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Class Final: endings are beginnings

 1000 words of advice

 


 

Hartmut Esslinger – Advice For Designers from frog on Vimeo.


 

http://www.oscars.org/video/watch/ev_prodesign_03a_advice.html

 


Some general advice:

1. Sell yourself without selling yourself.

2. Put yourself out there.

3. Find the right fit.

4. Know what you’re worth.

5. Do more.

6. Make friends.

7. Stay positive.

8. Know your Stuff

9. Design a Beautiful Portfolio Site

  • Your website is usually the first thing potential clients will look at
  • You want to blow potential clients out of the water with your design skills because, believe me, they will be leery about your lack of experience.
  • Since you probably won’t have many other websites to display in your portfolio, you can use this as your “baby”. Teach yourself new things when designing and developing it.

10. Start from the Bottom Up

11. Seek Help

12. Model the Established

13. Don’t Act your Age

  • Act like you know what you’re doing and be confident in what you can do
  • Learn how to carry on conversations with your elders. They don’t bite.
  • Dress professionally, at least somewhat.
  • Don’t lie to people, but don’t let your age be one of the first things that comes out of your mouth when you meet potential clients either.

14. Learn, Learn, Learn

15. It’s not just What you Know, it’s Who you Know

16. Put Yourself Out There AGAIN

17. You Will Fail and fail again before you succeed.

18. Travel.

19.Identity crisis versus identity capital – build up the parts of your experiences that will prove definitive.

20. Exploration versus procrastination – small steps in errant directions is a better interstitial than inaction.

21. Expand into new circles – your friends are great for a ride to the airport – but weak ties allow you to go places you never thought possible.

22. Half of new jobs are never posted.

23. Small changes ins trajectory can change who and what you are.

24. You are adults. Use your weak ties. Choose your family.

25. Follow through on your commitments.

 

By |December 15th, 2013|Classes|0 Comments|

Class 12: Art and Commerce

“Creating your own blog is about as easy as creating your own urine, and you’re about as likely to find someone else interested in it.” – Lore Sjöberg

Discussion:
Lets delve into Art and Commerce, the marketplace, the allure of mammon.  Lets talk about about the influence of commerce upon art in general but about how digital art and design in specific is being affected by the marketplace.

The idea that money, patronage and trade automatically corrupts the wells of imagination is a pious fiction, believed by some utopian lefties and a few people of genius such as (William) Blake but flatly contradicted by history itself” – Robert Hughes.

Classwork:

 

 

 

 

 

  1. Please post an entry to the blog that compares 4 (FOUR) talent placement agency’s websites.
  2. Make a short animation using this jquery plugin
    • introduce yourself (Hi I am a designer, name is DUDE.)
    • Explain the kind of work you do – your goals and what you aspire to.
    • Show some work.
  3. The Extended Homework Assignment you have all been waiting for! Continue your projects – make sure you speak with me about your project or else everything may go horribly awry.

Related: Usability in Architecture
I.M. Pei on why the Louvre pyramid isn’t a pyramid, the number of bathrooms and what it means when a Museum “works”.

http://itunes.open.ac.uk/r/g4DaF

Something to make because you have so much free time:
Maybe you should make your own online museum?
The Museum of Broken Relationships

nice.
real nice.
not so nice. but informative.
a general history of general computing:

Class 11: Presence

“You cannot not communicate.” — Paul Watzlawik

Discussion: Presence

How can something digital, something distant, something that is generated by zeroes and ones be present?  What might that mean?

Facebook Infographic from Jean-Jacques Parys on Vimeo.

Trillions from MAYAnMAYA on Vimeo.

 

Quite simply, Michael Moschen has revolutionized juggling, refining it into an art and a bit of a science. With a few flying balls and well-chosen props he will completely re-wire your notions of the physically possible.

Watch

Tell me, what genre of tool, or game, or thing, is this?

  1. Please post an entry in your blog: critique someone else’s project from a previous week.
  2. Design: Make a design which utilizes isotope.  It doesn’t need to be functional.
  3. Isotope - make an isotope gallery of your work.  Or other people’s work.
  4. Please note: prepare all your projects for grading, it will be happening sooner than you think – make sure everything is available online.
  5. REMEMBER: No CLASS NEXT WEEK… BUT, you WILL have POSTED HOMEWORK, TUTORIALS and other misery.

