Making 'i feel ya' with André 3000 Benjamin


Dr. Dre and Apple. David Byrne and color guard. Collaboration is how the world rolls, and the projects can be as lucrative as they are novel. Social and digital media have erased traditional boundaries, so we shouldn’t be surprised by these partnerships; we should be prepared.

i feel ya: SCAD + André 3000 Benjamin (July 18 - Sept. 13 at SCAD Museum of Art) — the multi-genre, multi-artist exhibition inspired by Benjamin’s jumpsuits from the Outkast reunion tour — primed Savannah College of Art and Design students to launch their own multi-hyphenate endeavors. Their participation in i feel ya was an extension of their every-day collaborations: an animation student teams up with a film student, who partners with a fashion student, who consults with a fibers student.

Knowing how to work with other disciplines and leverage the strengths of a co-worker goes a long way in today’s workplace, and it takes practice. So when these young creatives linked up with a hip-hop star, an Emmy-nominated filmmaker and an acclaimed painter to make i feel ya, many epiphanies were in store.

It wasn’t long after Cody Ziglar (M.F.A., film and television) returned from Outkast’s show in Montreal that he became a production assistant on Trumpets, Benjamin’s film with director Greg Brunkalla (B.F.A, video/film, 2001) for i feel ya. Ziglar has listened to Benjamin’s music since he was in middle school and knew he wanted to write and direct television before that. So when Benjamin poked his head in Ziglar’s edit room at Savannah Film Studios during the making of Trumpets, Ziglar’s interests collided.

i feel ya inspired me to jump back in to more experimental filmmaking and delve in to a more abstract way of thinking and I love it. I gained a new sense of confidence regarding my portfolio and work ethic. — Cody Ziglar

Meeting Benjamin, learning pre-production and making lasting connections with producer Omar Bustos were highlights for Ziglar, one of a dozen SCAD students who worked as a PA on Trumpets. “Working closely with a director and producer was a fun experience,” Ziglar said. “I really got an understanding of exactly how the sausage is made.”

While Ziglar was behind the camera, performing arts student Caroline Huey was in front of it. She wore one of Benjamin’s jumpsuit in the film. In the exhibition, these scenes of Huey and other actors are reflected in Jimmy O’Neal’s large-scale mirrored paintings. She also helped the SCAD Casting Office find talent for i feel ya.

There was so much collaboration in this project and such respect for the different artistic mediums. This is something I’ll carry with me as I continue through my training and my career. — Caroline Huey

Many months before, in Atlanta, fashion graduate student Jessica Fulks went through a different kind of casting call. Benjamin approached the SCAD fashion program for a consult on producing multiple versions of his signature jumpsuit for the Outkast tour, and Professor Kevin Knaus put him in touch with Fulks. In addition to creating a technical package for his suits, the aspiring menswear designer bonded with Benjamin. He showed her his sketchbook, she shared her collections.

Before Huey wore one of the suits and Ziglar researched the location on which to shoot them, Fulks saw them in action on stage when Outkast played Atlanta. Each had different experiences but learned a similar lesson: there’s no limit to what can happen when artists put their heads together.

i feel ya gave these students some answers. The question is, what will they make because of it?

The 'how' behind the 'wow moment' of Commencement 2015


It’s not easy to forget the finale to SCAD Commencement, Will Penny’s (B.F.A., painting, 2008; M.F.A., painting, 2013) goal exactly. With his spectacular interactive installation that seemed to envelope the graduates, the artist succeeded mightily at creating a memorable send off for the Class of 2015.

Here’s a glimpse of that moment from the graduates' perspective and Penny on creating this digital feast for the senses:

“The commencement backdrop was made primarily in Adobe After Effects using several different 3D content plugins. A lot of modeling was done in Rhinoceros as well.

Having witnessed commencement ceremonies in several capacities — as a guest in the stands, as a student on the floor and as a speaker on the stage — I tried to think about the space as a whole, which led us to creating the projection mapped content.

The commencement backdrop consisted of a series of computer-generated vignettes designed to create a heightened sensorial experience. The physical space of each ceremony — the Civic Center in Savannah and World Congress Center in Atlanta — was augmented with digitally constructed content predicated on the dichotomy of virtual and physical modes of perception. Form, color and sound were carefully choreographed to expand and unfold through the duration of the ceremony. As a whole, I intended for the content to indirectly symbolize the diffusion of unbound potential and possibility held within the graduating class of 2015.”

