Dr. Jacinda Walker

This week’s interview is truly special, because I got the chance to sit down with the one and only Dr. Jacinda Walker. I have been privileged to watch Jacinda’s glow up over the years, and now she’s reaping the benefits of her hard work, perseverance, and dedication to making the design community better for the next generation.

I got to speak with her fresh off her receiving an honorary doctorate from Ringling College of Art and Design, and she talked with me about the experience. She also shared news about the new space for her business, DesignExplorr, and the curriculum and workshop programs that she created based on her graduate research. We even chatted a bit about her work with AIGA’s D&I Task Force, what keeps her inspired, and how she measures success now at this stage of her life and career. Jacinda’s research and advocacy work deserve our recognition and support, and I’m glad to be able to share her story here!

Transcript

Full Transcript

Maurice Cherry:
All right. So tell us who you are and what you do.

Dr. Jacinda Walker:
Hi, my name is Jacinda Walker. I am founder and creative director of DesignExplorr, located in Cleveland, Ohio.

Maurice Cherry:
I should say congratulations, Dr. Jacinda Walker. That is such an amazing honor. I’m not going to get over that. That is so amazing. Please talk to me about how that all came about.

Dr. Jacinda Walker:
I agree with you, Maurice. I’m still absorbing it. To be quite honest, I don’t know how long it will take me to fully absorb the magnitude of achieving such an honor. I have no idea. When Ringling College of Art and Design reached out to me originally, they said, “Hey, listen, we’d love for you to do a commencement talk. We’ve been following your work. We want to build a relationship with you to come down and meet more of our students,” and I’m like, “Oh, bet I can do it.”

And then they talked to me about what the honorarium was and how long I was going to be in Florida. I’m like, “So y’all guys are going to put me up for four days in Florida to go to this commencement, give a 20-minute talk, and hang out with you and your students afterward? Oh yeah, I’m in. Call me. Keep me posted.” About two days before the event, they notified me that they wanted to present me with this honorary doctorate, and they wanted to know if I was going to accept it, which was kind of crazy because you’re like, “Is there anybody who turns this down?”

Is there anybody who says, “Oh no, dog. I’m good with them letters. Don’t worry about that advancement on my career, advancement on my salary, that advancement on my hourly rate now. No, I’m going to pass.” I don’t even know who does that. But I went down there. Florida was amazing. Sarasota was beautiful. I hadn’t been to Sarasota before. So to see it on top of everything else that was happening, it was just a huge, huge experience.

Maurice, I really thought I was going to be good because I was like, “I got this.” At this commencement, I saw all the paper degrees that they were going to be passing out, and I just assumed that mine was over in that pile. I felt like I could handle this. They read the bio, which I didn’t know they was going to read all 750 words of it. And then they have you stand because there’s a hooding ceremony that happens.

They put this cap over you. And then there’s this neck … It’s a velvet, a sash, so to speak, but it goes around your neck, and it attaches to your graduation gown. I turned around, Maurice, and they took the cover off of the degree and I totally fell out because I thought I was going to get one of the small degrees that was on the table. It was framed. It had my name on it huge. It’s got this silver plate statement on it. It’s got the school.

If you watch the video, I think I spent maybe the first three minutes of my speech sniffing because I was still trying to just pull it together and get into the words that I had prepared. Even my father was like, “You’ve got to start taking Kleenex with you. You’ve just got to.” I was like, “I had no idea.” I had no idea. I’m still absorbing it.

One of the young people that I work with here at DesignExplorr, she said, “You should put them all on the wall like they do at the doctor’s office because you got a full set now.” So I have an associate’s. I have a bachelor’s. I have a master’s. I have the doctorate, and I have two undergraduate minors and a graduate minor.

Maurice Cherry:
Whew. Degreed up.

Dr. Jacinda Walker:
Degreed up. I share this often when I go into classrooms with young people. This is coming from a person who almost failed the fourth, sixth, and the eighth grade. By the eighth grade, my momma had had enough. I don’t know if you’re ever been in a place with your mom where you knew she had had enough. Well, Renee had had enough, and she told me flat out, “I don’t care what is going on at that school. I don’t care what you think is going on at that school, but it stops today.”

She enrolled me in tutoring. She made my brother walk me to school because I had to go to tutoring before school started. So school usually started about 8:30. I had to be there at 7:30, 3 days a week, for the rest of the eighth grade so I could pass. I didn’t even know if college would even be in my future. I was just trying to get out of middle school. I was just struggling to do that. So to be at this place now, Maurice, is a lot to absorb.

Maurice Cherry:
It is well-deserved for-

Dr. Jacinda Walker:
Thank you.

Maurice Cherry:
… the advocacy work and the volunteer work and everything that you’re doing not just in your local community, which we’ll talk about, but just nationwide, worldwide. It’s amazing. I’m just saying this from with Revision Path. You can put stuff out there in the world and you never know where it’s going to land, who it’s going to reach, how it’s going to affect them.
So just kudos to you for always fighting the good fight. I’m immensely proud of you. I heard that, I was just like, “Oh my God, I can’t believe it. That is so amazing.”

Dr. Jacinda Walker:
Thank you so much. I just appreciate everybody, like yourself, reaching back and just keeping me encouraged even in those moments when I was fighting just to stay focused and what I was fighting for and that it would come to fruition, and it really, really has. So I’m eternally grateful.

Maurice Cherry:
Now, let’s talk about another one of your recent accomplishments from this year, which is a dedicated space for DesignExplorr. First of all, where did the idea to create DesignExplorr come from? Because when I had you back on the show back in 2014, I don’t think DesignExplorr was even a thing yet, was it?

Dr. Jacinda Walker:
No, Maurice. In fact, I was painfully writing it. I was in grad school when we first spoke. I was in Columbus at the Ohio State University. I had received a full ride scholarship to research the lack of diversity in design disciplines. I presented the idea to the university about a year and a half before I was actually in school because when you apply, you have to say, “Hey, what are you going to research? What’s your topic going to be?”

I submitted this out of the challenges that I had been experiencing in Cleveland. I submitted that topic out of everything that I had learned with the mentees that I had. I submitted that topic as a way to solve it because I was just tired of it. I was just tired of it always being the only, even in this day and age. In 2000, I just couldn’t believe there were still people who were the onlies.

By time my niece announced that she wanted to be a designer, Maurice, I was in overdrive. I was like, “Oh God, I’ve got to fix this, not eventually, not …” I knew I had to fix it, and I felt like I had four to six years to figure it out because she was going to go to college and study design. It pained me to even think about her experiencing some of the challenges and the microaggressions and the discriminatory acts that I experienced. It highly motivated me to figure it out and to put something in place so she wouldn’t have to go through those types of things.

Maurice Cherry:
Now with this dedicated space, what does that do now for the mission and the vision of DesignExplorr? What does that do now?

Dr. Jacinda Walker:
Absolutely. First, I have to share that I have moved DesignExplorr physically every year for four and a half years, Maurice.

Maurice Cherry:
Really?

Dr. Jacinda Walker:
Maurice, every year. Remember I told you I started writing about DesignExplorr in Columbus. So when I graduated, I moved back to Cleveland. So the first year, I want to say year and a half, I was in my home literally upstairs because I had moved the desk that I wrote my thesis in because that desk has become sacred now. I ain’t never giving up that desk. That desk is never going in the trash.

So I had moved that to my upstairs loft area, which my father just ridiculously laughed at me all the time because he was like, “You going to put your desk right next to the bed? Are you sleeping?” That’s what I did, Maurice. I would literally go to sleep. I would wake up and work. I would fall asleep watching TV, go to bed, wake up, roll out my bed, go to the desk. That’s probably what I did every day for about a year, year and a half, until I got DesignExplorr launched off the ground.

So having this space, when you talk about what is it going to do for the mission, it’s going to allow myself and now team members, Maurice, there are probably about eight young people in this space right now who come in and out, who do tasks, who do design projects, who do photography things, who write. I have a young lady who’s also writing right now. Here in Cleveland, I’m surrounded by three major colleges. There’s Cleveland State University, Cleveland Institute of the Art, and then we also have Cuyahoga Community College, which is a two-year college.

All of these schools are probably within five minutes of where the space is going to be at. So that’s why I wanted the space because we were just growing out. When I left my house, I moved into a space that was probably about 375 square feet, which at the time, Maurice, I loved it. I was like, “We legit, y’all.” I got a door. I had a parking spot, and I had a key. You know how you can come into the co-working building?

Maurice Cherry:
Mm-hmm.

Dr. Jacinda Walker:
I just thought we was doing it. I was like, “We’re doing it.” One day I looked up and there was myself and three other young designers in 375 square feet, literally. I was sitting at my little desk. It was one across from me, and I had a little round table, Maurice. They were coming. None of them was like, “You know what? It’s small. I’m quitting. I’m leaving.” Nope. They was like, “I’m staying. I’ll just work in the hallway until So-and-so leaves.”

After the 375, I moved into 680 square feet. Now, the 680 square feet was nicer. It was on the fifth floor. We called it the penthouse. From there, I started getting other organizations who helped to create pilot programs to have interns trained in design to work for their organizations. So that’s how I got a couple more interns. At the end of that summer, I was like, “We’re not going to fit here.”

I already had two desks. Maurice, I think at the time I only owned four chairs. People, they were still coming. I was like, “I’m not going to be able to do this work in this confinement.” It just wasn’t going to happen. I had an opportunity to talk with a commercial real estate agent here in Cleveland, and she explained the game to me.

I was like, “Okay. I know what I have to do, and I’m going to find a space on my own. I’m going to find it without a real estate agent because that process isn’t working for me and I need this to really, really be what I want. I already have a vision, so I’m going to do this on my own.” I found a space. I found a space here in Cleveland. We’re on 3800 Euclid Avenue downtown, right across from the Children’s Museum and adjacent to the American Red Cross.

It’s awesome, Maurice. It’s 1,821 square feet. There’s a huge front-facing window. We have this huge area that we’re going to have for open space. So I’ll be able to fit eight to 10 young people there. And then we’re going to have a huge great room in the back where I’ll be able to have a multipurpose room where it might be a classroom and a little conference area. We’re going to have a kitchen, a private bath, reception area, and I’ll even have my own office.

I can’t begin to describe it. What’s super awesome is that right now at the time of this interview, we’re in the interim space upstairs. So for the last month, I’ve been peeking downstairs, talking to all the construction people. They have plumbing in, Maurice. We have plumbing. So to see this space being built exactly how I envisioned it and exactly doing the work that it needs to do is insane just to be able to be at this place.

So that center will allow me, once it’s complete … They’re telling me eight to 10 weeks. Once it’s complete, we will open up the experiential learning portions of DesignExplorr. See, in the past, I’ve mostly been doing youth workshops that expose young people to design. I’ve been doing a lot of local summer camps, afterschool programs, in-classroom assignments where I was teaching design to a K-12 audience.

But the center will allow me to provide opportunities for designers, 18 to 26-year-olds, who are interested in working in the profession. So I already have a host of clients here who are allowing us to work on their design projects, their web projects, their photography work, some writing assignments. We have a couple social media clients that we’ve been working for.

It will allow me to expand that part of it so that when young people who are from Cleveland who are interested in this expanded learning to fulfill that gap space between high school and college and between college and workforce, they can come here and ask questions. They can come here and fellowship with other Black and brown designers. The best part is they’ll have opportunity to do real world work so that when they go into these workforce positions, it won’t be a mystery to them.