The Inner History of Devices

Sherry Turkle – “We love with the objects we think with, we think with the objects we love.”

“Technology in every form raises the question of human purposes and asks what those purposes are, but this only occurs if we come to technology with prepared minds and open hearts.” – Sherry Turkle
http://mitworld.mit.edu/video/634
(start at the 3 minute mark)

Turkle reads snippets from her three books, which, as an ensemble, tell the story of the intellectual and emotional links between objects and ourselves. Technology, she says, serves as a Rorschach for personal, political and social concerns, carrying ideas, expressing individual differences in style. It also “acts as a foil we use to figure out what it means to be human,” crystallizing memory and identity and provoking new thought. For instance, kids have at least seven radically different styles of using Legos, she says, which allow us “to see who the child is.” “For too long we have stressed … that technology has affordances that constrain its use. I take it from the other side: how do different personalities, cognitive styles and desires take a technology and turn it into what that person wants to know and express.”

Class 10: Mutability

“As you make a prototype, assume you are right and everyone else is wrong. When you share your prototype, assume you are wrong and everyone else is right.” – Diego Rodriguez

Discussion: Mutability
Painting has long been considered the most plastic of the arts.  Now its been usurped by all things digital.
Mutability is about both a capability and willingness to morph one’s thoughts and the reality of your art.  Mutability asks, if any shape is possible, then what shape is most desirable?

Example, how has Philip Johnson anticipated the changing light with his Glass House?

In Class:

we MUST try this: http://lazylinepainter.info/
and lets also do this: super scrollorama.

Artist and computer scientist Jonathan Harris makes online art that captures the world’s expression — and gives us a glimpse of the soul of the Internet.

Watch

  1. Please post an entry in your blog.
  2. Everyone, please make your own SUPER Scrollorama! about winter break.

Skin, Materials, Tooling

Related: Installation /  Video / Sound


What are some of the boundaries of art?
A mix of video, sound, computer
, and more recently

Class 9: Infinite Library

“In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless…” – Borges, “On Exactitude in Science”

The Library of Babel

Discussion:
Infinite Library, Recursion, The map and the territory

 

 

 

Choose one or two of these physics games and play with them for a bit.  Do you like this kind of game?  If you were going to make one, how would it be different?

NEXT WEEK:

Prepare for BORINGNESS like you have never known!

IN CLASS:

 

 

 

  1. Please take the first three classes/tutorials here: http://www.codecademy.com/courses/web-beginner-en-HZA3b/0/1?curriculum_id=50579fb998b470000202dc8b (and yes, sign in and create an account.  sheesh.)
  2. Revise your video game as much as possible in the manner discussed in class.
  3. Make a web design – no need to code it – which is an eCommerce site.  Consider doing it about something you know a lot about.  Include a home and internal page.
  4. Please post an entry on the blog of at least three sentences focusing on

Unrelated But Interesting: Installation /  Performance

Mierle Ukeles
What are some of the boundaries of art?
The official Artist in Residence at the Freshkill landfill for the sanitation department of New York.

How can twitter change the world?

Class 8: Kitsch

Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity.George Smith Patton

 

 

We will be working on this tutorial in class tonight:

 

 

 

Discussion: Kitsch

I consider confronting low brow sentimentality to be one of the more serious artistic challenges of the age, and also, notcoincidentally, a prime argument for a deep knowledge of art history. What are some of the characteristics of kitsch, and how should it be confronted, supported, embraced, identified, avoided or consumed? Discuss sequential art, pop art and their historic connection with kitsch, is the medium the message?

