of like planned or coordinated systems where it's similar to a talking stick in kindergarten. The kid holds and talks and passes it on. It's kind of coordinated and organized. What ether net did was question the base premise of that. What if we don't wait? What if we do a completely different system? An emergent system. That's a little bit more like a discussion. Computer cans all say stuff at the same time, but if they see somebody else is talking, they kind of back off. And this system is way more chaotic, but ended up being surprisingly more efficient. So React questioned base premises. Whether you like it or not, this was tons of weird best practicing thrown out the windows. What if we write in line JavaScript right in the component? What if we don't lose the DOM? Use a virtual DOM to be diving? What if we replace the syntax? These are base premises thrown out the window. Sass did this as well. We don't have X in CSS. CSS needed a hero. What if we have variables and four loops and mix ins and we can dry out our code? This shaped our specs. We didn't wait for variables in CSS. They are here now, and Lea is going to talk about them later today with a great talk. But this questioning and taking action actually pushed our Web forward. So the second thing that we can do is impose artificial balance. Sometimes when you look at a blank page or a blank state, if I was saying, you know why creativity is important. Go make a creative program. It's kind of okay. Where am I going to start? By imposing artificial bounds you have some rules to follow and some ways to be creative. A lot of times when you have an assignment for something, you find your brain is actively thinking of new ways of working with something. So I just wrote an article called the nerds guide to color on the Web and talked about MSLA. There's hexadecimals, and all these ways of working with color on the Web were meant so the computer knows what color you're using. But HSLA was special, so humans could understand what color. It used a way of thinking about color. So H, the hue, is rotating. It's a complete circle. So as I'm scrolling this list it's just going to go around in a circle. Whereas saturation goes from zero to 100%. Lightness, zero to 100%, and the opacity, zero to 100. Similar to 1 to 100%. I can do stuff? Sass, write colors and mix ins. This was done with this color function here. Also, because it's a full circle I can hope that my demo loads. On my local host server. What you're not seeing is a full circle of color. What's really nice about that is there's no errors. Even if I pass in 480 degrees, I'll still have a color. There's no like top or bottom. So another thing we can do with that, kind of impose balance. So I made this city construction site. Get it? It's like a Website. Bad, bad joke. I'm on a comedy stage. I got to. \\[ Laughter \\] And so I can hit this button and I can change the hues and saturation values. And this one's slightly different than the other one and not exactly the same. But they're relative color mixing. So they're going to play off of each other. And I can get weird colors and set it back to normal and play with perspective and do a lot of other weird stuff because it's fun. So and that's really simple. I'm using GreenSock in my animation. And they allow for the color mixing. Just caching the HSL, doing it relative to the color it's already at. So another way we can impose bounds and write artificial physics. If you have made Canvas or anything like that, it's familiar to you. 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Its primary purpose is to provide developers and designers with access to recorded sessions, presentation slides, and transcripts, ensuring the knowledge shared during the live event in Boston remains accessible to the global tech community.\n\nThe visual identity is a masterclass in high-energy, expressive design that breaks away from the sterile aesthetics often found in tech. Utilizing a vibrant palette of neon pinks, purples, and teals, the site employs organic, fluid shapes and heavy typographic elements to create a sense of movement and creativity. 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Page content: Skip to main content About Videos & Slides Sponsors Boston, MA Sept 26-27 2016 Videos & Slides The Conference CSSConf is a conference dedicated to the designers, developers and engineers who build the world’s most engaging user interfaces. The presenters push the boundaries of what is possible — talking about the latest technologies, cutting edge techniques, and tools. CSSConf 2016 takes the show on the road anew, bringing two days of talks from experts around the community to Boston! Part of the international CSSconf family CSSconf Family Since the first CSSconf US in 2013, the CSSconf family has expanded around the globe. All CSSconf organizer teams share the vision of an international, diverse and creative CSS community, for which the CSSconf series offers a platform to