As of now, the work remains untitled. Known as “the Wow moment,” we think the nickname for the digital masterpiece sums up Penny's efforts perfectly.

Commencement speaker John Lasseter’s advice to young artists


John Lasseter, Chief Creative Officer of Walt Disney and Pixar Animation Studios, isn’t a stranger to budding artists. His son graduated from Savannah College of Art and Design with a Bachelor of Fine Arts in sculpture. A member of the class of 2015, Sam Lasseter was one of 2,100 graduates in Savannah and Atlanta whom Lasseter encouraged with his wisdom-packed commencement address on the power of creativity. After all, Lasseter was a young artist once, sitting where Sam and his classmates sat. He laid bare the journey that began his freshman year of high school and led to one of the most influential careers in entertainment.

With the zeal of his character “Sheriff Woody Pride” — whom Lasseter carried on stage as an emblem of his dream come true — and the authority of a master, Lasseter shared these insights on making a creative career:

On discovering what you want to do
What Lasseter told his five sons says it all: “Choose something that you love to do and you will never work a day in your life.” He shared with the graduates that the core of his success is a love for cartoons and a profound desire to make animation for everyone, not just children. 

On getting fired for what you want to do
Coexisting with Lasseter’s passion for cartoons was a strong conviction that the future of the industry was computer animation. But during his first stint with Disney, as a young animator, Lasseter’s enthusiasm for this new approach wasn’t reciprocated and it cost him his job. Seemingly a set back, this unanticipated development actually freed him to pursue his vision and led to the formation of Pixar.

To be fired from the place of your dreams was so painful and embarrassing for me that it took decades before I could even tell people about it. - John Lasseter

On finding partners to help you do what you want to do
Attracted to his ideas, pioneers Ed Catmull and Steve Jobs embraced Lasseter. His desire to innovate was a beacon for like-minded partners who encouraged and challenged him to achieve what audiences had never seen before, movies like Toy Story, the number one film at the box office upon its released in 1995.

On sacrificing for what you want to do
Lasseter drove home that making something new comes with sacrifice. Sleep was only one of the things that Lasseter gave up along the way. Another was ego and being right. Opening his work up for his peers to critique, even before it was polished, was uncomfortable but essential to his growth as an artist.

To really truly be creative you have to be willing to take risks. You have to put yourself out there. You have to be willing to fail. - John Lasseter

On the privilege of doing what you want to do
An artistic career is hard work, but it is one where the rewards are — in the words of another Pixar hit — incredible. Of all the awards he has won, Lassetter remarked that a well-loved “Woody” doll is by far the most important acknowledgement of his legacy because it means that he reached and made an emotional connection to someone by doing what he loves well.

In sharing the story of his career, and his most prized possession, Lasseter answered with a resounding “yes” the question that is on every graduate’s mind. “Can I make a difference?”

Oscar de la Renta's Peter Copping on making a fashion career


For perspective on the legacy he inherited as creative director of Oscar de la Renta, Peter Copping visited the SCAD MOA exhibition, Oscar de la Renta: His Legendary World of Style. Recently, Copping returned to Savannah College of Art and Design, this time to SCADshow in Atlanta, for a discussion about careers in fashion and to share his insights on the future of the Oscar de la Renta brand.

In his discussion with Carmela Spinelli, fashion historian and international admission liaison for SCAD, Copping touched on subjects ranging from collection planning to designing couture for the everyday woman — offering students anecdotes from his career and his views on what it really takes to make it in the fashion industry.


Though not on his list, a powerful lesson is how gracefully Copping stepped in to his role as Oscar de la Renta’s first creative director. Originally, the idea was for Copping to work alongside de la Renta for a season or two, but the untimely death of the brand’s namesake accelerated Coppings learning curve.

This isn’t Copping’s first time leading a major fashion house; his resume boasts names like Christian Lacroix, Sonia Rykiel, Louis Vuitton and Nina Ricci. In the 1980s, with the love and support of his family, he moved to London to begin his career. Copping didn’t hesitate about his passion, which propelled him into a whirlwind career that has taken him from London to Paris and New York.