“In the French version of Hermann Broch’s celebrated essay, the word ‘kitsch’ is translated as ‘junk art’ (art de pacotille). A misinterpretation, for Broch demonstrates that kitsch is something other than simply a work in poor taste. There is a kitsch attitude. Kitsch behavior. The kitsch-man’s (Kitschmensc) need for kitsch: it is the need to gaze into the mirror of the beautifying lie and to be moved to tears of gratification at one’s own reflection. For Broch, kitsch is historically bound to the sentimental romanticism of the nineteenth century. Because in Germany and Central Europe the nineteenth century was far more romantic (and far less realistic) than elsewhere, it was there that kitsch flowered to excess, it was there that the word ‘kitsch’ was born, there that it is still in common use. In Prague, we saw kitsch as art’s prime enemy. Not in France. For the French, the opposite of real art is entertainment. The opposite of serious art is light, minor art. But for my part, I never minded Agatha Christie’s detective novels. Whereas Tchaikovsky, Rachmaninoff, Horowitz at the piano, the big Hollywood films like Kramer vs. Kramer, Doctor Zhivago (poor Pasternak!)—those I detest, deeply, sincerely. And I am more and more irritated by the kitsch spirit in certain works whose form pretends to modernism. (I add: Nietzsche’s hatred for Victor Hugo’s ‘pretty words’ and ‘ceremonial dress’ was a disgust for kitsch avant la lettre” (135-36).” – Milan Kundera

What are some of the characteristics of sentimental art, or kitsch and how should it be confronted, embraced, avoided or consumed?

Possible solutions:
Narrative, typography, shock, micromacro, Content based, Formal, Ironic, Poetic, Activist/ agenda driven.

  1. Spend some time playing with gamesalad and seeing if you can’t build something fun with it.
  2. Download a TON of gamesalad templates.
  3. Download a few really good templates.
  4. Make a game.  Make it DISTINCTIVELY YOU.

Any survey of how electronic art has affected our culture must confront some of the questions Walter Benjamin put forth.

Below are two simplistic and I think not wholly inadequate summaries of Walter Benjamin’s work and life. The second is done by students your age, so it may be put in a way you can engage. Following these videos is the two paragraphs I would like you to read. If it makes your head explode just clean up the mess and we will chat about it in class.

“Mechanical reproduction of art changes the reaction of the masses toward art. The reactionary attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin movie. The progressive reaction is characterized by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert. Such fusion is of great social significance. The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion. With regard to the screen, the critical and the receptive attitudes of the public coincide. The decisive reason for this is that individual reactions are predetermined by the mass audience response they are about to produce, and this is nowhere more pronounced than in the film. The moment these responses become manifest they control each other. Again, the comparison with painting is fruitful. A painting has always had an excellent chance to be viewed by one person or by a few. The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses.

Painting simply is in no position to present an object for simultaneous collective experience, as it was possible for architecture at all times, for the epic poem in the past, and for the movie today. Although this circumstance in itself should not lead one to conclusions about the social role of painting, it does constitute a serious threat as soon as painting, under special conditions and, as it were, against its nature, is confronted directly by the masses. In the churches and monasteries of the Middle Ages and at the princely courts up to the end of the eighteenth century, a collective reception of paintings did not occur simultaneously, but by graduated and hierarchized mediation. The change that has come about is an expression of the particular conflict in which painting was implicated by the mechanical reproducibility of paintings. Although paintings began to be publicly exhibited in galleries and salons, there was no way for the masses to organize and control themselves in their reception. Thus the same public which responds in a progressive manner toward a grotesque film is bound to respond in a reactionary manner to surrealism.”

Read the rest: http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

Paula Scher: done in a second, after many years

SMALL Video Game class: sunday night at 10 pm

Hey everyone we will be having a small class for only an hour or so on sunday night (november 3rd) at 10 pm.

To prepare for class download GAMESALAD ( http://gamesalad.com/ )

If you want you can do a tutorial here:

http://cookbook.gamesalad.com/tutorials/1/parts/1

 

You will need to CALL in using your phone:

Dial-in number                  :  +1 212-817-4899 / 630-576-4300

Conference Bridge no       :  5569
To SEE what we are doing, go here:
Please join my TurboMeeting session,
http://turbomeeting.travelclick.com/id=10585978

-seab

By |November 3rd, 2013|Classes|0 Comments|

Class 7: Medium, Rare

“All things are difficult before they are easy.” – Dr. Thomas Fuller

————————-

 

“normal” flow versus non-normal, I guess.  An exercise for the beginning of class:

<div style="width:200px;margin:5px;border:solid thin black;">
This is the first div. It's 200 pixels wide with a 5px margin around it.
</div>

<div style="width:390px;height:20px;margin:10;border:solid thin black;">
This is a wider div.
</div>

<div style="width:400px;margin:15px;border:solid thin black;">
This is a div that's a bit wider than the second one.
</div>

 

————————-

 

Discussion:
“The Medium is the Message” How does this medium change the process of doing art? How is it different for you, what are some of the differences that matter?