meet, hack, share knowledge and build friendships. Talk Videos Sarah Drasner Creativity in Programming for Fun and Profit \\>> SARAH: Is that good? You have to do a lot of height adjustments when you're my size. All right. I'm Sarah Drasner. Hear to talk about creativity and programming for fun and profit. One of the really awesome things about being on this stage is that about a year ago I was on the stage before and I hadn't had a lot of experience speaking. Now I speak a ton. And it's because CSSconf really gave me a shot at it. And now I'm here giving a keynote. So I just wanted to thank CSSconf and Bocoup for allowing me to be up here again. Thanks. \\[ Applause \\] So creativity in programming is kind of like a huge topic, right? And there's no way to talk about all of it in 30 minutes. I'm going to talk about some of the key points that really make a difference for me and why it's even worth discussing. I think creativity tends to be something we push off to the side as being not that important. And maybe like secondary to a lot of other processes. But I'm going to talk today about how it's core to all processes. And like I said, my name is Sarah Drasner. I take being up here very seriously. This is me as a child, as well as my relationship to authority. I am a Web technologies consultant. So I get hired by companies to come and help out with some of their tech staff, including SVG animations and component libraries. So let's dive right in. What does it mean to be creative? Like why are we talking about this? Programming is not something that you think about and think, like, oh, creativity. But programming is, in essence, a creative act. This is a very normal kind of interview prep question, Fizz buzz. How do you write it out? Two possible scenarios. These are two functionally equivalent solutions to fizz buzz. And they look different. Every time you're giving instructions to a computer you're really communicating with other people. The compiler sees it a completely different way than the way you type it. And Kyle Simpson talks about how we spend 70% of our time maintaining code and only 30% of it writing. So this kind of the way that we write things and the way that we're communicating with each other is an act of creativity. It's the way we're expressing ourselves. The one on the bottom, only 58 characters, was a creative endeavor. That's not something you're probably going to put in a code base like the one on the top you can read and communicate with more humans more easily. So it's important to your business. When we're talking about, like, creative forces and questioning things and why we're even engaging in this, it might seem like that's secondary to business efforts, but Hewlett Packard puts a good amount of money into R&D. In 1999, $2 million and saw profits of 42.37 billion. That was a huge return on investment. Frito Lay had a cost savings of $600 million due to creativity programs. And CEOs, when interviewed say that creativity across the board is the number one thing they look for in potential candidates. Over being hard working, over being loyal. And that was a survey across 33 different industries and 60 different countries. It's also important for you. Let's go into why. A lot of you have probably heard of the phenomenon of flow. It's complete immersion in your tasks. What I mean by that, you lose track of time. You're engaged, totally, fully in that activity. You forget to go to the bathroom, forget to eat. Somebody has to tell you put the computer down now. Shares traits with hyper focus. And people get these two things mixed up a little bit. When you're really trained on finding the solution to something, you can be in hyper focus. But usually it's not the same thing. You will notice if you're hungry, stressed in hyper focus. Pushing out code for a deadline at work, you're often times in hyper focus, not in flow. And creative program tends to put you in a flow state. So you have a loss of self reflective consciousness and your experience of time is kind of altered. What ends up happening, people who experience flow talk about this being some of the happiest points in their entire life. So when we're talking about burn out at a company, if you're continually programming in order to get something pushed out and continually programming to get something done and you're stressed when you're programming, you have this association with programming and this stress. So it's actually like a way that you can fight burnout. Burnout is fought a lot of times by resting. But it's not the only way you can fight burn out. The way that your brain works, neural pathways get set, you have the joined synapse and they're firing, programming and stress and programming and stress, you lock those two things together. If you start to do creative activities, you start to refocus the neural pathways, join them. You actually increase plasticity in your brain and you can start to tie that creative and happiness and fun along to