They’ll have a really good expectation as to what it could be and what it should be. So I’m hopeful that’ll help to increase the profession, increase diversity in design, and just to continue my work, being able to not have any more only designers anymore, any more only women or any more only Black designers or just no more onlies, no more. So that’s what I’m really hopeful that the center will be doing for us.

Maurice Cherry:
Well, I mean all of that is amazing. I can’t wait to get a chance to actually see it all in person once you get it all together. Hopefully, if there are some design companies or some furniture companies listening, they can help you really swag out the space, really make it something nice.

Dr. Jacinda Walker:
Yes. I would love that, Maurice. In fact, that is what is needed because I have exhausted everything in getting the space. They say that entrepreneurship is about risk, and I understand that this is a risk doing it this way. But what I know is that I won’t be able to flourish if I’m not in a space where I can grow, and having the 1800 square feet is that space. It’s like me moving out of a small pot into a bigger pot so I can bloom.

Maurice Cherry:
Let’s talk about some of the young designers that you’re mentoring. I know when we were initially trying to book this, we thought about having the possibility of actually having them on the show, which I think maybe we can do that in the future. But tell me about some of these young designers that are coming through the program.

Dr. Jacinda Walker:
There are about eight right now. Five are here. Well, four are here in-person. They’re here regularly, two or three days a week. I have another two or three that, hey, they call in. They’re already in the workforce, so they’re doing some things. I have two designers from Kent State University that I’m working with. I have about three students that I’m working with from Cleveland State University.

I have a young lady who’s in urban planning. I have another young woman that I’m working with. She is in industrial design. The majority of them are in graphic design and web design. I have another young lady who’s highly passionate about getting into UX and UI design. So they’re all doing some truly, truly awesome things. Maurice, you’ll love this. I even have a young writer who’s on team. She is interested in writing in a creative space.

So we’re like, “Well, you found your people. Welcome. Enjoy. Come on in.” So it’s been great having various amounts. I have male and female, mostly all Black right now. I have two young people who are in our neighborhood association who are Puerto Rican, and they’re also interested in coming onboard when the new space is open. So even just having the space here, the young people are already coming and staying, trying to stay. So I’m excited. I’m very excited.

Maurice Cherry:
Now also along with this mentorship, you’ve created resources for educators, right?

Dr. Jacinda Walker:
Yes.

Maurice Cherry:
You’ve created something called the TakeOver curriculum.

Dr. Jacinda Walker:
Yes, absolutely. That’s one of our favorite ones. I had an opportunity to work with an educational consultant. She is a consultant who helps educators become better educators. So you imagine when you’re in a K-8 school or a K-12 school, there are lots of challenges and curriculum changes and all those types of things. Well, Dr. Kelly is who we work with to help us transcribe all of my slides, all of the things that are in my brain into an educational curriculum that is in alignment with Ohio-based state standards.

We also have developed along with that nine-week program, we call it the TakeOver. We also have a six-hour training component for educators to be able to work in this design-thinking methodology and helping to be able to utilize these tools to creatively expose and use them to help young people absorb challenges and topics that might be a little difficult, how they can maybe bring some different insight into getting young people to think about recycling or finances, even science and history.

I believe that design has the power to achieve and to help connect all of those things. So having that educator’s curriculum will be able to allow them to also learn how to apply that creativity in some of those difficult topics that young people have.

Maurice Cherry:
Now, are there other programs that you have through DesignExplorr? We talked about the curriculum, but I noticed, I’m looking at this PDF you have on your site. There’s things like design learning, Think Like A Designer Workshops, et cetera. Tell me more about these different programs.

Dr. Jacinda Walker:
So our Think Like A Designer Workshop is a workshop that we actually originated out of COVID. When I first learned about COVID, I was actually in a classroom and I had not known that the governor had just closed all the schools. So the teacher was trying to hurry them up. I’m like, “No, no. They got to do this part. They got to do this part. I didn’t give them their worksheets yet.” She’s like, “They got to get on the bus.”

I’m like, “What do you mean?” She’s like, “The governor just closed schools.” I’m like, “So what happens if you are from an underserved area and you don’t have a computer at home during COVID? How are you going to continue your learning? What if the art class was the thing that you loved to go to and now it’s over?” Because, remember, when it first happened, we didn’t know how long this was going to be.

So I started thinking about how could I develop materials. During COVID, I had two of my young designers that I worked with, Elena and Kennedy, who were in the office at that time. I had this whiteboard, Maurice, of all these things I wanted to accomplish and all these things I was trying to do. Kennedy was like, “You could do that one now.” And I’m like, “The schools are closed. Nobody’s going to buy anything. What are you talking about?”

She was like, “Yeah, you should just find a bag for it. We could sell markers, and they could have kind of school supplies. We could put design activities in it.” I was like, “Kennedy, this is not the time to do this.” I shut her down like, “This is not the time.” Maybe about a couple days later, Elena came up like, “I know where we can find those supplies at.”

I don’t know if you’ve ever worked with any young people, but they have the tenacity that is sometimes even a little annoying. You’re like, “What? I don’t want to talk about that anymore. I don’t want to talk about that.” They just kept being on me, Maurice. They were like, “You got to figure something out. You got to figure it out. What if I could find the supplies?” I was like, “You know what? Here’s $20 for gas and another 20 for the supplies. Be gone. Go ahead and do what you need. Let me know how it turns out.”

When she came back, Maurice, she had $5.56 change. I said, “What?” That was the day we started the Think Like A Designer kits. During COVID, Maurice, what was crazy, we gave out 56 kits that year. 56 kits. We went outdoors. We went to Staples outdoor back-to-school sales. We went to churches. We were in basements. We were at YMCAs. Young people just really, really gravitated.

We put educational curriculum. We put an empathy map, a user discovery sheet. We made these cards where you could think about, and they’ve just been selling. We’re just now finishing the detailed instructions for that, so we’ve been selling those. The design learning challenges, we’ve always done those in some shape or form in whatever activity we’ve put on.

When the libraries kind of peeked open a little bit, they were looking for content. We used our digital design workshop series. We taught Adobe Express. We taught Adobe InDesign. We taught Adobe Illustrator. We were in the maker space at our public library. Kids could Zoom in, and they could also come in person. The library had a certain amount. You couldn’t go past six people in a room or something like that. Those programs all did so super, super, super well.

So now that we’re a little bit past COVID, not done with it, but now that we’re a little bit past it, I’ve been able to create online materials as well as in-person materials and then curriculum. Because, ultimately, what I really want is a line of stationery items for kids to be able to draw and to sketch and to be able to access that are very economically reasonable. Those are the kind of things that we’ve been putting in the kits and into the swag bags and stuff like that. But it’s been exciting to see their response to them.

Maurice Cherry:
That’s just so amazing to hear how much you’re doing in the community. When we first met, it was because I heard about the work you were doing back there in Cleveland with this design company called GoMedia. GoMedia used to have an event conference roughly every year called … I’m blanking on the name. Weapons of Mass Creation Fest, That’s what it’s called.

So you have really been going hard for design in Cleveland for a long time. You even have on your IG profile, the phrase, “A believer in Cleveland.” Why is making an impact in Cleveland so important for you?

Dr. Jacinda Walker:
I’ve had the fortunate opportunity to work in many places. Maurice. I’ve been one of the consultants for the Cooper Hewitt, Smithsonian Design Museum. I traveled with the museum for three and a half years doing programs in other cities. After the second or third time we were in San Francisco, I actually had one of the educators like, “Oh yeah, we did one of your workshops in my classroom, and it went so great.”

I was like, “So my stuff is working here in San Francisco. My stuff is working in Detroit. My stuff is working in Oakland. My stuff is working in DC. My stuff’s working in Baltimore. My stuff’s working in Philly.” I was just like, “You know what? I need to rectify that. I need to be able to go home and do the work where I know the need is and be able to do it for young people who look just like me, who come from places where I came from, and who probably went to some of the same schools I went to.”

So it became very important to me quickly to be able to make that kind of impact here in Cleveland. I’m regularly asked, why am I doing DesignExplorr in Cleveland? I’m regularly asked that. But I don’t see it not happening in Cleveland. I feel like if I can make it work in Cleveland, I can make it work anywhere.

Maurice Cherry:
Well said. Well said. What’s next for DesignExplorr? How can people out there listening support your work?

Dr. Jacinda Walker:
Oh gosh, there’s so many ways. Well, first of all, you can support the work by supporting the young people. A lot of times, they’re looking for opportunities, whether they be full-time work experiences, whether they be entry-level positions, internships, externships, remote intensives. All of these things are necessary for designers of color, particularly those who are transitioning into the workforce.

So when you have a position and you call me and you’re like, “Hey, Jacinda, can you just pass this out to your network?” Well, that’s great, but for those positions who are already for experienced designers, but what about passing me positions that young designers, designers who are looking between one to three years or one to five years for, what about giving me those kind of opportunities?

The second thing that people can support me with is being able to furnish and bring the center to fruition. Right now, I just bought chairs, which were incredibly expensive, but we didn’t have any chairs before. So I had to buy chairs. I was only able to buy six desks. So that’s kind of what I have to house 10 to 20 students working on right now. We definitely need assistance for that.

Right now, I’m paying the internet bill. It’s challenging because I don’t have the regular package. I got the package for when young people come in, they can use that because they’re in this space now. So that is super helpful. Maurice, it’s so serious right now. I have promoted my father to chief logistics officer. His responsibility is keeping snacks in here so we don’t fall out from hunger and from thirst. So that is what he has been doing. That’s what his contribution has been to DesignExplorr.

I also think another thing that the profession, designers who are currently working, organizations, they can help me to fund the work that the young people are doing. That’s a very, very important one because it’s easy to say, “Oh, I want to help you, Jacinda.” But when you say you want to help me, what I really need to know is, are you willing to help them? Because that’s what I want. Some people think, “Oh, I only want to help you. I don’t want to help them.” I don’t see us not being together in this movement.

Maurice Cherry:
I get that about Revision Path, too. People will say they want to support the show, but not me, or maybe the other way around. That’s so weird.

Dr. Jacinda Walker:
Maurice, I’ve literally had people like, “Well, I know you have a lot of young people that you’re mentoring, Jacinda, but what do you need?” What I need is for them to be successful. That is what I need. Right now, they say I’m doing a lot of strange stuff for a hunk of change to make it happen. So what I need is for people who are interested in not just helping me do something, to help me help them do something. That’s what I want, because they are coming out of the woodwork.

Every time I think one is gone or they’ve got a position somewhere, then another one up here is like, “Hey, can you help me write my resumé? Can you help me with my LinkedIn page?” Just being able to provide the resources to get them that kind of help, even in getting their taxes done, all of these things that you did when you were a young professional, those are all the same types of things that I need right now.

Maurice Cherry:
So I want to touch on your time with AIGA’s Diversity and Inclusion Task Force. You were the chair from 2016 to 2018. Now that I think back on it, I recommended you to join the task force, I think, maybe sometime around 2015 or so. So the fact that you moved up to a leadership spot that quickly really says a lot. But when you look back at that time, what comes to mind? Do you have any feelings in particular?