“The Medium is the Message” (more)

Paola Antonelli

Tim Brown (Design Thinking, Ideo)
Tim Brown asks, where do good ideas come from?  What is inspiration, what does empathy offer us?

“Not so long ago, Tim Brown recounts, designers belonged to a “priesthood.” Given an assignment, a designer would disappear into a back room, “bring the result out under a black sheet and present it to the client.” Brown and his colleagues at IDEO, the company that brought us the first Apple Macintosh mouse, couldn’t have traveled farther from this notion.

At IDEO, a “design thinker” must not only be intensely collaborative, but “empathic, as well as have a craft to making things real in the world.” Since design flavors virtually all of our experiences, from products to services to spaces, a design thinker must explore a “landscape of innovation” that has to do with people, their needs, technology and business. Brown dips into three central “buckets” in the process of creating a new design: inspiration, ideation and implementation.”

Tim Brown on Change By Design from IDEO on Vimeo.

Also:

 

  1. Please post an entry in your blog.  Take a screenshot of your favorite site and explain why – in a full paragraph at least – you like it so much.
  2. Revise your eCard, animate it, make it wiggle and shine.  Finish it for next week.
  3. We will meet at 10 PM ONLINE next sunday night for a 1 hour class that focuses on gamesalad.  Make sure you are ready.

Street Art: D*Face

Critical Cultural Concept: Community,
Collaborative art
As Social Media in the form of facebook and twitter, for instance, change the face of how we interact with the web, how might that change art?
http://www.codezebra.net/
http://www.google.com/help/maps/favoriteplaces/

Class 6: nuts and bolts

 

 

 

Lets talk flash.

 

HOMEWORK:

PART 1: 

modify one of the free themes at sequence.js

 

PART 2:
Choose two tutorials, do them:
easy: http://webdesign.tutsplus.com/tutorials/visuals/quick-tip-using-images-as-fullscreen-faux-gradient-backgrounds/

easy: http://webdesignledger.com/tutorials/20-high-quality-photoshop-web-design-tutorials

moderate: http://webexpedition18.com/articles/create-attractive-web-typography-with-css3-and-lettering-js/

hard: http://usejquery.com/posts/create-a-unique-gallery-by-using-z-index-and-jquery

And then write about what you have made on the blog.

PART 3:

assignment: making an image (with wonderful graphics) of a desktop with a piece of paper containing the provost’s letter. You don’t have to animate it – BUT, if you make it in an animation program you will be closer to solving the following week’s assignment.

Download this image archive: towson snow images

Download the towson logos

Download the Provost’s written holiday greeting.

Download some sample desktops to consider.

By |October 20th, 2013|Classes|0 Comments|

class 5: bits and widgets

You say, “Why should I learn these difficult technical skills when it’s all just gonna change? Let me know when it’s settled down.” Problem is, by the time you catch on that it’s *never* gonna settle down, you’re five years behind, with no real way to catch up, and you feel like a one-person Soviet Union. — Stewart Brand, on the WELL, about 1991

 

Design decisions:

Anatomy of a Design Decision | Jared Spool | Live at An Event Apart | Video from Jeffrey Zeldman on Vimeo.

What clients don’t know:

http://typotalks.com/video/?vid=6502

Typography:

Jason Santa Maria – On Web Typography from Build on Vimeo.

 

WIRED Editor Clive Thompson: Where Big Ideas Come From from WIRED on FORA.tv

Homework:

1.
Sprites!  make one using this: http://blaiprat.github.io/jquery.animateSprite/ or spritely

2.
Make a parallax page.  Use any solution you prefer, but consider stellar.js.  Please make it about a wonderful beautiful snowfall and a great holiday season.