programming in a way that you didn't before. If you have done a side project that works really well. Sometimes I did really drudgey things at work and work on something that was a side project in my spare time, and come to work rejuvenated, feeling happy and excited. And that's contagious. That actually kind of ekes into all of your program processes. So flow plus this thinking can actually reduce stress and cause happiness while you're programming other tasks. So I made this kind of like little silly demo. If this is your understanding of things and these are all the things out there that you can learn, every time you're pulling something into that sphere, it's actually growing your understanding. But if you try to learn too much at once, it's not really going to work, right? You're going to glaze over it. You have to focus on that activity and bring it into that sphere. So we talked a lot about the whys. Now let's get into the hows. I'm just going to talk about my hows. I'm not going through every way you can go through creative programming. There's tons and tons of ways. But we're going to break down as many as possible in this short amount of time. So one big thing is questioning the base premises. Another is to impose artificial bounds. Another is re purposing, another is combining, and the last one is using open source as a tool. So let's start with questioning the base premises. Because that's a really, really big one. So when we're thinking linearly. Thinking A equals B, think of something like we reduce cost by spending less money, right? So if you're thinking laterally, okay, what if that's not true? What if we spend more money? What if we spend more money, but on fewer vendors, and place larger orders on some vendors and get bigger price breaks. The source here, if you want to read more, is igniting innovation. And more than a million dollars’ worth of savings at a company based on one hour creativity sessions. This is happening in programming as well. So you have the Ethernet. A series of computer networks, there were token ring networks. And you can think of token ring networks, they're kind of like planned or coordinated systems where it's similar to a talking stick in kindergarten. The kid holds and talks and passes it on. It's kind of coordinated and organized. What ether net did was question the base premise of that. What if we don't wait? What if we do a completely different system? An emergent system. That's a little bit more like a discussion. Computer cans all say stuff at the same time, but if they see somebody else is talking, they kind of back off. And this system is way more chaotic, but ended up being surprisingly more efficient. So React questioned base premises. Whether you like it or not, this was tons of weird best practicing thrown out the windows. What if we write in line JavaScript right in the component? What if we don't lose the DOM? Use a virtual DOM to be diving? What if we replace the syntax? These are base premises thrown out the window. Sass did this as well. We don't have X in CSS. CSS needed a hero. What if we have variables and four loops and mix ins and we can dry out our code? This shaped our specs. We didn't wait for variables in CSS. They are here now, and Lea is going to talk about them later today with a great talk. But this questioning and taking action actually pushed our Web forward. So the second thing that we can do is impose artificial balance. Sometimes when you look at a blank page or a blank state, if I was saying, you know why creativity is important. Go make a creative program. It's kind of okay. Where am I going to start? By imposing artificial bounds you have some rules to follow and some ways to be creative. A lot of times when you have an assignment for something, you find your brain is actively thinking of new ways of working with something. So I just wrote an article called the nerds guide to color on the Web and talked about MSLA. There's hexadecimals, and all these ways of working with color on the Web were meant so the computer knows what color you're using. But HSLA was special, so humans could understand what color. It used a way of thinking about color. So H, the hue, is rotating. It's a complete circle. So as I'm scrolling this list it's just going to go around in a circle. Whereas saturation goes from zero to 100%. Lightness, zero to 100%, and the opacity, zero to 100. Similar to 1 to 100%. I can do stuff? Sass, write colors and mix ins. This was done with this color function here. Also, because it's a full circle I can hope that my demo loads. On my local host server. What you're not seeing is a full circle of color. What's really nice about that is there's no errors. Even if I pass in 480 degrees, I'll still have a color. There's no like top or bottom. So another thing we can do with that, kind of impose balance. So I made this city construction site. Get it? It's like a Website. Bad, bad joke. I'm on a comedy stage. I got to. \\[ Laughter \\] And