It’s an interesting time for fashion. The great thing is that it’s constantly needing new blood to come in and push things forward. - Peter Copping

Copping first met de la Renta in the design icon’s Park Avenue apartment, a meeting Copping described as “very natural.” Though they didn’t discuss fashion, the two connected on many other topics. But since Copping took over in October 2014, to really get a sense of the man de la Renta was and how his visions came to fruition, Copping has relied on the people who knew the mastermind best and worked with him the longest. Ultimately, Copping shared, it was de la Renta’s clothes that spoke to him and told him what he needed to know most.

Copping pointed out that while glamour can be found in fashion studios, he has tremendous respect for the designers in the atelier, whom he described as geniuses. He values garment structure, cutting, sewing and draping — preferences that align with de la Renta’s sensibilities. “I worked for twenty years in Europe, most of my career was spent in Paris, and I think that’s something I can bring to the house as well,” said Copping. “Oscar is one of the most Parisian designers you have in New York, he had a great appreciation for French couture — he worked in the south [of France] for a number of years. That was very important for him.”

SCAD President Paula Wallace interviews Copping. 

Copping also touched on the pressure to create well-reviewed collections in rapid succession, for which he says he thinks forward to the next collection before the current one is even shown. And while he likes a zen atelier, he thrives under pressure. He attributes this to being a grounded person and cautioned students to not get sucked in to the pressure of pleasing critics: “Know that it is not the be all and end all of everything,” Copping warned.

In the question and answer portion of the discussion, Copping advised students who are curious to explore their entrepreneurial spirit to also honor the art of fashion by gaining as much experience as possible. “I learned a great deal at college, but once I actually arrived in Paris and could observe and work with a French atelier I even learned more,” he shared.

His final words of encouragement: “Fashion is a wonderful world to work in — there’s so many different careers within that — like I said, the ateliers, in marketing, in sales," said Copping. “So it’s a very rich and invigorating place to work. It’s an interesting time for fashion. The great thing is that it’s constantly needing new blood to come in and push things forward.”

Aspiring designers have only to watch Copping to get a sense of how it’s done.

Danielle Styles is a public relations manager at SCAD Atlanta.

'Ovation for Oscar' director on Cannes and fashion films


Rare projects require rare talent. To make the documentary Ovation for Oscar: An Exhibition at SCAD Museum of Art − about the first posthumous museum tribute to Oscar de la Renta − Savannah College of Art and Design chose one of its own. Leading a team of students and alumni, including his business partner, producer Tyler Reid (M.F.A., film and television, candidate), director Ryan Curtis (B.F.A., film and television, 2013) approached his first fashion documentary the way he does everything: with an eye for fresh original content. That’s what surf photography and music videos - Curtis’ prior subjects - have in common. Another first for Curtis: attending Cannes Film Festival, where Ovation for Oscar premiered. We caught up with him as he arrived in France.

SCAD: Congratulations on showing at Cannes. You have a diverse portfolio. How did your experiences contribute to your approach to Ovation for Oscar?

RC: Music videos are almost always utter chaos, in a good way. The level of creativity is super high, but the resources aren't always there. In surf photography you are 110% reliant on the weather and surf conditions, all the stars need to align in order to get a good shot. My experiences have taught me extreme resourcefulness and tenacity in any project.

SCAD: How is Ovation for Oscar similar or different from your previous work?

RC: This project in particular is very exciting, mainly because we are constantly surrounded by creative people, and the level of collaboration is unparalleled. Production and post-production were very fluid, totally unscripted, and we had to maintain the ability to change direction at any given moment.

SCAD: How did it help or challenge you to not have a fashion background?

RC: This is my first fashion documentary, but I have produced fashion films. I produced one for designer Julian Robaire while I was at SCAD, and when I graduated I worked on one for Globe Skateboards, and music videos sponsored by Hood By Air. I also took an intro to fashion course at SCAD, which taught me respect for the design process. I performed miserably, but that course taught me to truly appreciate the work of Oscar de la Renta and everyone involved in the exhibition process.

Fashion films are kind of the new frontier. Like music videos, there aren't any true rules, which is very exciting. - Ryan Curtis

SCAD: How does this documentary follow current trends in filmmaking? How is it different?

RC: This is essentially long form branded content, but what makes it different is the fact that it's totally unscripted and honest.

SCAD: Who did you have in mind on set? Who is the audience for the film?

RC: I think the audience is young people who are interested in the arts and fashion. I want this documentary to inspire people to put themselves out in the world and to get out of their comfort zones to fully realize their potential.

SCAD: What are you hoping to achieve at Cannes?