3.
Please read and mae a comment on our blog about:
http://www.wired.com/opinion/2013/09/how-successful-networks-nurture-good-ideas/

By |October 6th, 2013|Classes|0 Comments|

Class 4: Science, Engineering & Art

“It’s all about one thing: creative problem-solving to get the story out.”—Robert Greenberg, R/GA

Nobody Beats The Drum – Grindin’ from Nobody Beats The Drum on Vimeo.

About not being so good.


Discussion: Often I make the pretense of being opening minded to promote discussion, but today I would like to share my belief and begin our conversation there:

I don’t feel the scientific method is different in whole cloth from an interactive designer’s user-oriented design process, nor do I believe that the material constraints of an engineer’s formula differ entirely from the aesthetic constraints a mature painter adopts when they possess a style. I contend the artificial distinctions between the engineer, scientist and artist are antiquated notions more suited to industrial thinking than to the service economy the world is beginning to embrace. Was Da Vinci a scientist, painter, artist, businessman, inventor… or are those distinctions really useful? Are they really so different? Isn’t it more interesting to call him an observationalist or an explorer? What are you? Are you JUST an artist? Aren’t you a whole lot more? Maybe a musician, a friend, a brother or sister, a lego savant, a dabbler, a student? What we find over and over again is that great artists are also great deal makers, often idea-hungry news hounds, fabulous communicators, engineers, and scientists.

 

Introducing: Biomemetics, Ross Lovegrove
Please watch: http://www.ted.com/talks/ross_lovegrove_shares_organic_designs.html


Known as “Captain Organic,” Ross Lovegrove embraces nature as the inspiration for his “fat-free” design. Each object he creates — be it bottle, chair, staircase or car — is reduced to its essential elements. His pieces offer minimal forms of maximum beauty. “Lovegrove’s specialty is in qualifying the present moment in design, rather than restyling the past, by employing new technologies with new materials to define new shapes.” – New York Times

 

HOMEWORK

  1. Make revisions on the hotel homepage design, design an internal showing the various rooms.
  2. Find a website that you love with multimedia, animations or some sort of immersive vivid media experience. write a paragraph on why you love it and link to it on the blog.
    Every week from now till the end of class you will need to write a short paragraph your blog entry.
  3. Using the royal slider, make an interactive animation about your feelings for “winter”. There must be at least 5 slides. Download it here.

Learn more: Biomimicry

fun? But does it float?
Another reason to play video games:

By |September 28th, 2013|art363, Classes, Illustrator, Industrial Design, Lovegrove|Comments Off|

Class 3: Unfinalizability

 

“…that strange new zone between medium and message. That zone we call the interface.” —Steven Johnson, 1997

Goals/Discussion: Unfinalizability
“There is neither a first word nor a last word and there is no limits to the dialogic context” – Bakhtin

Core issues in the emergence of modern and post modern art has been concerns of transience, theater, the degenerate and the environment.  The definition of art has shattered the confines of museums and asked questions about the archetypal inviolate, permanent piece of art which can be priced, commodified and placed eternally upon a wall by a collector.  Digital art additionally asks what if the artwork were interactive, cooperative, physically insubstantial, non-analog.  Digital brings many things to the fore, but chief among them in my experience is mutability, the ease, urge, willingness and encouragement to change.

The marshmallow test

Oh, The Temptation from Steve V on Vimeo.


Play one of the games below.  Tell me, what are your thoughts about these games, are they successful or not?  What about them captivates you, if anything.  Try to differentiate between the gameplay and the look and the feel.

Artistic or Critical Concept: Hypertext
Lets read a portion of Vanevar Bush’s “As we may think” -
http://www.theatlantic.com/doc/194507/bush

HOMEWORK

  1. Please post an entry in your blog about the Reading below.  Can you imagine being an artist with 1000 true fans?  How would you contact them?
  2. HOMEWORK: Design a GORGEOUS homepage for a real hotel in washington DC, make sure to include a booking mask, a specials/packages promotion and a clear call to action.