so I can hit this button and I can change the hues and saturation values. And this one's slightly different than the other one and not exactly the same. But they're relative color mixing. So they're going to play off of each other. And I can get weird colors and set it back to normal and play with perspective and do a lot of other weird stuff because it's fun. So and that's really simple. I'm using GreenSock in my animation. And they allow for the color mixing. Just caching the HSL, doing it relative to the color it's already at. So another way we can impose bounds and write artificial physics. If you have made Canvas or anything like that, it's familiar to you. If you're programming in the computer and you have a thing that's got …. A Fun \u002F Playful, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Technology & Hardware industry. The overall color palette features White, Pink, Gray, Black, Green. Built using Amazon Web Services, jQuery, Snap.svg, YouTube. AI description: CSSConf 2016 serves as a digital archive and landing page for a premier web development conference. Its primary purpose is to provide developers and designers with access to recorded sessions, presentation slides, and transcripts, ensuring the knowledge shared during the live event in Boston remains accessible to the global tech community. The visual identity is a masterclass in high-energy, expressive design that breaks away from the sterile aesthetics often found in tech. Utilizing a vibrant palette of neon pinks, purples, and teals, the site employs organic, fluid shapes and heavy typographic elements to create a sense of movement and creativity. 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CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. We create practical courses in London taught by famous designers, innovators and creative agencies. Anyone working in the creative industries needs to stay up-­to-­date with the latest trends, the biggest ideas and the smartest technologies. And there’s nowhere better to do that than London –­ one of the most cutting-­edge and vibrant cities in the world. Our unique learning experiences are designed to immerse you in the creative, commercial and cultural life of London. You’ll enjoy exclusive access to some of the top people, agencies and businesses at work here today –­ learning first­-hand how they operate, as well as gaining behind­-the-­scenes insights into their most successful projects. If you want to take your company to the next level or if you’re simply looking to boost your creative career, we look forward to inspiring you. 200 + famous teachers and mentors Michael Wolff Wolff Olins Michael Wolff Wolff Olins Co-founder of one of the world’s most iconic design companies – Wolff Olins – and recognised today as a leading thinker on brands. He designed Beatles’ album covers, BP's iconic logo, Shell's rebrand, and the identity for the London Borough of Camden. He’s also patron of the Inclusive Design Challenge at the RCA Angie Yuanmalai R\u002FGA, ex-Huge Angie Yuanmalai R\u002FGA, ex-Huge Niharika Hariharan McKinsey & Company Niharika Hariharan McKinsey & Company Niharika Hariharan – Associate Partner at McKinsey & Company will identify how to build design-centric organisations discerning the ingredients to build a sustainable creative culture that facilities cross collaboration. Creating change that matters is at the core of McKinsey & Company. Harry Pearce Pentagram Harry Pearce Pentagram Partner at Pentagram – the famous design studio that was founded in 1972 by Alan Fletcher, Theo Crosby, Colin Forbes, Kenneth Grange, Bob Gill, and Mervyn Kurlansky. They have designed packaging and products for many well known companies, such as Tesco, Boots, 3Com, Swatch and others. Explore all Explore our upcoming courses and experiences [ Tailored Learning Programmes Bespoke learning solutions and corporate training for your business challenges. AnytimeOnlineUpon request AnytimeOnline ](\u002Fen\u002Fcourse\u002Fcorporate-training) [ Executive MBA for Design Leaders Finally, a business programme for design leaders. Learn about finance, operations, management and entrepreneurship Next Cohort Starts in July 2026In Person£45,000 Next Cohort Starts in July 2026In Person ](https:\u002F\u002Fbauhaus.futurelondonacademy.co.uk\u002F) [ Mini-MBA for Designers & Creatives A practical business course taught by product leaders at Uber, Deel and more. Master essential business skills to influence products and shift your design career. Self-paced, ONLINEOnline£2,500 Self-paced, ONLINEOnline ](https:\u002F\u002Fbusiness.futurelondonacademy.co.uk\u002F) [ Product Design Strategy Self-paced, Online Create influence with design and measure what matters ](https:\u002F\u002Fproduct.futurelondonacademy.co.uk\u002F)[ Branding Now Self-paced, Online The ultimate branding course for design directors and senior creatives. From brand strategy and identity to building a brand system and leading the team – learn the latest