"You have to misbehave to make breakthroughs"
Cooper-Hewitt Design Awards Ceremony, 2013
Tuesday, August 12, 2014
Monday, August 4, 2014
EBSCOhost: Missing Persons: Female Creatives
EBSCOhost: Missing Persons: Female Creatives
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This requires you log in to your GSU account
Pre-industrial:
cultural products (buildings, furniture, clothing, music, art) from semi-skilled artisans and amateurs.
Late 19th century:
professionalization of cultural production and de-skilling of other kinds of production.
Culture split between Fine Art, which is beautiful but useless,
and utilitarian goods, which are cheap and nasty. Explosion of Kitsch.
The “Art Poster” and Arts and Crafts movements are attempts to bridge the gap.
20th Century Modernism:
attempt to erase difference between “high” and “low” culture.
Produce utilitarian goods of highest quality in factories.
Reject “art for art’s sake.”
Advocate styles that can be produced, and used, by all people.
Ideas
Mac Advertisments:"I'm a Mac, I'm a PC." Macintosh uses ads comparing a young trendy actor to a business like man representing Windows. I feel Apple makes windows users seem slow or handicapped in there advertisements.
Elderly: Ads using elderly people often depict them as needing help.
Energy Drinks: Most energy drink ads show people using them in extreme sports which i feel is a stereotype since many students use them to study and are found all around university campuses. Also energy drinks have become popular in nightlife when used to mix with alcohol which can be dangerous.
Elderly: Ads using elderly people often depict them as needing help.
Energy Drinks: Most energy drink ads show people using them in extreme sports which i feel is a stereotype since many students use them to study and are found all around university campuses. Also energy drinks have become popular in nightlife when used to mix with alcohol which can be dangerous.
TV And Beyond: What's next for screen-based designers?
Thursday February 28
Einstein described a windowless elevator in space. Depending on how fast it's accelerating, those inside may experience weightlessness or gravity. But what forces are at work when you can’t see outside? With our galaxy of broadcast design evolving so quickly, it’s time to examine the state of screen design today. Are we floating or accelerating or both? Just outside our elevator is a vast universe of outdoor media, retail installations, digital signage, web integration, large format corporate applications, advertising hybrids, and more. With all these worlds coming together, a February 28
new language of visual communication is emerging.
Join RIOT Creative Director Jeff Doud and a panel of fascinating guests for a trip through the media landscape — television and beyond.
Panelists:
Art Roche, Creative Director, Cartoon Network New Media
Bill Chapman, VP Creative Development, Emerging Technologies, Turner Entertainment
Doug Grimmett, Creative Director, Founder, Primal Screen
Tim Tewell, Creative Director, IQ Interactive
Event agenda
6:30 pm Doors open
7:15 pm Introduction
7:30 pm Panel Presentation
8:30 pm Q&A
The Center For Design Study
400 Trabert Avenue, Atlanta, GA 30309
Einstein described a windowless elevator in space. Depending on how fast it's accelerating, those inside may experience weightlessness or gravity. But what forces are at work when you can’t see outside? With our galaxy of broadcast design evolving so quickly, it’s time to examine the state of screen design today. Are we floating or accelerating or both? Just outside our elevator is a vast universe of outdoor media, retail installations, digital signage, web integration, large format corporate applications, advertising hybrids, and more. With all these worlds coming together, a February 28
new language of visual communication is emerging.
Join RIOT Creative Director Jeff Doud and a panel of fascinating guests for a trip through the media landscape — television and beyond.
Panelists:
Art Roche, Creative Director, Cartoon Network New Media
Bill Chapman, VP Creative Development, Emerging Technologies, Turner Entertainment
Doug Grimmett, Creative Director, Founder, Primal Screen
Tim Tewell, Creative Director, IQ Interactive
Event agenda
6:30 pm Doors open
7:15 pm Introduction
7:30 pm Panel Presentation
8:30 pm Q&A
The Center For Design Study
400 Trabert Avenue, Atlanta, GA 30309
Art Spiegelman
I went to the Art Spiegelman event at SCAD tonight; it was brilliant. He spoke and presented a slideshow on the history of comics, starting as an underground (often forbidden) medium, and becoming a respected art form more recently. Simultaneously, he discussed his own story of becoming a comic book writer, including his work before MAUS, In the Shadow of No Towers, his New Yorker covers and essays, and on into some stuff that ain't even out yet. Spiegelman is really an amazing thinker and speaker on the topic of comic books. As a presenter, his performance is loose, funny, charming, and feels unrehearsed and improvised. I'm sure he's give some version of this presentation hundreds of times, but his presentation didn't feel stiff and rote.
He discussed the structure of comics as being two languages working in conjunction, and his belief that we understand comics better than either pictures or words, because they work in the same way that our minds are wired to work. It was a fascinating talk; if you couldn't go, I sincerely hope you get another chance to hear this guy speak.
One of my favorite parts of his speech, loosely paraphrased:
NANCY was read by a lot of people, not because it's good, but because it's harder to not read it than it is to read it.
He discussed the structure of comics as being two languages working in conjunction, and his belief that we understand comics better than either pictures or words, because they work in the same way that our minds are wired to work. It was a fascinating talk; if you couldn't go, I sincerely hope you get another chance to hear this guy speak.
One of my favorite parts of his speech, loosely paraphrased:
NANCY was read by a lot of people, not because it's good, but because it's harder to not read it than it is to read it.
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