Dr. Jacinda Walker:
Yes, Maurice. I have a lot of feelings. It was hard. For an organization who kept saying they wanted diversity, every time I pitched something, every time I proposed something, every time I suggested something, every time I identified an opportunity, it was just always a fight to get them to want to do it. I understand that there were people there who were in direct opposition of that goal, of that mission. I know that now. But in the moment, Maurice, it was hard.

It was two years. Because, remember, I sat on the task force for two years and then I chaired for another two years. I also served as emeritus for another year, year and a half. When you asked me about that, it was just hard and, dare I say it, unnecessarily hard. So I regularly think about those times and those activities and those relationships. But it was just super, super hard.

Maurice Cherry:
Yeah. That task force stuff was … I mean I remember my time. I was there from, I think, 2014 to 2017. We had a change in guard. And then it just kind of felt like some things were being hamstrung in terms of how we tried to get certain things done. We couldn’t really operate as a group. It was more of a reactionary sort of thing.

I don’t know. I look back at that time because I got to meet y’all. I got to meet you. I got to meet Dian, some of the other great folks. But I look back and I’m like, “Did we really do anything?”

Dr. Jacinda Walker:
I mean, Maurice, that was one of the reasons why I fought so hard for the archiving because we talk about the task force that I chaired through the research and through the deep dives. I found out that there had been three before us. There had been three task force before us. To learn that that happened made it even more surreal because you’re like, “Wait a minute. What?”

So the first thing I did was I went and I found many of the old task force members. Many of them were done like, “You’re with who? Oh no.” Click. I got hung up on a lot. I was able to get a couple of people to still talk with me, to still participate. I was even able to get one young man to join, Andrew Bass. I was able to get him to come back and share his knowledge and to ask AIGA to archive his things because he had material from his task force that he also was saving.

So that part, I don’t even know if they even really, really archived it because it’s not public. So I can’t go anywhere. I don’t see anywhere on the website where I can access the archives. And then they’ve recently done a website update. So that meant all the stuff that I archived during the task force that I was over, I don’t even know where that materials went.

So it’s hard because they’re saying that they want people who are interested in moving forward. They don’t want to talk about the past. They don’t want people to keep bringing it up. We wouldn’t feel this strain if it was just public because it’s supposed to be about the profession. It’s supposed to be about the profession. It’s supposed to be about the organization. So why not put the things that need to be and that can be out, out?

So that archiving piece was super … That was a big thing for me while I was there. So when you talk about what resulted out of it, I probably am sitting on a plethora of digital assets, all of the impact reports because we did two impact reports the years that I was there, archiving the photography, even photographing the things that were happening whenever we were in different places.

We also had two meetups during the time period where I was chair. It was super awesome because we even got an opportunity to have a task force retreat as well. Those are the things that I fought for, and I use the word, fought, I fought for during those times. It was challenging internally and externally. So when you asked, I’m like, “It was hard.” It was really, really hard and really unnecessarily hard.

Maurice Cherry:
Yeah. I mean I would say, given the way that the website is now, I don’t think they archived anything because … Well, let me walk that back. Do I think there are archives? Yes. Are there archives that will ever be available publicly on the website? Probably not, because Heather still works there. This is a different Heather, not GoMedia Heather. This is Heather Strelecki, I think is her name. She’s the keeper of the guard with the archive.

So I think some of that stuff is still archived there. I don’t think it’ll ever see the light of day on the website. I mean I don’t even know if the website is even that up-to-date because the folks that they have listed for the task force aren’t affiliated with the task force anymore.

Dr. Jacinda Walker:
Yeah. I noticed that as well. I think that my time at AIGA made me a lot more interested in if the challenges that I was having were just in one organization. So what I did was I joined many other organizations. Anybody knows I’m an organizational junkie. I probably am in far too many organizations. I’m intrigued because I know the power of what can happen when you get a group of people together who all want the same thing and who are all willing to do the work required. I know what that’s like.

But finding it within some of these organizations and finding that they’re interested in this racial diversity and these seven levels of diversity, that’s what I’m always looking for. So I participate on IDSA’s council. They have a Diversity, Equity, and Inclusion Council. There’s a great, great Facebook NOMA group out, and I love being in that group. I’m also heavily involved in many of the student chapters. I love being able to support them online.

We do a huge proponent of student spotlights. Actually, I was working on a project with Prairie Review in Texas, and I also had a great opportunity to visit Jennifer’s class at Bowie State. That’s actually where the idea for the student spotlights came from because each of them had these … I would go down there and look at their work. Jennifer would let me in her classes and talk with the students, and they had tons of questions. Everybody got questions.

I’m like, “I need to do something about that.” I knew I was already, quote, unquote, “My bandwidth had been exhausted.” But I’m like, “These students are just truly, truly talented.” Who knows? What happens when Black and brown designers graduate? What happens? Nothing that I knew of. It didn’t happen for me. So I’m like, “What if I could create a platform where they could have a little recognition?” Where they could be acknowledged for their accomplishments and where we as professionals could acknowledge, “Hey, young designer, congratulations. I’d love to look at your portfolio.”

So we’ve been carrying that for a few years now. But being able to see what’s going on in these organizations, it always gives me great ideas of what else we need to do. When I worked with IDSA, I actually wrote and developed a map that charts all of the youth design organizations that I had been charting for the last five years. So if you go to the IDSA innovation page, you’ll see the map that I developed there. Our hope is to be able to update that with them one year.

But I love joining these organizations to see is the promise achievable? Is the promise feasible? How realistic is it? Is it realistic in this organization? Why keep joining? I’m looking forward to seeing it one day. There are lots of challenges, but I believe that it’s possible. It just might take some time, and you just got to have the right group of people involved. So that’s why I keep joining. That’s why I keep looking.

Maurice Cherry:
Yeah. One last thing with AIGA and we’ll move on from it. Any thoughts on its current state, with Bennie being the new executive director? They’re bringing the conference back in-person. They’re doing a gala this year in October, actually, this month, the month we’re recording. They’re doing it in Seattle.

Dr. Jacinda Walker:
I have heard about that. I’m kind of challenged in a couple of ways. My first thought is, Maurice, I’m tired of the pontification that happens amongst elite designers. So when I learned of all the stuff that AIGA was doing, I quickly went to see what are you doing for young designers? What are you doing for Black young designers? What are you doing? Maurice, I don’t see much.

Maurice Cherry:
I don’t think you saw anything, probably. Let’s keep it a buck. You probably didn’t see anything.

Dr. Jacinda Walker:
I don’t see much because, again, remember I told you I’m all about trying to refer and I’m all about trying to share resources with the young designers that I have right now. I’m looking for things for them to get involved in. I’m looking for things for them to say, “Hey, Jacinda, I love that. Can you share more of that with me?” Even though I had a difficult situation with AIGA, I remain hopeful, and I just haven’t seen it yet. I haven’t seen it yet.

That’s another reason why now I’m in a place where I’ve done the national groups. I’m looking at local chapters now. So I stay active in my local chapter because at least I can see the impact here. Because when I go to the national site, I don’t see it. IDSA recently had an awesome conference. They had women industrial designers all convene. Maurice, I was like, “Wow.” There was a component of young industrial designers who came.

I met many of the students who were there in the young designers. For me, the importance and the significance of professional design organizations, to me, it’s only about the impact that they are giving to young designers. It’s that servitude leadership. It’s that serving. How are you serving? It can’t only be to a bunch of rich elite designers. It’s got to be to all of designers. I don’t see much. I’m looking. I’m looking. I’m always looking.

I’m on the email list twice because they double emailing me. So I haven’t seen quite the thing yet. When I do share their resources with the young designers that I have, they’re disconnected because the young designers that I have are trying to get into the workforce, and so those materials seem out of touch.

Maurice Cherry:
Fair assessment. That’s a fair assessment.

Dr. Jacinda Walker:
Yeah. When you ask about the new leadership, I have called. I have sat in meetings with … The meetings are challenging and frustrating because they have a lot to achieve, and they have a lot that they are working for. And again, I don’t see the how and the where and the when with Black and brown designers. So when you ask, it’s hard.

Maurice Cherry:
We’ll leave it there. We’ll leave it there with AIGA. Whose work are you inspired by now?

Dr. Jacinda Walker:
It’s really weird, Maurice. It’s not that I don’t love designers still. It’s not that I don’t love designers, but I really feel like I’m in this evolution of a design career. So I’m in a place now where I can look at other aspects. I really look to educators now. I look to how educators are creating curriculum and impact. I look to how there are many design educators who are writing textbooks now. I would love to get into that.

There are a group of educators right now who are working to create a documentary. So it’s those kind of things. Honorable mention, I’m always inspired by young designers. So right now, the one young man I was working with, Aaron Mann, he just produced his book, Equal by Design. It’s actually online. I already bought my copy. I suggest y’all buy yours. So I’m inspired by books and materials written for and by young designers.

There’s a young man in New York. I cannot think of his name off the top of my head, but he has a game about being a designer, also.

Maurice Cherry:
Oh, Deon Mixon.

Dr. Jacinda Walker:
Deon. Yes.

Maurice Cherry:
Yeah, yeah.

Dr. Jacinda Walker:
We had a great conversation. That’s inspiring because they see it. Whereas as young designers, they see the challenges and they’re just going after them. As opposing to where I find senior designers, we’re trying to figure it out. We’re trying to do fundraising. We’re trying to talk. Young designers, they’re like, “We should do this. Let’s make it. Let’s put it out there.” So I’m like, “You need me to support that? Let me help you help yours.”

There’s another design organization here in Cleveland. It’s called Battle of the Teal, and they have a performing arts and a visual arts competition, and being able to work with them. Actually, one of the young ladies that I’m mentoring right now, she was a winner in this competition about two years ago. So she’s just needed resources. So every year, I refer like, “Hey, here’s a great summer program to get into.”

She reached out to me when she was trying to understand, Maurice, how to coordinate her Google calendar with her art classes. So we’re looking through this. I’m like, “Honey, you supposed to let some of these calendars go.” She’s like, “Oh.” So it’s these aha moments that I look for resources and that I remain inspired by. She wants to draw, and she’s just trying to figure out how to get her homework done so she can finish her animation project.

So these are the kind of things I’m inspired by. It’s not that I’m not inspired by any of the big designers. It’s not that at all. I’m still in love with the work that Gail Anderson is doing. I love what Eddie Opara’s doing. I love what the Hue Design Summit team of young designers is doing. I need things to meet mission and meet impact now. It’s even more important than ever for us to be able to accomplish these things together.

Maurice Cherry:
What haven’t you done yet that you still want to do?

Dr. Jacinda Walker:
It’s still a really long list. I still have a lot of things I want to do. Where I’m at right now is when I see something that’s already on my list that I want to do and somebody else is doing it, “Hey, how can I help you do that?” Because truth be told, Maurice, I don’t have the bandwidth. That’s another reason why I need the center because I don’t have the space or the calendar time. Y’all going to have to come here.

What are some things that I still want to do? I really, really want to have a precollege residency program. I saw the one that they had at Ringling and, Maurice, it was awesome. It was awesome. To be able to have something like that in the Black community would be stellar. It could be a chart-making, data-increasing, design profession-changing aspect. This program was a mixture of the Young Scholars program. It was a mixture of the Urban League’s Young Professionals curriculum and creativity all round up in one.

I was like, “How can I make a DesignExplorr one?” I don’t have the resources to do it how they’re doing it. But the way that they are engaging with the students every summer, the way that they provide practical experience, the nurturing, because that’s a huge thing. That’s definitely high up on my list. That’s very, very high up on my list of next things for DesignExplorr.

