Deformed Digital Evolution
Modernist visual form has substantially influenced the digital world; however, the digital world of today has been more prominently influenced by the sequential technological growth and the ever-changing aesthetic tastes of our diverse society. These conditions can further be described as mankind’s drive for efficiency and the contrasting effects of people desiring to be different or to stand out. In this essay, an attempt is made to show how the accomplishments of the late Victorian era, regardless of how closely their lineages seem to be linked, are themselves simply steps in the timeline of progress and are really invalid to use as the true “producer” of the modern digital world.
The time period in and around the beginning of the twentieth century, according to Manovich, was the greatest time of pioneering and cultivating new techniques.
Looking retroactively on the 1920’s from the viewpoint of today we realize that the key artistic innovations of the 1920s were all done in relation to what was then the “new media”: photography, film, new architectural and new printing technologies
At the time, these were truly new media and groundbreaking techniques; additional terminology had to be developed in order to efficiently use and refer to them. The “new media” and its divisions were all obviously visually oriented. Manovich continues his discussion with referrals to the techniques and artful achievement that followed in the wake of the “new media” mentioned above. These “key modern visual communication techniques”1 included “photo and film montage, collage, classical film language, surrealism, the use of sex appeal in advertisements, modern graphic design, and modern typography.”1 ...
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...ld that be reasonable? Continuing on with the evolutional tracking of the computer, we can restate the fact that the keyboard was bred from the invention of the typewriter. The typewriter itself can even be traced back to its origin, the printing press.
In the end, almost every link in the evolutionary ladder of today’s digital world can be expressed as an adaptation or modification of the forerunning products. Though it is with reasonably considerable measures that Manovich makes all of his connections of the digital world as it applied to constructivist times, it is truly beyond anyone’s ability to figure out what the construction of the modern digital world is the product of. Far too many people have had their say in its creation. How many of those involved felt as though they were copying the Soviet Constructivist techniques and applying them to today?
Driving emits particle pollution, which increases the risk of heart disease, lung cancer and asthma. Particle pollution is processed in two ways, either mechanical or chemical.
Graphic Design has been around for generations giving it a vibrant history. For this, the case study was going to specifically look at the London Underground. Starting from the 1920 when the avant-garde posters were created, all the way to 1940 during the Second World War. The idea behind this study is to see how the design has changed depending on the time period. The time periods this case study will observe are 1920’s, 1930’s and finally 1940’s. This will give a variety of posters to discuss. In addition, we will look at how the design embodies the look, mood, aspiration, and technology, historical, social and
Postmodernity is said to be “a reaction against the Modern movement” (Nicol 2009) and has shown a complete disregard for many aspects of art and design that were popularized during modernity, including: legibility, the grid, and use of a clear hierarchy. Postmodernism, as an art movement, aims to create works based on an independent style. Nothing is new in postmodern art, in a sense that something always comes from something else.
It was the Swing era of jazz music, big bands, and flappers, as well as the birth of the silent movie and silver screen charm where celebrities reveled in lavish indulgence. As a result of the considerable reforms in social, personal and economical matters of post World War 1, expensive, hand crafted and formal Art Nouveau lost its support and was replaced with a new design concept of mass produced modernism. The jumbled floral patterns, pastel colors and the overly decorative curls and designs of Art Nouveau were cleared down to angular geometric shapes, uncomplicated, vivid and striking colors, crisp shapes and stylish, elegant characteristics of the new style Art
In the past 100 years, the world has completely turned around. The technological and computer revolutions have completely changed the way the world works. Henry Ford revolutionized factorial production through the creation of the assembly line. It increased efficiency and a basic standard of conformity among products, therefore making the company a lot more successful. The rest of the industry creating a nation-wide revolution based on efficiency adopted this new innovation. Following the innovation of the assembly line, a new era of development came into existence. In the 1970’s, computers were first introduced. Although they were as large as a room and could only play tic tac toe, they were the start of the technological revolution that made our society what it is today. Hundreds, if not thousands, of new inventions were thought of each year, creating new jobs and a new way of life. Records and files previously kept in file cabinets are now all computerized. Every person’s life is computerized: identification, police reports, one’s house and work. Almost every person has a computer, whether it is used for fun, school, Internet connection, graphic arts, or music. Computers have revolutionized our lives, whether that is a good or bad thing is the question. Do we create and control the computers, or have our own inventions taken such a hold on our lives, that they now control us? Aldous Huxley uses Henry Ford as the basis for an omni powerful leader who enforces the new values of efficiency through a totalitarian and mind-controlling government; subsequently, Huxley creates Brave New World to warn us of the effect that technology will have on our lives in the future.