approaches from ex-Wolff Olins ex-DesignStudio Creative Directors. ](https:\u002F\u002Fbranding.futurelondonacademy.co.uk\u002F)[ Creative Leadership Self-paced, Online Learn how to motivate, manage and grow your creative team. ](https:\u002F\u002Flead.futurelondonacademy.co.uk\u002F)[ Creative Ops Self-paced, Online An in-depth Project Management course for agencies and brands. From scoping and budgeting to creating a smooth workflow, so that your team produces award-winning work without burning out. ](https:\u002F\u002Fops.futurelondonacademy.co.uk\u002F) [MORE COURSES ](\u002Fen\u002Fcourses) > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. If you are a creative, strategist, forward-thinker definitely check it out! ” Tarryn van Schalkwyk Digital Designer, MotorHappy > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. If you are a creative, strategist, forward-thinker definitely check it out! ” Tarryn van Schalkwyk Digital Designer, MotorHappy > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. 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Through a curated mix of short courses, corporate training, and immersive 'design safaris,' the academy bridges the gap between creative intuition and business acumen, offering specialized programs like Executive MBAs for design leaders.\n\nThe visual identity is unapologetically bold and avant-garde, utilizing a high-contrast palette of electric yellow and deep black. The design language leans heavily into massive, experimental typography and a structured grid that feels both architectural and energetic. This aesthetic signals a brand that is forward-thinking, disruptive, and deeply rooted in the contemporary design culture of London.","Education & Courses",[591,30,34],"Brutalist \u002F Neo-Brutalist",[593],"Charmer Studio",[315,315,298],[596,287,274,275,284,597],"ActiveCampaign","Ubuntu",[599,601,603],{"score":600,"category":86},72,{"score":602,"category":89},77,{"score":604,"category":92},100,[606,607,608],{"score":465,"category":86},{"score":602,"category":89},{"score":604,"category":92},[610,101,117,611,109,612],"yellow","brown","orange","Website: Future London Academy. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Future London Academy. Page description: Short courses, corporate training and design safaris for design leaders, entrepreneurs, creatives and managers. Page content: START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. START DESIGNING YOUR FUTURE TODAY WE CREATE LEARNING EXPERIENCES IN THE HEART OF LONDON AND AROUND THE WORLD INNOVATE. CONNECT. INFLUENCE. We create practical courses in London taught by famous designers, innovators and creative agencies. Anyone working in the creative industries needs to stay up-­to-­date with the latest trends, the biggest ideas and the smartest technologies. And there’s nowhere better to do that than London –­ one of the most cutting-­edge and vibrant cities in the world. Our unique learning experiences are designed to immerse you in the creative, commercial and cultural life of London. You’ll enjoy exclusive access to some of the top people, agencies and businesses at work here today –­ learning first­-hand how they operate, as well as gaining behind­-the-­scenes insights into their most successful projects. If you want to take your company to the next level or if you’re simply looking to boost your creative career, we look forward to inspiring you. 200 + famous teachers and mentors Michael Wolff Wolff Olins Michael Wolff Wolff Olins Co-founder of one of the world’s most iconic design companies – Wolff Olins – and recognised today as a leading thinker on brands. He designed Beatles’ album covers, BP's iconic logo, Shell's rebrand, and the identity for the London Borough of Camden. He’s also patron of the Inclusive Design Challenge at the RCA Angie Yuanmalai R\u002FGA, ex-Huge Angie Yuanmalai R\u002FGA, ex-Huge Niharika Hariharan McKinsey & Company Niharika Hariharan McKinsey & Company Niharika Hariharan – Associate Partner at McKinsey & Company will identify how to build design-centric organisations discerning the ingredients to build a sustainable creative culture that facilities cross collaboration. Creating change that matters is at the core of McKinsey & Company. Harry Pearce Pentagram Harry Pearce Pentagram Partner at Pentagram – the famous design studio that was founded in 1972 by Alan Fletcher, Theo Crosby, Colin Forbes, Kenneth Grange, Bob Gill, and Mervyn Kurlansky. They have designed packaging and products for many well known companies, such as Tesco, Boots, 3Com, Swatch and others. Explore all Explore our upcoming courses and experiences [ Tailored Learning Programmes Bespoke learning solutions and corporate training for your business challenges. AnytimeOnlineUpon request AnytimeOnline ](\u002Fen\u002Fcourse\u002Fcorporate-training) [ Executive MBA for Design Leaders Finally, a business programme for design leaders. Learn about finance, operations, management and entrepreneurship Next