Maurice Cherry:
At this stage of your career, how do you measure success? What does it look like for you now?

Dr. Jacinda Walker:
It looks like legacy. It looks like legacy, and it looks like impact. If those two things aren’t involved, I don’t know why I’m here. So I want to be able to know that the young people that I have mentored, that I have had conversations with, who I’ve been working with on their careers, that they’re successful. So every time I see one of them and they’re doing something crazy big, I’m like, “Maybe. Maybe I’ve made an impact. Maybe.”

Last weekend I was at an expo here in Cleveland and, Maurice, you would have loved this. Three of the young people that I had mentored, they were having their own booths selling their own businesses and products. They came down and visited me, and we just talked. They talked to some of the young designers that were at the table volunteering for me. It was like full cycle. You know what I’m saying? Full cycle going on.

So that was thrilling. That was thrilling to be able to see and witness that part of it. I don’t know, Maurice. It’s got to be a legacy because I want to be able to know that all of this went and worked for something and someones, a whole bunch of someones.

Maurice Cherry:
Where do you see yourself in the next five years? Have you thought out what you want this next chapter of the legacy to be, especially now that you’ve got the center?

Dr. Jacinda Walker:
Yeah. Everything is going to be about the center, and it’s going to be about that residency program. When I analyze and I look at the profession, and you know I’m a huge data nerd, so I’m always looking at the numbers. I’m always reading the BLS numbers. I’m always looking at the NASAD numbers. I’m always looking at these things. If we don’t create a better pathway and not just better, I’m talking more access, more inclusion, more resources, more everything, I don’t know if our numbers will ever really, really go up.

So when you say five years, Five years for me is this lifting off this residency program. Five years for me is getting more of the TakeOver programs in schools. Five years for me is getting the young designers that I work with more actual real experience with actual clients, not just pet project kind of things, but real things. To me that’s five years. But I signed a five-year lease, Maurice. So five years is not long for me. It’s not long.

Maurice Cherry:
It’ll be here before you know it. I’m telling you.

Dr. Jacinda Walker:
I agree. I agree. So the planning and the implementation of it is always strategic. It’s always strategic. But the most important thing about it is staying focused on it. So now that I have the space, I will be able to focus on that residency program. I feel like that could catch a lot. That can really, really, really help close the gap and, ultimately, that’s really all I want.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more information about you and your work and the center? Where can they find all this online?

Dr. Jacinda Walker:
You can find me at DesignExplorr, and it’s D-E-S-I-G-N-E-X-P-L-O-R-R. And yes, that’s two R’s. We spell it real gangsta here. You can find me there on all the channels, so Facebook, Instagram, Twitter, LinkedIn, all of the above.

Maurice Cherry:
Sounds good. Well, Dr. Jacinda Walker, I want to thank you so much for coming on the show. I mean I had you on the show years and years ago. You and I, of course, have worked side by side together, have gone through this whole crazy design industry in different ways. You were the last designer that I saw at an in-person event back in 2020 when you were out in LA when we did our live show.

I mean it never ceases to amaze me how tireless your efforts are and your work is towards making sure that you are setting the stage for the next generation of designers. I don’t know anybody that’s operating at the level that you are when it comes to doing this. I’m just so glad not just to have you on the show, but to call you a friend as well. So thank you so much for coming on the show. I appreciate it.

Dr. Jacinda Walker:
You are super welcome, and I appreciate you always reaching back to keep me involved and keep me engaged. So kudos to you and the success of the show as well.

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Dr. Christina N. Harrington

Our back to school theme continues this week with a conversation with Dr. Christina N. Harrington. I first met Dr. Harrington as a contributor to the first volume of RECOGNIZE, and now she’s an assistant professor in the HCI Institute at Carnegie Mellon University and the director of their Equity and Health Innovations Design Research Lab! Impressive!

After a brief pandemic check-in, Dr. Harrington talked about some of the design research work she’s doing at Carnegie Mellon, and spoke about how her past teaching experiences helped prepare her for this opportunity. We also talked about how she got into design via engineering, the utility of design Ph.Ds, and some of her latest obsessions. I’m glad we have educators like Dr. Harrington who can expand the concepts of design for the next generation!

Transcript

Full Transcript

Maurice Cherry:
All right. So tell us who you are and what you do.

Dr. Christina N. Harrington:
All right. I am Christina Harrington. I am a Southern, black, queer creative technologist. I have backgrounds in both engineering and design. I’m a tinkerer. I’m a crafter. I’m an inquisitive, how does this work, inside mechanics, logic type person. Right now I am in the space of higher education academia. I’m an assistant professor at the Human-Computer Interaction Institute at Carnegie Mellon University in Pittsburgh.

Dr. Christina N. Harrington:
And I teach at that intersection of design and HCI, where we think about people and what people need when they engage with technology, why people engage with technology the ways that they do, the ways that technology can better support black and brown folks, folks that may not have the infrastructure to interact with the newest or coolest tech or gadgets or whatever, but that could really benefit from tech being ubiquitous in their everyday lives. I’m a writer a little bit, in terms of talking about design and figuring out ways to have these conversations about design outside of the walls of academia.

Maurice Cherry:
Yeah. Speaking of writing, you were one of the first people that we published on Revision Path when we did our recognized design anthology back in 2019?

Dr. Christina N. Harrington:
Yeah.

Maurice Cherry:
2019. Yeah.

Dr. Christina N. Harrington:
Yeah. You scared me with that one. It’s crazy because going through school, it was almost like you were told you can either be really good at math and science, or you can do the humanity side of things. And I always wanted to write, because I just felt like sometimes expressing ideas is just as equally powerful through text as it is through sketching something.

Dr. Christina N. Harrington:
When I saw that Revision Path call, I was like, I’m just going to jump out there and see what happens. And I was super, super, super nervous, which is crazy because I had done like a whole dissertation and conference preceding papers and journal articles, but I was like, I really, really, really want to get into this anthology. And I really want to do writing that has a little bit more of my voice and a little bit less of like academic, technical jargon. Very, I don’t know, polished speech. It was really, really cool. Thank you for that opportunity.

Maurice Cherry:
No, thank you for submitting it. Unfortunately we had to, I don’t know if I mentioned this on the show, but I certainly had wrote about it. Unfortunately, I kind of took a hiatus from Recognize this year. The pandemic really did a number on, honestly like the number of people that were submitting, which sort of made sense. I mean, folks were just trying to survive out here. They weren’t thinking about trying to write stuff.

Maurice Cherry:
But then the things that we would get, people just wouldn’t write to the prompt. They’d write what they wanted to write. To give you an example, the year that we did the first anthology, and the theme was space, a lot of people wrote about Nipsey Hussle. I’m not super familiar with Nipsey Hussle. I don’t know if there’s like a space theme in his rap or anything, but I was like, why are so many people writing stuff about Nipsey Hussle. This has nothing to do with space. Or maybe it does, I don’t know.

Dr. Christina N. Harrington:
Is that the year he passed?

Maurice Cherry:
Yeah, that was the year he passed.

Dr. Christina N. Harrington:
I mean, I imagine that might be part of it. I don’t know anything about Nipsey Hussle either.

Maurice Cherry:
Yeah. If people are listening and want to clue me in, please do, because I was like, why am I getting all these … It wasn’t just that people were writing poems, people were submitting artwork. And I’m like, “No, I just need an essay, I don’t need something in Photoshop. I don’t need to see something you painted. Thank you, I guess.” I plan to bring Recognize back at some point in the future. I just think right now, probably the timing’s not great for it, but hopefully in the future, with more support, I’ll try to get it back out there.

Dr. Christina N. Harrington:
That’s one of the things about thinking about how we stretch design. Saying that you got so many people that we’re submitting artwork and Photoshop, and it’s like, designers are afraid to write sometimes. I’ve literally heard running jokes, designers, engineers, computer science folks that are like, “I’m an engineer or I’m a computer scientist, I don’t write.” And it’s like, “Wait, wait, wait, how do you communicate what you’ve done? Or how do you communicate your ideas behind what you’ve built or what you’re envisioning?” There’s so much space for that, yet folks shy away from it so, so much.

Maurice Cherry:
Yeah. It’s certainly something that I was trying to put forth through Recognize, is to have more people just write because it helps you, like you said, formalize your ideas. If you’re an entrepreneur, it helps with writing better proposals, writing better proofs, just communication in general, it tends to be really helpful. I mean, we even had a writer, actually a couple episodes ago, had our first writer on the show. I think in his background, he called himself a verbal designer, which I thought was really interesting.

Maurice Cherry:
He’s a writer, and we talked all about how writing is, at least nowadays’s, such a crucial part of the design process. It was good just to have someone who’s a writer come on and really talk about like, yeah, I’m a writer and this is how I work within design teams and on design projects and giving feedback to designers about what they could do to either strengthen their writing or improve their writing, or even see the importance of writing in the whole design process.

Dr. Christina N. Harrington:
Yeah. Definitely. Definitely.

Maurice Cherry:
Yeah. I mean, aside from the new appointment, how’s the year been going? What’s been on your mind?

Dr. Christina N. Harrington:
The year has been transformational and also kind of like, you feel like you’re sludging through mud at the same time. I think the world is like a really crazy place right now. I don’t know if it’s like, oh, all of these things are going on, and 2020, 2021 is like this unprecedented time in life. Or if it’s like, no, the world’s always kind of been crazy, but as you get older, you have more of a connection to why.

Dr. Christina N. Harrington:
Politics have always been wild in the United States, but for some of us, it’s not until we get older that you start to really see how like, oh, the ways that we’re voting are impacting like, I don’t have healthcare. I can’t go to the doctor and take care of myself. I can’t do the things with my body as a person who identifies as a woman in the United States that I want to, because of the state that I live in.

Dr. Christina N. Harrington:
I think that all of those things on top of a global health pandemic are happening at the same time. I’m like, am I becoming an empath in my old age that it just … I literally have days where I’m like, “I can’t today.” Because everything feels so heavy and it feels pointless to be writing a journal article or to be writing a conference paper. And these are things that I like to do, but there are some day ease lately where I’m just, I don’t have the motivation.

Dr. Christina N. Harrington:
I’ve been seeing a lot of memes and all of these articles that are talking about how black women in particular are just like, we are collectively burnt out. And I think it goes to earlier, the question you asked about the things that have happened in the last year in terms of really intensified racial moments. And it’s like, we dealt with a couple of months of white people coming out of the cracks of the sidewalk, asking us how we’re doing and apologizing for things. I don’t even know you. All of that contributes to this like just community exhaustion, I’m kind of feeling, from a lot of my friends and a lot of folks.

Dr. Christina N. Harrington:
So on the one hand with this new job and with this new role, it’s really exciting. It’s a blessing to be here. My career in terms of academia has shot through the roof to places I don’t think I ever would’ve imagined, but I am very tired. I’m very tired with just holding all of the emotions of what’s happening in the world.

Maurice Cherry:
Yeah. I think that’s been a general sort of feeling that I’ve gotten from talking with a lot of black creatives, just a lot of black friends of mine. It’s been like, we’re just tired. It’s like a lasagna of fatigue. There’s tiredness of just like, you being a black person in this country, and then on top of that, whatever other identities you have on top of that, whether you are queer or trans or what have you. Then on top of that, just like this whole pandemic and coronavirus and these variants. And then on top of that, there’s the government like forcefully pushing people back out into the world like, no more masks mandates, get back out there. Even the whole, and I don’t mean to get super political, but the insurrection was this year. So much has happened.