1000 True Fans
This post by Kevin Kelly became an almost overnight sensation because it illustrated, clearly, what the real practical benefit of a “niche” audience might be. The consequences this may have on your art is tremendous.

“Find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply: A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author – in other words, anyone producing works of art – needs to acquire only 1,000 True Fans to make a living. A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans.”

” Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans.

It’s a much saner destination to hope for.

You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there.

A few caveats.
This formula – one thousand direct True Fans –  is crafted for one person, the solo artist. What happens in a duet, or quartet, or movie crew? Obviously, you’ll need more fans. But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group.  In other words, if you increase your group size by 33%, you need add only 33% more fans. This linear growth is in contrast to the exponential growth by which many things in the digital domain inflate. I would not be surprise to find that the value of your True Fans network follows the standard network effects rule, and increases as the square of the number of Fans. As your True Fans connect with each other, they will more readily increase their average spending on your works. So while increasing the numbers of artists involved in creation increases the number of True Fans needed, the increase does not explode, but rises gently and in proportion.

A more important caution: Not every artist is cut out, or willing, to be a nurturer of fans.  Many musicians just want to play music, or photographers just want to shoot, or painters paint, and they temperamentally don’t want to deal with fans, especially True Fans. For these creatives, they need a mediator, a manager, a handler, an agent, a galleryist — someone to manage their fans.  Nonetheless, they can still aim for the same middle destination of 1,000 True Fans. They are just working in a duet.

Third distinction. Direct fans are best. The number of True Fans needed to make a living indirectly inflates fast, but not infinitely. Take blogging as an example. Because fan support for a blogger routes through advertising clicks (except in the occasional tip-jar), more fans are needed for a blogger to make a living. But while this moves the destination towards the left on the long tail curve, it is still far short of blockbuster territory. Same is true in book publishing. When you have corporations involved in taking the majority of the revenue for your work, then it takes many times more True Fans to support you. To the degree an author cultivates direct contact with his/her fans, the smaller the number needed. Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world. But in fact the actual number is not critical, because it cannot be determined except by attempting it. Once you are in that mode, the actual number will become evident. That will be the True Fan number that works for you. My formula may be off by an order of magnitude, but even so, its far less than a million.”

http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php

 

By |September 22nd, 2013|art363, Classes, Game, Kelly, Photoshop|0 Comments|

Class 2: Into the rabbithole

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” —Charles Mingus (who is mingus?)

Goals/Discussion: Mimesis

Nature creates similarities. One need only think of mimicry. The highest capacity for producing similarities, however, is man’s. His gift of seeing resemblances is nothing other than a rudiment of the powerful compulsion in former times to become and behave like something else. Perhaps there is none of his higher functions in which his mimetic faculty does not play a decisive role.
— Walter Benjamin, “On the Mimetic Faculty” 1933

What is our calling as artists, is it to faithfully reflect and report the world, to change the world, to interpret it, to find patterns in it, to reject it, to use it for our own purposes, or it is something altogether different? These are some of the questions that arise in digital environments.

 

 

How to quiet the Lizard Brain.

Seth Godin: Quieting the Lizard Brain from 99U on Vimeo.

Homework:

  1. Silly animation tricks
    For class next week, I would like you to implement a 10 slide ken burns effect with the estro component below and offer a visual and text based infographic about your life.  It must offer numeric and process based info. You must also link on the page somewhere to 10 other people’s projects.

http://pixelentity.com/previews/components/estro/

To do that, you will need to know:

Along the lines of synesthesia: Digital synesthesia.

Brand U.0: David Armano, on personal branding, social media and managing your brand online.

 

Class 1

Introductions:
Who I am
Who you are
Show me something recent you have worked on.

A brief reminder:

http://www.organizedwonder.com/videos/1413

Discussion:

What is “responsive” design

In Class:

If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of everyone, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me. That ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition, seems to have been peculiarly and benevolently designed by nature, when she made them, like fire, expansible over all space, without lessening their density at any point, and like the air in which we breathe, move, and have our physical being, incapable of confinement or exclusive appropriation. Inventions then cannot, in nature, be a subject of property.
– Thomas Jefferson

Homework:

a) Send an email to sean.r.cohen@gmail.com with the subject line “WEB 2” and your return address. Please write (don’t copy and paste) a joke that is not a one-liner and is not crude.