Cohort Starts in July 2026In Person£45,000 Next Cohort Starts in July 2026In Person ](https:\u002F\u002Fbauhaus.futurelondonacademy.co.uk\u002F) [ Mini-MBA for Designers & Creatives A practical business course taught by product leaders at Uber, Deel and more. Master essential business skills to influence products and shift your design career. Self-paced, ONLINEOnline£2,500 Self-paced, ONLINEOnline ](https:\u002F\u002Fbusiness.futurelondonacademy.co.uk\u002F) [ Product Design Strategy Self-paced, Online Create influence with design and measure what matters ](https:\u002F\u002Fproduct.futurelondonacademy.co.uk\u002F)[ Branding Now Self-paced, Online The ultimate branding course for design directors and senior creatives. From brand strategy and identity to building a brand system and leading the team – learn the latest approaches from ex-Wolff Olins ex-DesignStudio Creative Directors. ](https:\u002F\u002Fbranding.futurelondonacademy.co.uk\u002F)[ Creative Leadership Self-paced, Online Learn how to motivate, manage and grow your creative team. ](https:\u002F\u002Flead.futurelondonacademy.co.uk\u002F)[ Creative Ops Self-paced, Online An in-depth Project Management course for agencies and brands. From scoping and budgeting to creating a smooth workflow, so that your team produces award-winning work without burning out. ](https:\u002F\u002Fops.futurelondonacademy.co.uk\u002F) [MORE COURSES ](\u002Fen\u002Fcourses) > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. If you are a creative, strategist, forward-thinker definitely check it out! ” Tarryn van Schalkwyk Digital Designer, MotorHappy > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. If you are a creative, strategist, forward-thinker definitely check it out! ” Tarryn van Schalkwyk Digital Designer, MotorHappy > The week was incredible. Full of inspiring talks and networking with creative people from around the world. I learnt how design can make a positive impact on business and the future of business. Glazione Rocha Senior Art Director & Design Studio Lead, Zalando SE > Thanks for the programme and all your input, organisation, and management of it. Eleanor Saunders Principal User Experience at Tactel AB > Loads of practical tips and real-world examples of brand writing. Rob O'Reilly Copywriter, Zero-G > Really enjoyed the variety and calibre of the speakers. Needless to say that the organisation was spotless. Would recommend to anyone who is working or interested in innovation. Kristina Brjazgunova Business Designer at YOOX NET-A-PORTER GROUP > The content and the masterclasses were a great experience Antonio Herrera Senior Visual Designer, Studio Herrera > Learning directly from the experts really motivated me. We also learnt a lot from each other by discussing meetings and lectures afterwards. Igor Mustaev Art director at Linii Group > Quality of speakers was top notch, diversity of subject matter was excellent, participants were friendly and interesting. Favorite conference ever. Chelsea Lee Creative Director at Block > I loved it. It really broadened my perspective on the UX Design industry. The best part was meeting such a diverse group of UX people from all over the world. Arne Heinz User Experience Design Lead, Volkswagen > An intense and inspiring week with other multidisciplinary UX designers. The program was well balanced and contained topics that we're engaging for every skill level. I highly recommend! Damion Bailey Senior Manager UX & Design > “Mind-blowing events! Learnt so much from exploring different companies and experiencing 13 different countries all in one room. If you are a creative, strategist, forward-thinker definitely check it out! ” Tarryn van Schalkwyk Digital Designer, MotorHappy We have already inspired people from these companies. A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Education & Courses industry. 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Michaella Lynch Director of Marketing — Olympia They’ve been incredible from day one. They’re super creative, thoughtful, and just really fun to work with. And it never feels like a one-size-fits-all approach. Just solid, quality work from a genuinely creative and awesome group of people. Asher Kazmann, P.E. President — Locke Solutions With their incredible ability to ask the right questions and unveiling unique marketing ideas, Always Creative has made a real impact on our business for over a decade. And sometimes I think they know more about my industry than I do. Dr. Mario Amaro Founder — Ease These guys truly help turn companies into brands. 