Dr. Christina N. Harrington:
Time is so warped right now. Time is so warped right now. There’s no concept of time because it feels like things are back to back. And it also feels like there’s so many intertwined struggles that you can’t parse out something to say, this is what’s upsetting me, because everything’s connected.

Dr. Christina N. Harrington:
I think that when we think about the moments that we had the uprisings that we had last summer, and it’s like, you’re mad about that. You’re angry about that, because collectively, black lives have been proven over and over again to be disposable in this country. But then at the same time, within those conversations, we have to talk about how black, queer and trans people are treated when they also too are part of those black lives. And what does it mean to have to have those conversations among other black folks who are telling you, we can’t talk about that right now. Don’t be divisive right now.

Dr. Christina N. Harrington:
And watch the number of black trans women being killed continue to rise. Watch people not mention the names of the black trans men or the gender non-binary folks who have also been murdered at the hands of the state and police. Watch folks not want to talk about the rates of homelessness and just all of these things. And it’s like, whew, you can’t touch on one part of it without feeling that thread and the whole sweater unraveling. So, yeah, it’s a different type of … I think I ask my social media once every two weeks, what’s the word for past exhausted? What happens after you’re exhausted? What is that called?

Maurice Cherry:
Yeah. I don’t know. I feel like we’re all at some point trying to persevere through whatever that state might be called, but it’s there. Now, we’ve jumped in like both feet in this discussion. I do want to bring it back to your work and what you’re doing. You mentioned your assistant professor at Carnegie Mellon at the HCI Institute. Can you talk about what that is and what you’ll be teaching?

Dr. Christina N. Harrington:
Yeah. So the HCI Institute, it’s kind of like a dream job for me. It’s like this collection of, they joke like a collection of almost misfits of people across computer science, human-computer interaction, design, folks that are interested in that intersection of people and technology, technology and environment, people and environment, and anything that has to do with the ways that we interact with the digital world is kind of that area of human-computer interaction.

Dr. Christina N. Harrington:
I think what’s so dope about the HCI Institute at Carnegie Mellon is it’s one of the few, if not the only spaces designated purely to human-computer interaction degrees. You could study human-computer interaction in schools of computing, sometimes in schools of design within the United States, but to find a space where they’re like, we know exactly what this is. It’s kind of thus become like the leading institution for how HCI is thought about. To be at the place where it’s kind of like, this is … Some of the work that’s come out of this institute, this university, is what we’ve based other research on, is definitely cool for me.

Dr. Christina N. Harrington:
I think a little larger than that, being at Carnegie Mellon, where they also have a really high ranked school of design. And folks that work across that so seamlessly, because they do go hand in hand. I think that that’s just, it’s really, really, really exciting for me. And a lot of what I’ll be teaching is everything from foundational courses and introduction to user experience design or human-computer interaction. I like to say that I’m a methods girl. I love design research methods. Or engaging with students around how they learn about the people that they’re designing with or for. How they engage people in design and all of that is like design methods.

Dr. Christina N. Harrington:
You could go your traditional research route of just doing an interview, or you could be doing like card sorting, or role playing, or artifact analysis. Like all of these really cool things that designers have in their tool belt. I will be teaching any one of those things, but also hopefully introducing courses that consider design equity and design justice and thinking about design where design has not been talked about.

Maurice Cherry:
I first got exposed to HCI, wow, I’m dating myself. This was 20 years ago. Oh, my God! It was 20 years ago. I was an intern at Marshall Space Flight Center, right outside of Huntsville, Alabama. It’s normal, Alabama’s a city. I remember my mentor at the time, he was studying HCI, as it related to like haptic interfaces. And it was so funny because he was like, “In the future, we’ll have like a computer that’s just like the size of a sheet of paper.” Basically he was talking about a tablet.

Maurice Cherry:
And this was, my God, this was 2000, 2001, something like that. But talking about like learning how we interact with haptic interfaces. I think it was still very new at the time. I mean, I find that a lot of innovation that tends to happen sometimes through NASA, eventually trickles into consumer stuff. Because that was also where I saw my first 3D printer, was back then, because they print the nose cone of the space shuttle is made out of this substance called Marco. It burns up on reentry when the space shuttles reenter the atmosphere. They print that out every time. They literally like print it out, a big machine, and replace the nose cone every time. And I was like, “Oh wow!” I was like, “So you’re printing in 3D.” I mean, that was what? 1920 at the time. It blew my mind, like you’re printing in 3D.

Dr. Christina N. Harrington:
It still blows my mind. I didn’t know that. Definitely learned something. HCI has been around for a while. I mean, definitely since the late nineties, just from like the academic texts that I’m familiar with. Actually let’s say, I can think of papers in the mid to late nineties that have talked about human-computer interaction because the minute we started talking about computers, we had to talk about how folks are interacting with computers. And I think initially that was done in like the human factor space. Thinking about work and cognition and like mental load and task load and what it takes for a computer to remember chunks of information and memory and how that is likened to the human brain and then what the person can be expected to be able to do and task and stuff like that.

Dr. Christina N. Harrington:
And then human computer interaction came along. And then somewhere down the road, design kind of like attached itself in a very particular way, because we started talking about, how do we develop the tools that we’re either building computers with? How do we develop the code? How do we create the housing of the computers? We’re talking about new phones and we’re talking about new tablets or iPods. When Apple came along and started doing that so, so, so, so well, and not to say that this was the initiation of it, but it’s always my go-to example because Apple is just kind of like the Mecca of design for me, when you’re talking about technology consumer products. Then I really think folks started having conversations about the way things looked in the technology space. And the way things were experienced in the technology space. I think it’s a cool place to be, in terms of like the work that I do.

Maurice Cherry:
And now with HCI, are you focusing on hardware software or both?

Dr. Christina N. Harrington:
Neither.

Maurice Cherry:
Oh, okay.

Dr. Christina N. Harrington:
I am the anti-technologist technologist. I’m focused on how we think about everyday technologies in people’s lives. I am not necessarily trying to design the software of the phone and I’m not necessarily trying to design the casing of the phone, but I’m trying to think about how the phone can be used as a tool for health information, for folks who might not have access to medical professionals on a consistent basis.

Dr. Christina N. Harrington:
I’m the researcher that’s trying to consider, well, in what ways can we embed public displays? How can we get community health information out there for people who don’t have wifi in the home or computers at home, such that they’re not behind … When we think about the pandemic and how out a lot of that information that was coming out from the CDC, I was seeing it on Twitter. I was seeing it on Instagram. You’re getting alerts. Like the CDC just made this update, here are the places where you can get tested and things like that. How do we get that information to people who aren’t so heavily reliant on their phone? And do we do that through computers and public libraries? Do we do that through health kiosks that are at the Walgreens or the CVS? That’s the level at which I’m thinking about technology?

Maurice Cherry:
Actually, that makes a lot more sense too, to think about it in that way. I think it’s because now, I mean just thinking about haptic interfaces and everything like that, I mean, everything that we utilize with technology, it feels like it’s through some sort of a touch interface or an audio interface or something like that. Thinking about how it works within the context of our lives and spreading information and stuff like that is really crucial.

Maurice Cherry:
That’s a good point that you mentioned about with the CDC stuff, because my folks are in rural Alabama. Basically I was passing the information to them on the telephone because they don’t have an internet connection. They don’t have a computer, so they’re not going to get that information in the way that it’s going out, especially because, one, they’re in the rural south, but two, broadband is not everywhere in this country. So it’s not a public utility in that way, like the plain old telephone services.

Dr. Christina N. Harrington:
Yeah. And unfortunately, the reason I focus on digital access and design equity is because is I’ve been the poem and the quote like, [inaudible 00:24:30] on the moon. Like we’re trying to get information to our folks in rural areas, but we have communities that are literally shipping off to Mars to escape the realities of what’s happening down here. And it’s like, there’s such gap. There’s such an imbalance in the ways that technology is utilized between certain communities.

Dr. Christina N. Harrington:
So it’s like at some point we have to say, hey guys, we can’t keep building new, new, new, new, new, while we have communities that are still like, wait, what’s a Google Home? What’s Alexa? Oh, I could use that to track my doctor’s appointment? Like, what? That gap, that dissonance is something that I feel like I’m always going to have an area where my work is needed because we have folks that are so focused on creating these technologies for the year 2032, and we are still trying to get some folks caught up to the year 2005.

Maurice Cherry:
Yeah. A lot of those futurist innovations really just like, they just completely blow by a lot of communities. I mean, even with smart speakers, I think I got my mom a smart speaker, I don’t know, a while ago, probably back in the early 2010s or whatever, when they first started coming out, and Alexa couldn’t recognize her. Couldn’t recognize her accent. So it’s like, well, that’s not good. She ended up giving it to me. I don’t even still have it anymore.

Maurice Cherry:
But to that point, like, yeah, you’ve got these other interfaces and stuff like that. The tech tends to be so focused on the next big innovations when like there’s still so many issues right now that need solving. And I don’t know if it’s because these are not like flashy, sexy news making issues that need to be solved, but it’s a huge chasm between the work that needs to be done and the work that’s being done.

Dr. Christina N. Harrington:
It’s also why you don’t have a whole lot of people focusing on it, because it’s not sexy, innovative work. I get hit with the same question, oh, do you do hardware? Do you do software? Are you in AI? Are you in machine learning? Are you in VR? And it’s like, I’m in this space of information because folks are still trying to understand the full features of what your phone can do, to support your everyday living. To jump to, here’s a headset that can make it seem like you’re pumping ice cream at McDonald’s in Kansas. It’s like, okay, that’s cool, but we’ve skipped a whole area for certain folks. Yeah.

Maurice Cherry:
Yeah. That reminds me of what I saw on, I think it was maybe last week or this week, I think, with Good Morning America Facebook debuting these virtual reality work rooms. And like everybody’s got on a $300 VR headset to meet in a virtual space to have meetings. I’m like, this is the most ridiculous shit I have ever seen in my whole life. I mean, it’s one thing that we can’t get together because of the pandemic, where like now I have to buy a $300 peripheral just so we can sit in second life and talk about status updates? It’s ridiculous. You’re also heading up the Equity and Health Innovations Design Research Lab. Talk to me about what that is and like what some of the projects are that are coming out of the lab.

Dr. Christina N. Harrington:
Yeah. I mean, the EHI lab is literally just that. I came through both my masters and my PhD in heavy lab cultures. I was involved in the research in ergonomics and design research lab at North Carolina state. And then I worked with the Human Factors and Aging Lab at Georgia Tech. Becoming a faculty, literally the first thing I wanted, and I don’t know why I was so obsessed, but I was like, “I need a lab.”

Dr. Christina N. Harrington:
I want a lab where I can curate projects, but not just for namesake or ownership of a space, but more so, one of the things I’ve really been trying to do is kind of like kick open the doors of academic research to the communities that we sit in. So I wanted something where communities know like, okay, if we’re trying to do something, if we’re trying to build something, we can come here and collaborate and build and work and voice concerns or discuss some of the things that we’re trying to do.