It must link to your Linkedin page.

b) Due next next week, a coded responsive layout done in FOUNDATION, by Zurb.

Take a tutorial if it will help.

(how do I do this? - http://www.netmagazine.com/tutorials/quickly-build-prototype-test-any-device )

 

By |September 8th, 2013|Classes, sean|0 Comments|

Syllabus

 

I will be doing my best to update this syllabus with our explorations and discoveries.

COURSE SYLLABUS
INSTRUCTOR: Sean Cohen
OFFICE: no office, but we can schedule times to meet
Email: sean.r.cohen at gmail.com (please put “[WEB ]” in your subject so I know it is you)

 

TOPICS COVERED (this is subject to change)

  1. Class 1: how to begin
  2. Class 2: tests, code, browsers, emotional validation
  3. Class 3: TBD
  4. Class 4: The Science, Engineering and Construction of Art
  5. Class 5: Business and Commerce
  6. Class 6: Code – nuts and bolts
  7. Class 7: Medium, Rare
  8. Class 8: Kitsch
  9. Class 9: Infinite Library
  10. Class 10: Mutability
  11. Class 11: Designing Presence / Connection
  12. Class 12: Art versus Commerce
  13. Class 13: Critiquing
  14. Class 14: The end of the beginning

COURSE EXPECTATIONS:
The grading policy will be cumulative in nature involving the following;

  1. Attendance is mandatory. Unexcused absences can affect a students grade. 3 unexcused absences will lower the students cumulative final grade by one letter grade. Each absence thereafter by one third of a letter grade.
  2. Students should be present for the entire class period.
  3. If absent, the student must come to the next class prepared for that particular class.  Do this by contacting your peers first, then me.
  4. All class and homework assignments must be completed.
  5. There will be two mandatory reviews, at midterm and the final exam date.
  6. Students keep a journal/sketchbook of assigned investigations, notes and drawings for imaging exercises.
  7. Assigned exercises are evaluated on the basis of;
    1. demonstrated knowledge within the computer application environment,
    2. aesthetic qualities and completion of required actions,
    3. brilliant stunning things that show exploration and growth.
  8. The basis for grading in each project is both aesthetic and technical. Projects that are technically outstanding may NOT necessarily be outstanding all-around.
  9. All projects must be turned in to class website.
  10. Percentages are as follows: projects – 80%; Attendence – 10%, Participation – 10%
  11. Grading is based on a 0-100 % scale; 100-90=A, 89-80=B, 79-70=C, 69-60=D, 59 and below=F

- A/A- = excellent achievement in most or all facets of the project
- B+ = very good achievement overall and some excellent work in limited facets
- B = very good achievement overall
- B- = better than satisfactory achievement with some very good work in limited facets
- C+ = satisfactory work with some better than satisfactory work in limited facets
- C = satisfactory work or the minimum requirements met
- D = achievement is not satisfactory and some minimum requirements were met
- F = work is not satisfactory and the level of achievement is poor

This course is designed to help the student develop intermediate to advanced level skills in visual and conceptual problem solving. Using the Elements and Principles of Design, Animation, Art, interactivity and anything else we can find to throw into the mix, the student will execute complex projects. Lectures and hands-on labs will provide the student with an opportunity to develop skills and understanding in the following areas:

• the use of digital in the creative process,
• the combined use of traditional and digital media in projects,
• the exploration of a range of solutions/styles that utilize both Vector and Raster techniques,
• the development of creative critical thinking skills in research, observation, assimilation, conclusion and transmission of information through an interactive medium,
• the execution of technically proficient digital images that work well aesthetically and conceptually,
• the presentation of projects to a critical audience, and
• the analysis, interpretation, and evaluation of interactive media projects in a group critique.

By |September 7th, 2013|art363, Classes, sean|4 Comments|

Class tonight

Hey, we will be having class tonight, despite the rain.

-sean

By |November 16th, 2011|_students|0 Comments|