RC: It has been eight hours so far and I love it. The screenings alone are amazing, but entertaining people is even better, better yet, finding distribution. Networking is an extremely important part of anyone's career, especially in film and television. You never know what can come out of a conversation.

SCAD: What do you hope the world will learn about Oscar de la Renta because of this film?

RC: Oscar de la Renta is a name synonymous with kindness. He really was the ultimate gentleman. This exhibition carries on his tradition of teaching and philanthropy, and that's what we wanted to convey with this film. SCAD truly supports the next generation of artists and designers, something it shares in common with Oscar de la Renta. So if anyone is looking for the perfect incubator they don't have to look further than SCAD and Oscar de la Renta.

Vivienne Westwood's conversation with André Leon Talley


Fashion luminary Vivienne Westwood ignited the punk movement, illuminating a path for generations of designers to come. Regardless of how Dame Westwood shines, she is obsessed with turning off the lights. It’s her way of conserving energy and protecting Mother Earth. 

Upon receiving the André Leon Talley Lifetime Achievement Award at Savannah College of Art and Design, a precursor to SCAD Fashion Show, Westwood used the occasion to deliver an impassioned acceptance speech on climate change.

I can’t save the world, but sometimes I think maybe it’s me who somehow has got to do it. - Vivienne Westwood

It was an unexpected topic. Previous honorees, like Oscar de la Renta in 2001, have held forth on subjects like the state of fashion. But Westwood surprises most people she encounters, including her husband, design partner and creative director, Andreas Kronthaler. “I was smitten, I was mesmerized,” said Kronthaler responding to SCAD Truestee André Leon Talley’s question about how he met Westwood.

Kronthaler joined Westwood on the stage with Talley and Véronique Hyland from New York magazine’s blog The Cut for a conversation dominated by Westwood’s social and political convictions, and punctuated with anecdotes from more than 30 years in fashion. Even if they didn’t expect to hear her strident assertions on politicians and big banks, and praise for NGOs of every stripe, the audience was riveted, won over by the graceful persuasiveness Westwood exudes, a quality she passes on to her clothes.

With punk, I was doing then what I am doing now: changing public opinion. - Vivienne Westwood

Her ideas raised many questions, but only one member of the audience at Trustees Theater−Tyrin Niles (B.F.A., fashion, sophomore)−had the opportunity to address Westwood directly. “First, I love you,” he said to raucous applause. “Thanks ever so much, that’s lovely,” replied, Westwood, opening the door for this volley from Niles: “If you ever need an intern, I would love to work for you.” Kronthaler didn’t hesitate, “You can come tomorrow,” he said. And the deal was done.

In his exploration of the avant-garde, Niles stumbled upon 430 Kings Road and came to admire Westwood for her awareness as much as her aesthetic. Though from a different time and place, her influence on this young designer is apparent. “It’s more about what the clothes do for you than just making clothes,” said Niles. Westwood also hopes aspiring fashion moguls pursue quality over quantity, an approach she says, “doesn’t not have to wreck the Earth.”

I don’t give up my job because it gives me a chance to open my mouth. - Vivienne Westwood

And it can be good business. Not just for profit’s sake. As Westwood has shown, fashion is a platform and making beautiful clothes can also yield a legacy of activism.

Ask Vivienne Westwood: insights on the SCAD MOA exhibition


Vivienne Westwood traveled to Savannah College of Art and Design to receive the André Leon Talley Lifetime Achievement Award. The fashion icon and activist joins a distinguished cohort of designers who have attended the student fashion show and exhibited their work at SCAD Museum of Art, and she’s the first to answer your questions submitted via social media. Westwood’s responses provide perspective on her body of work, including 33 looks that comprise Dress Up Story – 1990 Until Now, an exhibition curated in her honor by Talley at SCAD Museum of Art (May 19-Sept. 13).

I never participated in a fashion trend. I always invented them. - Vivienne Westwood

What fashion trend did you participate in but now regret?

VW: I never participated in a fashion trend. I always invented them. I never knew what other people were doing. In fact, every now and again, I do something and someone might say, “Someone just did that.”

So many industries look to fashion for inspiration on emerging trends and color. Where do you find inspiration for your work?