Raeburn, John. A Staggering Revolution: A Cultural History of Thirties Photography. Chicago: University of Illinois, 2006. Print.
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
Hesiod’s Theogony and the Babylonian Enuma Elish are both myths that begin as creation myths, explaining how the universe and, later on, humans came to be. These types of myths exist in every culture and, while the account of creation in Hesiod’s Theogony and the Enuma Elish share many similarities, the two myths differ in many ways as well. Both myths begin creation from where the universe is a formless state, from which the primordial gods emerge. The idea of the earth and sky beginning as one and then being separated is also expressed in both myths.
At the beginning of this article, Jorge Frascara disagrees with how EI Lissitzky relate graphic design to fine arts without considering its social impact. Some artist viewed it as an art form while he stands at the opposite side. He points out the flaws of Lissitzky’s failure to recognize graphic design from several aspects. For example, he ignores the problems of appropriateness, performance and the impact on the public and in the visual environment. Lissitzky and some contemporary avant-garde artists did not clearly distinguish the difference between visual creation and visual manipulation. This results in negative influence in mass communication. Jorge used the example of Pelikan ink to illustrate how inappropriate it is to overemphasize visual structure during the graphic design process. The image created
...rect influence on Greek creation mythology. But the truth is that the tables date back to 1100 BC, which means the Babylonian creation myth is much older then Greek mythology’s Theogony by Hesiod. The Enuma Elish might even contain stories that much other then itself, some scholars argue. In conclusion it is obvious that there are many parallels between the Enuma Elish and the Theogony. No matter the creation myth there will most always be unexplainable similarities that cannot be explained. Comparing and contracting different creation myths is a very good way to help explain different cultures and their differences and similarities. It also opens the door to more questions that seek answers only found by looking in the past and how can any culture hope to have a rich and valuable future without being aware of it’s past; this is why creations myths are so valuable.
The Enuma Elish mirrors the subordinate disordered lives of the Babylonians that created it. Genesis mirrors the newfound freedom and idealism of the Jewish people who created it after years of oppression. These two writings contrast the differences between the ancient Babylonians and the ancient Hebrews. Creation stories give great insight into the lives of the people who created them.
In King Lear, Shakespeare portrays a society whose emphasis on social class results in a strict social hierarchy fueled by the unceasing desire to improve one’s social status. It is this desire for improved social status that led to the unintentional deterioration of the social hierarchy in King Lear. This desire becomes so great that Edmund, Goneril, Reagan and Cornwall were willing to act contrary to the authority of the social hierarchy for the betterment of their own position within it. As the plot unfolds, the actions of the aforementioned characters get progressively more desperate and destructive as they realize their lack of success in attaining their personal goals. The goals vary, however the selfish motivation does not. With Edmund, Goneril, Reagan and Cornwall as examples, Shakespeare portrays the social hierarchy as a self-defeating system because it fosters desires in its members that motivate them to act against the authority of the hierarchy to benefit themselves. A consideration of each characters actions in chronological order and the reasons behind such actions reveals a common theme among the goals for which morality is abandoned.
Nutramed.com. 2009. Air Quality: Airborne Illness Car Exhaust - Health Effects. 20 Nov. 2014. http://www.mutramed.com/environment/carsepa.htm
The only thing that the audience can see is just the images. They are unaware of the machines creating them. In an everyday life a person is constantly surrounded by many moving images. They can be billboards, commercials, films or live images happening in a real time. Is it possible to find the etiological origin of the small screen? The solution remains more speculative compared to the big screen. It may be essential to remind the fact that since the beginning of the fire screens were frequently ornamented with pictures. Throughout the Victorian era, the big folding screens used in the home for numerous reasons repeatedly turn into true mixtures of all kinds of printed pictures, remembering the numerous "scrapbooks" made by women and kids as fun. However, the images operate mainly as a decorative item, such screens expect the future improvement of media culture, displaying the vast spread of inexpensive mass-produced images in the 19th century, thanks to advances in print equipment and image duplicate technologies. Undeniably, the routine of decorating screens with images has become so usual that average artwork has occasionally been compared by
In the latter half of the twentieth century society, culture and science evolved visions and capability around the common prefix ‘cyber’. It took on several virtual, computational, functional, scientific, sexual and criminal connotations. In the 21st Century, many computational notions have been replaced by ‘e’ to mean ‘of computer’ - however ‘cyber’, represented in music, words and films emerging at this time, which communicate the content of culture at the time, not simply technology – have not become ePeople, eMusic or eFilms, but remained postulated in cyberculture.