Dr. Christina N. Harrington:
Most all of my work is community-based participatory design. What I call CBPD, which stems off of community-based participatory action research that you’ll find in public health sectors, where it’s like letting the community define the need, define the project, define the scope of what we’re doing, which in academia sometimes means flipping on its head, what the project outcomes are. How can we do a design research project and put something in the hands of community before we ever publish a paper or present at a conference or do a poster or whatever? And that means creating zines.

Dr. Christina N. Harrington:
One of the projects that we’ve been working on for almost a year now is the creation and the development of a speculative design toolkit for communities to be able to brainstorm without the leadership of a formal design researcher or a professor or academic PI or whatever you want to call it, to say, we want to brainstorm our own solution to this thing that we’ve been working on, whether it be re-imagining what to do with an abandoned building on a particular block, or we’re trying to get safety cameras put in at the basketball court, so that parents feel safe. So that with their kids being out there late, or we’re trying to get broadband access in a particular neighborhood, how can we think about that through a design lens? How can we brainstorm that? How can we iterate on what solutions might look like?

Dr. Christina N. Harrington:
So we’ve been developing this toolkit that we’ve been calling Building Utopia, and we’ve been working with community design practitioners who do just exactly that type of work. So, Jen Roberts, from the Colored Girls Liberation Lab. An amazing, brilliant end day who works with Black Womxn Flourish Collective, which you may or may not be familiar with. They’re one of the co-founders of that with Denise Shanté Brown. And they and Jen have been collaborating with my lab on the development of this toolkit, and we’ve been testing it and refining it and hoping to launch it maybe sometime this year, early next year.

Dr. Christina N. Harrington:
I told myself that I wanted to do projects that I cared about. So what are the projects that matter to black and brown folks? I think what you mentioned about your mom is actually a really great example because that’s another one of the big projects I’ve been doing is looking at health information seeking with voice assistance for black elders. And how do we meet the needs of them being able to ask health-related questions of these devices that right now, for all intents and purposes, don’t want to understand our voices, our accents, our dialects, the words that we use that may not be formal language. And so that’s another one of the projects that’s coming out of my lab at the moment.

Dr. Christina N. Harrington:
And we’ve been looking at, how do we redefine more ideal conversational assistance? How do we define what the conversational dynamic black elders want to see looks like? And we’ve been doing that in a very community-based participatory manner. I kind of let the work that I’m doing lead me, like doing this project, and when you hear enough, people say one thing and it’s like, okay, here’s that defines what the next project is. When the toolkit literally came out of us exploring speculative design with folks that are like, yeah, this is all well and good, but what are we doing when the academic researchers are gone? And the students have finished whatever project and studio classes are over, and we’re still trying to think through some of these things?

Dr. Christina N. Harrington:
And it’s like, oh, well, what if we worked collaboratively with folks to develop a toolkit that is kind of like a resource for folks to do that work without the need of having to engage with universities or industry designers? So, yeah, that’s kind of what the EHI lab is about. And the things that I’m open to doing is really just closing that gap that I was mentioning earlier between the ways design has been used in communities of privilege and of fluency. And the ways that design can impact communities that are not defined in that way.

Maurice Cherry:
As you’ve been going through these things with the lab, it’s interesting that you said that the problems or the things that you all are working on, kind of uncover themselves as you start talking to people, as you start using the things that are coming out of the lab more. It’s almost, I don’t know, self-generating in a way. Like you’re finding new ideas as you get out there and talk with other people. I mean, I think that’s a good thing. That’s how labs are. Labs are for experimentation.

Dr. Christina N. Harrington:
Yeah, definitely.

Maurice Cherry:
And now, prior to this, you were teaching at DePaul University in Chicago for a number of years. When you look back at that time, what do you think you learned that really prepared you for what you’re doing now?

Dr. Christina N. Harrington:
Several things. Definitely I think DePaul, being one of the few formal schools of design that had a PhD, that also was open and starting to define design in this very like social good, social impact way. DePaul, A, I’d say is known very well for like games design, graphic design. And then you had folks that were also starting to define this sector of like Dr. Sheena Erete’s lab, the technology for social good and this area of social impact.

Dr. Christina N. Harrington:
I think it was a great home for me to start off and define my own research interests and my own research agenda, and how I was going to maneuver through some of these projects in an academic space. And I think Chicago was a really great city to do that because Chicago is kind of like this very, I don’t want to say social impact, when you’re talking about things outside of academia. But Chicago has this movement activist, equity driven lens just inherent throughout a lot of the work being done in the city. So I think engaging with outside organizations and then seeing how other faculty were engaging with the city and different organizers and community partners is definitely something that rubbed off on me.

Dr. Christina N. Harrington:
And then I think DePaul as a university, being a place where you really get to harness teaching students. I’ve been in this research thing since I started my master’s program. But teaching is very rarely something they teach you how to do. Like how do you effectively develop course objectives and evaluate students in ways that’s not just throwing a 300 question exam at them? And I think I was able to learn a lot of that at DePaul.

Maurice Cherry:
I want to go general, like more into your background, because you have an extensive educational background and everything. Let’s start from the beginning. You mentioned at the top of the show that you’re Southern. Where did you grow up?

Dr. Christina N. Harrington:
I am from Fayetteville, North Carolina, born and raised. At some point my parents moved to Richmond, Virginia. And then when my parents split, my mom’s side of the family and my dad’s was still back in North Carolina, but we had the closest relationship with my mom’s side. We literally were in Fayetteville whenever she was not on the clock at work, because that’s where her support system was. So North Carolina is very ingrained in me, but I did a lot of my schooling during the week in Richmond, Virginia.

Maurice Cherry:
Were you exposed to a lot of tech and design growing up?

Dr. Christina N. Harrington:
What I would consider the tech and design that I know now, no. I went to the math and science center. I was one of those kids in middle school, I went to the math and science center in middle school. I forget how I got into that. I was always a tinkerer, even in like my younger elementary school days. I was always trying to take things apart, put things together, build things from scratch. I remember one year when I had the concept of like what a birthday is and you get people a gift. I tried to build my mom these shoes by taking one of her pair of shoes and tracing it on paper and then foam. And then the stuffing of the foam that comes out of like a packing box.

Dr. Christina N. Harrington:
I’m trying to build up these layers so I could build her a more comfortable pair of shoes, because she was always working. Because design hadn’t really reached a lot of high schools and middle schools, it was like, okay, you’re doing that, so you’re supposed to be an engineer. There was no concept of like, you’re supposed to be a designer. I never heard the word design or like designer. I literally was told you’re good at math and science, you’re tinkering, go be an engineer.

Dr. Christina N. Harrington:
I remember telling my high school guidance counselor. I was clearly doing well. And I was in gifted honors classes, and this, that, and the third. So I’m like, “Okay, I’m going to go to college. Here’s where I’m applying.” He’s like, “What do you want to do?” And I was like, “I want to build electronics. I want to create electronics.” And he was like, “Oh, go to school for electrical engineering.” And then my uncle was an electrical engineer that graduated from North Carolina A&T.

Dr. Christina N. Harrington:
I went to college for electrical engineering, and it wasn’t until I did a summer bridge program at Virginia Tech, that’s no longer there, but it used to be called Aspire, but it was for incoming black, Latinx. And I believe at that time, even Asian students to take these summer courses at Virginia Tech, the summer before you started your fall semester as a way to promote retention, because minority students had low numbers of finishing in these degrees at institutions like Virginia Tech.

Dr. Christina N. Harrington:
I did this program. And so you then came into the fall semester of your freshman year with this cohort of folks. I became really close with some of the guys, because it was mainly guys. And I think it was like maybe six girls out of like 40 students. But I remember two of my guy friends that did that program with me. They were mechanical engineering students. They were getting a minor in this thing called industrial design. And I was like, “Boy, one day, I’m going to go to class with y’all.”

Dr. Christina N. Harrington:
I went to one of their industrial design classes. I think it was Mitzi Vernon teaching design research at Virginia Tech. And I like fell in love with it. I was like, “What is this thing?” And I literally left that class and I went into the College of Architecture’s front desk office, and I was like, “How do I sign up for this minor? I want to do this too.” And then I went to my undergraduate advisor and was like, “Okay, now how can I make my senior thesis integrate industrial design?”

Dr. Christina N. Harrington:
I changed my whole senior thesis to like, instead of just electrical engineering project, it became designing a sensor and designing a hardware of the sensor that could detect vehicles that were coming at joggers and bikers at a certain speed for like safety. I’ve always been about like safety and designing for impairments and things like that. I just fell in love with design, taking this design research class and then taking this sketching classes. I forget the other classes that were needed for the minor.

Dr. Christina N. Harrington:
And as I moved through that minor and then going back to get my master’s in industrial design, I realized that like, that’s where I want it to be, because engineering, and this is no slight to the engineers, but I just felt like engineering put me in a cubicle where I didn’t get to talk to people. And I didn’t get to understand people the ways that I wanted to. And design was like, okay, you’re designing the thing. You’re also thinking about the core guts of the thing, but you’re also understanding the person that’s going to be interacting with the thing.

Dr. Christina N. Harrington:
And the period between when I graduated from undergrad and before I started my masters, I worked at Motorola as an RF systems engineer. I was sitting in a cube, eight, nine hours a day, designing radio packages for the government. I never talked to anybody. I never went out. And I hated it. So when I went back to get my master’s in industrial design, it felt like some clouds are opening up. So I was like, oh, this is where I want to be. And the further I explored that, the better I defined like exactly what design meant to me and also realized how limited a lot of folks are in being exposed to design, because I could have been doing that the whole time.

Maurice Cherry:
Yeah. I think an interesting kind of trend that I’m seeing here that is what you’re continuing in your work is that you have the idea that in terms of going into your education, you knew that you were good at these things, but you only had a very limited view of what that could look like, which in turn ended up being engineering. I empathize with that too, because like when I went into school, I wanted to do web design. This was in like late 90s, early two 2000s, and I remember my computer science … Well, no, first of all, I was told, “Oh, you should go into computer science, to design a website.”

Maurice Cherry:
And at the time I enrolled in this computer science, computer engineering dual degree program, you do three years at Morehouse. You do two years at Georgia Tech. You get out with a master’s and a bachelor’s. And I was telling my advisor, I wanted to design websites, and he just laughed in my face. “The internet is a fad. This is what you want to do? We don’t do that here.” I switched my major and went into math because Morehouse doesn’t have a design program. I do think about now how different my career might have been if I ended up going into more of that design route.

Maurice Cherry:
I’m bringing this up because what it sounds like for you is that you started out doing this engineering and then as you learn more information and saw these other paths that were open, that then shifted you more towards design. So like it’s that thing about access and I guess equity in some respect, but just access to knowing that this is an option that you can take.

Dr. Christina N. Harrington:
Yeah. I mean, definitely. I think hearing your story fuels that point of, how often are young black and brown students being pushed towards these degrees or this area? You don’t necessarily have to have a degree to be a designer. I think design is like a skillset. Design is also a way of thinking that a lot of people inherently have or what we all inherently have, it’s just whether or not we express ourselves in that way. I wonder how we are exposing like black and brown kids to exploring that as a potential thing to do to harness your creativity or to make a living or whatever it is you want to do out of life.

Dr. Christina N. Harrington:
And it’s not a lie. I think that there’s so many reasons why design is an expensive, especially like a master’s or a PhD in design, it’s an expensive area because design proper doesn’t fall under a lot of the NSF and the fellowships that are going to pay your way. Oftentimes people that are going back and getting post-baccalaureate degrees in design are paying out of pocket or loans. That’s already going to curate a particular type of folk that’s able to do that, and not feel financial stress.