VW: The ideas are not just invented. They come from a whole lifetime experience of looking at things and following your deep interests, if you’re interested in culture. I mean everybody is in the end. Whatever you’ve been following there. Culture, as I defined it the other day, is the best that has ever been thought or said or shown. That’s what culture is and that’s what you’re following. For example, when you’re looking at paintings you start to understand what is the best. There’s a French expression that the best is the enemy of the good. The good, you’re no longer interested in it. I used to send my students to the art galleries. I said, "Before you move from one gallery to the next, if the fire bell went which picture would you save?" If you keep going, in six months' time you will choose a different picture, you are cultivating your taste. You are developing. You start to see something else.

How do you approach a design challenge?

VW: I like to start with knitwear. It’s very good because you’re waiting for fabrics quite a lot of times. Knitwear is brilliant because you’re not limited by the yarn, you’re limited by the fabric and what you’re going to do with it and how you’re going to sew it. Knitwear is a bit like a computer, you know, you’ve got a stitch that loops one way and a stitch that loops another way, and that’s all there is. You just do permutations of that and you just loop two of them together. You can shape the thing by the actual technical process, and I find knitwear a very easy thing to start with while I’m waiting for fabrics as well, and I always start from tailoring. That’s where I always start to get the look of something.

What will you look for on the runway at SCAD Fashion Show?

VW: Something different. That is a phrase I cannot stand. ‘Something different’ is so boring. It doesn’t work. If people are searching for something different they’ll never find it. It’s like searching for an unusual experience. It just won’t happen. It will happen when you’re not searching, when you’re following your deep interests. That’s when the exciting experiences will happen.

Experience Dress Up Story - 1990 Until Now at SCAD MOA to learn more about Dame Westwood. 

Hong Kong's chalk-over


More than 50 student-artists gathered in the north parking lot of Savannah College of Art and Design in Hong Kong to participate in the Sidewalk Arts Festival, a tradition that connects the university's locations around the globe. 



Inspired by nature, typography, comics, Hong Kong culture and more, the contestants arrived with a vision and a plan. They found their assigned squares and their creativity flowed. Throughout the day, 200 festival-goers watched as the artists blended, shaded and sketched their way to cash prizes worth 3,500 HK$, and judges evaluated the resulting 29 chalk art masterpieces.



Let the creativity shine bright like the sun! #scadhk #scadintl #sidewalkarts #festival #chalk #scadchalk

A photo posted by Flora Lee (@scadflora) on


First-time participants Chaaya Prabhat, Arundhati Prasad and Bhavishyaq Sharadhi won the Group Award for their take on artist Salvadore Dali.

“We wanted to draw someone iconic, someone instantly recognizable. We drew Salvadore Dali as his moustache is unmistakable."


Winner of the Spirit Award, Shann Larsson drew the SCAD mascot Art the Bee. "I love the process and enjoy challenges in media," Larsson said of her third showing at the festival. "The stylized bee was a drawing I sketched out in ink on paper and then attempted to recreate with thick chalk on concrete." 



The chalk quickly disappears upon meeting the rough surface again and again. But Larsson and the other winners can use their prize money to stock up on art supplies and chalk in time for the next Sidewalk Arts Festival. 

SCAD descends on Tybee for Sand Arts sculpting contest


Savannah College of Art and Design students adorned Tybee Island, Georgia for the annual Sand Arts Festival, a sculpting contest that is a rite of spring. Angling for prizes totaling $11,400, the competitors had more than cash to spur them on. This year, visiting artist and world champion sand sculptor Ted Siebert of the Sand Sculpture Company elevated the game with an ornate sculpture created with students from SCAD's Art of the Spectacle class.

Siebert was both teacher and judge. His quarter-long workshops, in which he taught students the finest sand sculpting techniques, prepared them to face his scrutiny at Sand Arts. Siebert judged the newly added Most Ambitious category. Prize-winning or not, in our eyes, any artist who attempts to master the tricky medium of sand is ambitious. Congratulations to all. Here are the first place winners:

Most Ambitious and Sand Sculpture Awards:
Sand Sculpture No. 16 — Submerged Dragon

Spencer Kohl, B.F.A. painting, St. Johns, Florida
Madison Ellis, B.F.A. animation, California, Maryland
Samantha Greene, B.F.A. animation, Wake Forest, North Carolina
Julia Chamberlain, B.F.A. animation, Guilford, Connecticut

SCAD Spirit Award
Sand Relief No. 15 — Let It Bee

Danielle McGotty, B.F.A. photography, Wall, New Jersey
Nicci Aguiar, B.F.A. sequential art, Nantucket, Massachusetts
Sydney Schulz, B.F.A. graphic design, Liberty, Missouri
Michael Decker, B.F.A. graphic design, Spring, Texas

