I love these books, I took this out of the
library at MMU, it’s new, and I love the
series, I have one called Artist-Run Spaces,
I love the typesetting, and the aim, the way
the texts are pitched to the audience. This,
I keep thinking about design practice, and
academia and how to position myself,
and my work between the commercial,
the self-owned, the creative and the
academic, the theoretical. I want my
films to work on all levels and I have to
find ways to expand, material can exist
to surround and support, in each area.
Thinking, insights, production work, in my
original funding models my first two years
are high-energy, high impact, risk, and
creative, practice and funding. Followed by
commercial enterprise to ground,
support and bring the material to the
surface. The point where everything comes
together (non-flightly) a point, meaning or
coherance to hold everything together. In
commercial pitches, I find this, a sort of
USP, a linking thread, with my work, I feel
sure it must be in the production, how I
create my work, a sellable, specific,
commodity, new and unique to describe
my stories and hold my meanings
together, for people in TV to understand, a
visualisation, is what I want, for people

/

to be able to see, to understand, the moment
of - that’s what you are doing.

“Designing is not a profession but an attitude.”
— László Moholy-Nagy

Quoted from the Prologue
Design as Attitude

Alice Rawsthorn,
Design as an Attitude
JRP | Ringier
Zurich
2018