Dr. Christina N. Harrington:
And then I think now people have more of an understanding and a vocabulary around design. But 10 or 15 years ago, when you say, I want to be a designer and it’s was like, well, are you going to make any money doing that? And I think black and brown students are oftentimes limited in having that as a constraint when they come out. If they go to school, it’s like, I got to pick a major that I’m going to do a job that makes money. We’re not always afforded the opportunity to say, I want to do this thing regardless of what the return of investment is going to be.

Dr. Christina N. Harrington:
And so all of these things contribute to, we push, in the past at least, our communities have been pushed to do certain things, to study certain things, and design has not been one of them. And so then it becomes this like elite thing that people think I can’t do design. [inaudible 00:46:38] doesn’t think in that way. And it’s like, if you had a problem at home this morning and you no longer have it because you figured something, you created some type of work around, or you Jimmy rigged your door to no longer creak. Or you’re trying to go in and out of your bedroom to get watermelon in night, like whatever, you’re doing design.

Dr. Christina N. Harrington:
And it’s reframing how we think about what design is and how people think about what they can do with design. I think we’re starting to see that more now. You have designed this trickled out throughout so many sectors. You have literal government agencies that are now wanting to hire people talking about design, to address city infrastructure problems. To address urban planning problems. All of these things, there’s so much value now. And people considering design as a lens to just think through things. It might not even have to be about problems. It can just be about the process of ingenuity and creativity. But I think for my generation at least, that’s just such a new thing, because when I was coming out of K through 12, people were not talking about [inaudible 00:47:54].

Maurice Cherry:
Yeah. And I’m going to just put this out here and folks can quote me on that. I attribute a lot of that, I think, new thinking around how folks approached design to the fact that the people that are talking about design, like you look at just the general makeup, has gotten a lot more diverse than it has been in previous years, because you’ve got more black and brown people, more queer people, et cetera, bringing their perspectives, which are a mix of education and lived experience into what design is, that it’s helping for a lot of people to expand what the definition of design looks like.

Maurice Cherry:
I mean, I remember in like the two thousands, I mean, I was out of college. I was like early in my career and everything about design, at least around like web stuff, because it was still pretty early. It was just all about web stuff. What’s the latest framework. And it wasn’t about, how are we solving problems? Like UX wasn’t really a … I want to say UX wasn’t a thing. It certainly wasn’t as prevalent as it is now. People did UX stuff, but it was not as, I think, known or accepted, I want to say, as being like a hardcore frontend person or backend person or something like that.

Maurice Cherry:
Now, I mean, it’s amazing the titles that you see, the type of work that you’re able to do in design that is, in large part, I think there’s just more diverse people are out there talking about it, sharing their experiences and really showing other people how design is not just something that’s done like on a computer or with a pen and paper or something like that.

Dr. Christina N. Harrington:
But even to your point, those tools have also helped to break down the barriers to design. One of the reasons I love what people on social media and the ways, I don’t know if you saw like, it was like a couple of years ago, and someone created a movie poster, like coming soon for Set It Off 2. And it was so real that I got upset, because I was like, no, leave, Set It Off alone. We do not need a Set It Off 2. There’s nothing you can do with that. I think it had Teyana Taylor on the cover and somebody else, but it was because someone got in Photoshop and was so sick with Photoshop, that they created this thing that looked like it came out of somebody’s media company. Like it was actually happening.

Dr. Christina N. Harrington:
We’ve gotten so sick with our Photoshop and illustrator and just our creative skills because of these digital tools, that you have so many people that you don’t need the four year degree to be like, I’m an illustrator. I’m a designer. I create flyers. I do the promotion for this restaurant. You know what I mean? I help this photographer clean up their prints. There’s so many different ways to do it now because of digital tools.

Dr. Christina N. Harrington:
And I think that that’s the dope thing about design, because we’ve now started to see it literally infiltrate corners where folks never would have thought about doing that type of thing. And again, like I said, that then starts to bleed back into one of designs origins of political propaganda, because now I can literally build a career doing the social media promotion for Elizabeth Warren, or I can literally build a career doing a design for Black Lives Matter direct action.

Dr. Christina N. Harrington:
I think now when you’re seeing organizations and collective designers protests and design justice network and all of these people that are coming to use design as a lens with all of these different mindsets and backgrounds like, oh, I studied social work, but I now lean heavily into design for ways to really communicate my work and to get things out there and to make change. It’s like, that’s what design to me is and how it should have been talked about for all of this time.

Dr. Christina N. Harrington:
Design, it’s not just this insular, oh, I am in design studio for eight hours a day, studying at this university. And I have this portfolio of these very specific pieces, and now I’m a designer. Design is so many different things, so many different people coming to the table or literally the streets and moving in so many different ways. And I think that all of these things have built for us to get to this moment. I just think that that’s so, it’s dope. It’s dope, where we’ve been able to get it.

Maurice Cherry:
Oh, absolutely. And one thing that I have to mention, you shouted out some of your peers earlier, Dr. Dori Tunstall Dr. Lesley-Ann Noel. Raja Schaar is a doctor also, right? I know I’ve heard her name. I don’t recall if she’s a doctor or not.

Dr. Christina N. Harrington:
Raja’s not a doctor. But Raja is actually one of my academic mentors, because Raja was teaching at Georgia Tech when I was a student there and gave me my first teaching gig. I always have to shout that out. Raja is the first person that let me teach the class, when I was like, please somebody, let me teach. I need to know how to teach for what I want to do. Raja let me do that.

Maurice Cherry:
What is it like being a black woman at the top level of design education in this way?

Dr. Christina N. Harrington:
That’s an interesting question, because I don’t think I’ve ever thought about it like that. The design PhD in general in the United States is not widespread. We’re still trying to figure out what’s the utility of it. Like why do you need a design PhD? In the United States, you get a master’s, that’s the terminal degree you can teach. You can go into industry. You don’t even need a master’s to have your own firm or your own consulting, whatever. Well, you can teach in certain design programs.

Dr. Christina N. Harrington:
Having a design PhD is, in my perspective, literally because Lesley-Ann, Dori and myself, we all do a particular level of writing and research and getting grants and things like that, to move in the ways that some of the other sciences do. I think about it less than the framework of like, oh, I’m one of the few black women that has a PhD in design.

Dr. Christina N. Harrington:
Although I think that if I stopped and thought about it, that is kind of like, oh, that’s … Whoa! I’ve thought myself as another black woman academic. Still few. Still few and far between. Like if you looked at my department right now, it’s not like, oh, I’m the only black woman with a PhD in design. I’m the only black woman in my department. Differentiating myself in that way is not something I oftentimes think about, but I do hope, and I do see, coming on the horizon, if not already here, maybe not myself. It’s just because I don’t always put myself in that equation. It’s kind of like an imposter syndrome thing, but I definitely see where the Doris and the Lesley-Anns are shifting design.

Dr. Christina N. Harrington:
And I think last year was a moment to put that on grand scale, because more people were coming to them, but their work was already at that nexus of like, y’all, the way Lesley-Ann thinks about design, the way Dori is talking about design, what Dori is doing at OCAD and bringing in all of these black faculty and design. And even Raja, I don’t think a PhD really matters, because Raja is one of the people that is … I mean, you want to talk design, to me, the first person I’m going to mention is Raja Schaar. I think it’s more so the impact that they’re going to have in the field of design because of the types of work that they do, not necessarily because they have PhDs, but I guess they’re probably synonymous or maybe I don’t know.

Maurice Cherry:
Now, we spoke about this a bit before we started recording and I really want to talk about it more now. Last year, a lot of organizations and companies really stepped out there to talk about how they support black folks across a number of different fields, design included. And we talk about sort of what it looked like to have that influx of interest and support. Do you still see that support now, a year later?

Dr. Christina N. Harrington:
Yeah, like I said, I don’t, but I also am not particularly looking for it, because I don’t think anybody was naive to what that moment was. As I mentioned, there were literally foundations that came and were like, we want to put you on an advisory board so that we can start to think about the equity within our products and our projects. They were also, again, throwing out the same names that I mentioned, you, Lesley-Ann and Dori and Raja. I haven’t heard from them. I couldn’t tell you what’s going on with that project.

Dr. Christina N. Harrington:
It’s one of those things where it’s like take from it what you needed to take from it and continue with the work. Don’t let that be the sole motivation for the work. Don’t let the die down of that make you feel like the work is any less important or necessary. Because for a lot of us, we’ve been talking about these things and we’ve been doing this type of work, way before anybody was slapping our faces on flyers or panels or whatever. And we will be long after folks no longer care we are. And I think that that’s what energizes me. I think about like a Chris Rudd, who has been talking about anti-racism and design. That’s the whole reason that he ever started working in design. And how in the moment of what happened last summer, I’m sure he like other folks, folks became really familiar with who he was and was speaking on panels and this, that, and the third.

Dr. Christina N. Harrington:
But he’s been doing that. He’s been doing that work. He’s been so invested in the community in the south side of Chicago. That is his whole lens to design is equity and anti-racism and workers’ rights and thinking about design from a lens of, what would a less racist Chicago look like? What would more equitable Bronzeville corridor look like? He’s been defining those things. I hope that the moment of last year doesn’t overshadow the fact that folks have been talking about these things.

Dr. Christina N. Harrington:
A lot of the organizers with designers protests, Brian Lee has been doing this area of design. A lot of folks just came to know him in the moment of what happened summer of 2020, but he’s been organizing in this way. He’s been talking about design in this way. To me, I didn’t really even see the companies as much as I saw my friends and colleagues and people that I knew from afar and looked up to, kind of pushed into people knowing their work as people should.

Dr. Christina N. Harrington:
The companies and all of the organizations and all that, all that was like kind of noise that I knew would fall off anyway. That was never my focus. It’s more like, okay, great. Now we have folks knowing the name of Chris Rudd, of Brian Lee, of Dori Tunstall. That’s kind of what came out of that moment for me. I don’t even really think about the fact that in 2021, those organizations or whoever, are not still knocking down, at least my door, I don’t know about other folks. And the folks that I’m mentioning, they’re still doing the work. They haven’t stopped doing the work because whoever is no longer showcasing 31 days of black on their social media page or whatever, they’re still doing the work.

Maurice Cherry:
To piggyback off of your response there, you’re a hundred percent right. I think what last summer did is that it did help to, I think, amplify a lot of the work that those of us have been out there doing. It sucks though, that that support hasn’t been continued or sustained. Like you can very much tell it was just like a, in some respects, kind of like a flash in the pan kind of thing.

Maurice Cherry:
I’ll share the anecdote, I won’t name the company, but I’ll share the anecdote that I share with you before we started recording, that there was a certain, very large pharmaceutical company that I spoke at last year. That definitely was like, yeah, we really want to help out and do this, that, and the third and whatever. It had just becomes sort of very clear, because they were asking like, is this going to be like a continued thing? Do you think that there’ll be more support out there that people know about this?

Maurice Cherry:
And I’m like, “Ask me next year.” Because right now, I mean, for those of us, like I said, I have been doing this for a while. We’ve seen these kind of like spikes of support that come along as it relates to, it could be a societal issue or it could be an industry issue or something like that. And you get that little spike. That’s great when it happens. If you can sustain that, that’s even better. But a lot of that support I know of from last year did sort of just like dry up. Or the company got selective amnesia about what they said or what they promised. It’s been all sorts of stuff. It is what it is. How can the listeners get more involved in the research areas that you’re a part of?