SCAD Castle Award

Sand Castle No. 3  — Poetter Hall

Sabrina Shankar, B.F.A. production design, Nesconset, New York

Alumni Choice Award

Sand Relief No. 13 — Lesley from Wisconsin

Kat Morgan, B.F.A. illustration, Matthews, North Carolina
James Nichols, B.F.A. interactive design and game development, Chester, South Carolina
Grant Whitsitt, B.F.A. animation, Jackson, Tennessee
Chandler Jernigan, B.F.A. photography, Brunswick, Georgia

Gray’s Reef Best Underwater Creature and Sand Relief Awards:

Sand Relief No. 3 — Sand Bubbler

Toni Dammicci B.F.A. fibers, 2012
Emily Brodowski B.F.A. metals and jewelry, 2012, Hampstead, Maryland
Krystal Sokolis B.F.A. accessory design, 2012, Lemont, Illinois

Wind Sculpture

Wind Sculpture No. 9 — Mobius Plane

John Warfield Sibert, B.F.A. industrial design
Blake Gunderson, B.F.A. industrial design, Tavares, Florida

Sand Castle
Sand Castle No. 21 — Hollow Hermit

Kaela Proctor, B.F.A. industrial design, Sebastopol, California
Cait Dorshefski, B.F.A. industrial design, Ft. Washington, Maryland
Taylor Hester, B.F.A. industrial design, Florence, Alabama

Randi Zuckerberg uncomplicates social innovation


Randi Zuckerberg is a busy woman. She’s the former director of market development for Facebook, the founder and CEO of boutique marketing firm and production company Zuckerberg Media, an author and, in her words, the Zuckerberg “who graduated from Harvard.” Also a sought-after speaker, Zuckerberg recently visited Savannah College of Art and Design in Atlanta. Keeping with the spirit of her online community and book Dot Complicated, Zuckerberg helped the audience at SCADShow decipher future trends in technology and social media. Interspersed with a technological ballad sung to the tune of Under the Sea and a nursery rhyme with lines like, “Eeny, meeny, miny, mode teach a toddler how to code,” Zuckerberg shared a list of trends we can’t ignore. Here are five takeaways from her talk What’s Next in Social Innovation and How We Interact with the 21st Century Consumer.

Entreployees rule
The maker movement has spawned the rise of the “entreployee,” people who work full-time for a business while launching one of their own. Many employers welcome this because they’re looking for creative people and problem solvers, which should make artists and designers optimistic about their career prospects. But be warned: changing employment trends mean changing hiring practices and your next interview might take place via Snapchat.

Social media is not optional
Social media is not a fad and smart companies are taking it seriously. There’s still unlimited potential for social media to revolutionize the business-to-consumer relationship. One example is the 1888 Hotel in Sydney, Australia where travelers with 10,000 Instagram followers stay free — yes, free.

Learn and learn from technology
From silly to serious, technology is achieving the unthinkable. 3D printers create everything from fashion accessories to prosthetics. Smart contact lenses will make it easier for diabetics to test their glucose levels. Online (and often free) educational tools mean people never have to stop learning and can learn just about anywhere. Fun toys and games can hook kids on science and engineering. We can learn a great deal from technology about how to think bigger in our respective professions.

Innovation is like a box of chocolates
With social and technological breakthroughs, you never know what you’re going to get. We have inventive educational toys, books and games. Then someone takes it too far and designs the iPotty. Fitbits are helpful, but does the world really need a scale that tweets the user’s weight? The same 3D printers that make shoes and iPhone cases can also make guns and bullets. Virtual reality can be used to help cure people of their phobias, but also to create first-person shooter games that, according to Zuckerburg, might be a little too realistic. Innovation inspires excitement, but also requires prudence.

Balance is best
The next great social innovation just might be unplugging. It is exactly what it sounds like: leaving technology behind for an afternoon or weekend. We can get ahead of this trend by enjoying the outdoors, wandering through a used bookstore, and talking to people without looking at our phone or taking a selfie. Not exactly the advice one would expect from a social media maven, but it's exactly why Zuckerberg is a breath of fresh air.

Catherine Ramsdell is the associate chair of liberal arts at SCAD Atlanta, and has been teaching writing and English courses at SCAD since 2000. She also writes for, an online magazine of cultural criticism.