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Page content: We’re Always Creative™ Brand Direction Brand Direction Always Creative helps make people and their ideas successful through better strategy, messaging, branding and growth marketing. Featured Work View All [ Locke Houston’s fastest growing brand ](\u002Fwork\u002Flocke) [ Crafted Crafted at Boone Tavern ](\u002Fwork\u002Fcrafted) [ Hildee's \"Pretty Dang Fancy\" Hill Country Fare ](\u002Fwork\u002Fhildees) [ Filmlab Our creative partners in Film & Video ](\u002Fwork\u002Ffilmlab) [ Thorn Utah's leading pest control. ](\u002Fwork\u002Fthorn) [ Home Slice X Lone Star Cheers to 20 years! ](\u002Fwork\u002Fhome-slice-x-lone-star) [ Belvedere South All day diner vibes ](\u002Fwork\u002Fbelvedere-south) [ Swell House ](\u002Fwork\u002Fswell-house) Since 2007 A Full Service Studio Based in Austin & Houston Partner Owned Practice Let’s get the most out of your brand Just like these fine folks: Kevin Thorn CEO — Thorn They listen, they collaborate, they are easy to work with, and they always deliver results that elevate our vision. They are a trusted partner that we couldn’t do without. Every business would benefit from working with Always Creative. Michaella Lynch Director of Marketing — Olympia They’ve been incredible from day one. They’re super creative, thoughtful, and just really fun to work with. And it never feels like a one-size-fits-all approach. Just solid, quality work from a genuinely creative and awesome group of people. Asher Kazmann, P.E. President — Locke Solutions With their incredible ability to ask the right questions and unveiling unique marketing ideas, Always Creative has made a real impact on our business for over a decade. And sometimes I think they know more about my industry than I do. Dr. Mario Amaro Founder — Ease These guys truly help turn companies into brands. From rebranding Ease to now being our ongoing brand partner for our own client base, we are happy to have such a talented, hard-working group in our creative corner.. A Clean \u002F Minimalist, Dark Mode, Typographic \u002F Big Type website in the Agency & Studio industry. The overall color palette features Black, White, Yellow, Gray. The typography features IBM Plex Mono (Sans Serif), IBM Plex Sans (Sans Serif), American Grotesk Condensed (Klim Type), American Grotesk Condensed (Klim Type). Built using Astro, reCAPTCHA. AI description: Always Creative is a high-impact brand identity and strategy studio dedicated to providing clear direction for ambitious companies and entrepreneurs. The website serves as a bold portfolio, showcasing a diverse range of successful brand transformations through strategic messaging, identity design, and growth marketing. The visual identity is unapologetically loud and modern, utilizing a high-contrast dark mode aesthetic paired with massive, impactful typography. The design language relies on a sophisticated interplay of heavy sans-serif fonts, vibrant accent colors like neon lime, and a structured grid that allows their featured work to command center stage. 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From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …",{"id":746,"height":13,"width":12,"blurhash":747},"665e96c3-d671-4548-9d10-d438d44135aa","radial-gradient(at 0 0,#b3ac4e,#00000000 50%),radial-gradient(at 33% 0,#bfbba2,#00000000 50%),radial-gradient(at 67% 0,#eae98d,#00000000 50%),radial-gradient(at 100% 0,#efee00,#00000000 50%),radial-gradient(at 0 50%,#adb04f,#00000000 50%),radial-gradient(at 33% 50%,#aaaa8a,#00000000 50%),radial-gradient(at 67% 50%,#dbd974,#00000000 50%),radial-gradient(at 100% 50%,#e9e800,#00000000 50%),radial-gradient(at 0 100%,#b2b068,#00000000 50%),radial-gradient(at 33% 100%,#ceceb6,#00000000 50%),radial-gradient(at 67% 100%,#f3f49e,#00000000 50%),radial-gradient(at 100% 100%,#eeee00,#00000000 50%)",{"id":749,"height":15,"width":14,"blurhash":358},"5c09d851-04e7-4205-b5b7-d7cd8de6bf10",[751],{"directus_files_id":752},{"id":753},"e3f50637-5bc5-4157-bcf3-bbe4e3d3ba9f",[755],{"languages_code":452,"description":756},"Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content.\n\nThe visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. This stylistic choice creates an immediate sense of artistic intentionality, appealing to a creative, avant-garde audience of writers, readers, and lifelong learners.","Art & Culture",[591,456,30],[760],"Ben West",[],[272],[764,765,766,767],{"score":205,"category":83},{"score":196,"category":86},{"score":604,"category":89},{"score":624,"category":92},[769,770,771,772],{"score":193,"category":83},{"score":196,"category":86},{"score":604,"category":89},{"score":624,"category":92},[610,117,101,109],"Website: Plot Twist. Page: Homepage. Page type: Home \u002F Landing Page. Page title: plot twist. Page content: Info - _plot twist_ was initiated by Jo Kali and Georgie Sinclair in 2018. From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …. A Brutalist \u002F Neo-Brutalist, Fun \u002F Playful, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features Yellow, Black, White, Gray. Built using PHP. AI description: Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content. The visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. This stylistic choice creates an immediate sense of artistic intentionality, appealing to a creative, avant-garde audience of writers, readers, and lifelong learners."]