Dr. Christina N. Harrington:
I think a lot of the organizations that I mentioned. I mean, I think that there’s always going to be like that shameless, you want to do a PhD, come to death row type comment of like, come work with the kid. You could definitely do that. I also know that academia is not the only avenue to do this work. I even push some of my students to be a part of design justice network, be a part of do the check-ins with designers protest.

Dr. Christina N. Harrington:
I think that a lot of the collectives that I’ve come to learn about, when we did the Denise and Designer project, which it started before the pandemic even hit, but we weren’t able to put things out until I think like late last summer. It kind of overlapped with, we were talking a lot about this area of design and then it was like, oh, the timing just kind of coincided of us starting to put out the zine and the website and highlighting folks on social media.

Dr. Christina N. Harrington:
I think following the Denise and Designer project on Instagram and some of the folks that we highlighted, like looking into their work, looking into the collectives that either they lead or that they’re a part of, or some of the projects they’re doing on their own, I think that there are so many ways now, as we talked about equity and design justice is becoming more widespread. There’s so many ways to get involved. I think that people can tap into any one of those.

Maurice Cherry:
What do you think you would’ve done if you hadn’t went into academia?

Dr. Christina N. Harrington:
Real answer, I wanted to go to culinary school. I wanted to go to culinary school. I wanted to do a bunch of different things when I was a kid. I don’t know if that’s like some sagitarious type stuff. But there was the point in time, pre 1998 when I was like, I’m going to be the first girl in the NBA. And then there was, I want to go to culinary school. Cooking was so sexy to me. I don’t know why I just thought I wanted to cook. And then I think when I got to undergrad and I was grounded a little bit more, and even then barely, because I remember end of my sophomore year under my freshman year, calling my mom and being like my, “I hate electrical engineering. I hate it here. I want to get my degree in Africana Studies and be a writer or something.”

Dr. Christina N. Harrington:
And my mom being, “No, you’re not [inaudible 01:04:08].” I wanted to do so many things and it was like engineering oddly was my safety net, because I was smart in math and science. It could have been a number of different things. And it still might be a number of different things, because I don’t believe that we are fixed to what we do in terms of our productivity or making money in this light. I don’t think we have to be fixed to that.

Dr. Christina N. Harrington:
I still might end up opening a smoothie shop and being the old black lesbian in the neighborhood that’s just making smoothies and minding her business on the porch. That’s just my character and how I see the world of just wanting to do what feels good and what makes sense in the moment. I think this past year has showed me that I don’t want to die working myself to death and stressing over a job. So what that looks like in the next 15, 20 years is very up in the air.

Maurice Cherry:
Woo! You hit me with like a shot to the heart with that one. Woo! I know exactly what you mean when you say that. Stress will kill you. And if you happen to be black, if you happen to be anything else on top of that, it’s a lot out here. I don’t blame you. I think a lot of people are starting to come to their … I won’t want to say come to their senses, because that implies some form of like brainwashing. But I think a lot of people are realizing like, to be quite blunt, fuck these jobs.

Maurice Cherry:
The work is always going to be there. I think I had to come to terms with that a few years ago myself, when I really saw that I was really overworking myself. The work will always be there. I may not. Someone else can easily sub in for whatever, but like I don’t want to burn myself out trying to … You don’t get a medal for being a workaholic.

Dr. Christina N. Harrington:
Yep. I think last year I was talking to a friend about this. I mean last year literally showed us whose job was essential and whose wasn’t. And the ways that we need to let go of some of that internal guilt of taking rest, of taking time off, of going on vacation. I know at least like black, queer, trans, non-binary folk in the academia and the academy, we tend to carry that. Like, I got to work harder to get where other people are, and so, no days off. I also have the invisible labor of holding space for all of the students who don’t see themselves typically on campus and all of these things. And it’s like, we also tend to statistically die younger because of it, and not last, and still not get tenured.

Dr. Christina N. Harrington:
I think the last year has taught me, I’m going to rest. I am going to take time. I’m going to take vacations where I’m not touching my laptop. I think as burnt out as I was starting to feel with academia, one of the beautiful things that I quickly realized coming into CMU, there’s a faculty by the name of Jessica Hammer in the HCI Institute, who is all about that. Making sure that you’re working efficiently, such that you can unplug and take care of yourself and have that balance.

Dr. Christina N. Harrington:
And I think that that’s just the place that I’m kind of in, because we watched the world go topsy-turvy, and a lot of us didn’t know how to put down productivity. We didn’t know how to not be defined by that. It was kind of sad and a little scary, watching folks scramble to do what felt like normal, but what felt like normal was work, at least in the context of the U.S.

Maurice Cherry:
Yeah. Shout out to the Nap Ministry. I first heard about them last year. I think it might have been right around the summer of last year. Shout out to the Nap Ministry, rest is resistance. Absolutely.

Dr. Christina N. Harrington:
Shout out to the Nap Ministry, shout out to Pleasure Activism, shout out to any messaging that is just like, take care of you. We have to be reminded of that. I think Denise is a great example in the way that they’re operating Black Womxn Flourish is like, hey y’all, we’re taking a break in a couple of weeks. And I’m like, that is like such a symbol, but I’ve never thought to just be like, no, it’s not a holiday, but I’m just going to go to the lake for a couple of days and not answer my email, and y’all will be okay. We know the jobs that are essential now. We know what we need to literally survive as a society. More than likely my journal article isn’t part of that, so I can take a break. I can take a nap.

Maurice Cherry:
Yeah. I love it. I love it. What are you obsessed with at the moment?

Dr. Christina N. Harrington:
So many things from Real Housewives of Potomac, do not shame me, but I love them. I’m obsessed with that. I am upset with, in terms of design, like this concept of futuring and speculative design, but through a lens of Afrofuturism. I’m obsessed with the concept of like, there are black people in the future. I think it’s become ingrained in everything I see and everything I do, from like TV shows. I like a lot of like sci-fi and those psychological thrillers or like those, the world has ended as we know it and now it’s 2442 and here’s what civilization looks like. You watch those shows and you’re like, wait, so in 2442 there’s no black people? In the casting call, you don’t even think to put one mixed girl, nothing?

Dr. Christina N. Harrington:
And it’s like that concept of like us, the longevity and what our futures looks like has become something that I’m super obsessed with. I’m obsessed with art, of course. I think that that’s what attracted me to design because I was introduced to design as like this mesh of engineering and visual art. So the visual art is always going to be something that like aesthetically … Like I love collecting art in my home. I love going to museums and learning the history of, especially like political art, what people were trying to say through their art. I’m obsessed with my travel bucket list. That is part of my selfish Americanism of like, when am I going to be able to just roam the world again and feel safe? Safe to the extent of being like black masculine presenting queer woman on this earth, as safe as we feel anyway.

Dr. Christina N. Harrington:
I will admit this, but if you see me in person, I’m not going to want to engage in it in person. I’m not a LeBron hater, but I follow his career. So I’m slightly obsessed with how long is this man going to play in the NBA? It’s not even like a Vince Carter. Like where Vince was like, he’s old. He might go in for like five minutes and do a dunk and then you can see him kind of limping off the court and he’s done. LeBron is still playing as like the centerpiece of the team, going into what? 35, 36. So I’m kind of obsessed with like what that moment is going to be when he … Is that going to come? I mean, he’s conditioned his body so well, and I think he’s obsessed with proving to people that he can still do it. As an avid basketball fan, I’m kind of obsessed with seeing how long he goes.

Maurice Cherry:
Where do you see yourself in the next five years? What kind of work do you want to be doing?

Dr. Christina N. Harrington:
I think I’ll still be doing similar work. I mean, I have great interest in doing more like civic technology fellowships, where I’m taking a year and focusing on a project that sits outside of the academic institution, like the walls of the academic institution or consulting with folks that are thinking about larger scale problems. I think that that’s the next direction that I feel like I want to go in at some point. I don’t know what capacity that’s going to look like. Because like I said, I tend to let the work lead me, but I would love to do some type of fellowship that was focused on like a larger scale problem that was dealing with digital access or design equity somewhere.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more about you and about your work online?

Dr. Christina N. Harrington:
So my personal website, christinaharrington.me, although it’s not, I mean, that flashy, it’s somewhat updated of like my travel and where I’m speaking, my research project, the papers that I’ve published and things like that. You can always follow me on Twitter @adapperprof. I’m always ranting about academia, design, The Real Housewives of Potomac, rest, productivity. I have pages on LinkedIn and stuff like that. I don’t use them as much, but I’d say that those are the two places.

Maurice Cherry:
All right. Sounds good. Well, Christina Harrington, I want to thank you so much for coming on the show. I know when we first met, actually it was a few years ago, we met at black and design, which they are having again this year. So I think by the time this episode comes out, people will start hearing some of the advertisements around the events. That’ll be happening in October, again, virtually this year.

Maurice Cherry:
It was just so good to talk with you and to learn about the work that you’re doing around design equity, your new role at Carnegie Mellon. I just feel like we’re going to hear so much more from you in these coming years about the work that you’re doing, because it’s really super important. I think now that so much of our world has been driven online because of the pandemic in terms of interactions and just general socialization that a lot of the work you’re doing around design equity and stuff like that is going to be super important. Thank you so much for coming on the show. I appreciate it.

Dr. Christina N. Harrington:
Thank you so much for having me. This is really exciting.

Sponsored by Adobe MAX

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Support for Revision Path comes from Adobe MAX.

Adobe MAX is the annual global creativity conference and it’s going online this year — October 26th through the 28th. This is sure to be a creative experience like no other. Plus, it’s all free. Yep – 100% free!

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Did I mention it’s free?

Explore over 300 sessions across 11 tracks, hear from amazing speakers and learn new creative skills…all totally free and online this October.

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Sponsored by Black in Design 2021 Conference

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On the weekend of October 8-10th, join the Harvard Graduate School of Design virtually for the Black in Design 2021 Conference!

This year’s theme, Black Matter, is a celebration of Black space and creativity from the magical to the mundane. Our speakers, performers, and panelists will bring nuance to the trope of Black excellence and acknowledge the urgent political, spatial, and ecological crises facing Black communities across the diaspora. You don’t want to miss out on this weekend of learning, community, and connection!

Visit them online at blackmatter.tv to learn more and be a part of the event.

Sponsored by Brevity & Wit

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Brevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world.

We accomplish this through graphic design, presentations and workshops around I-D-E-A: inclusion, diversity, equity, and accessibility.

If you’re curious to learn how to combine a passion for I-D-E-A with design, check us out at brevityandwit.com.

Brevity & Wit — creative excellence without the grind.

Diversity in design for Black people is an important issue, but a lot of its focus tends to go towards employment rather than education. Design researcher Omari Souza has approached the topic from a different angle, and his thesis reveals some startling insights.

Omari shared how he first got into design and how his education at Cleveland Institute of Art and Kent State University inspired his push into design research. Omari is also a new full-time professor at La Roche College in Pittsburgh, so we talked about the importance of representation in design education and even about the design community’s silence around political issues concerning Black Americans. We do cover a lot in this interview, and I’m glad we have design researchers like Omari to examine and document this kind of work!

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