medievalmodernity.today — an Embassy project by viscomdes person Aaron McLaughlin.
Communication Design Department Blog / Glasgow School of Art
medievalmodernity.today — an Embassy project by viscomdes person Aaron McLaughlin.
This thursday, at the CCA, (not at lunch time) this event looks at education through the prism of digital technology. Coincidentally by chance a nice compliment to our own Feral Studio event on tuesday late afternoon/evening. Come along to both, all welcome.
“In a sense, an “immoral” and a “moral” approach to data attribution are equally difficult to justify. When we make anything in human culture, we’re using the whole damned apparatus. We should either thank everyone, or thank no-one and just get on with making the stuff and putting it out there. Bending the semantic rays as they pass endlessly though our machines.”
We did a Conditional Design workshop recently, as part of the Feral Studio *If,Then* events. And I just happened across this video, coincidentally, prompted by a couple of questions from Sam. I thought it was worth posting as it’s relevant in terms of the discussion that might, or could, be generated from the previous post about ‘craft’.
via ▶ Dutch Profiles
if,then. 20-23 Oct. A week of interactive interaction design workshops. By Art School i/0 and A Feral Studio.
Recently I have been hooked on two websites which are (un)related real-time updates of digital (mis)communication.
The first is a site created by Norse, an internet attack intelligence agancy (very Neuromancer but without the rastas in space). The site is a real-time visualisation of a small percentage (apparently <1%) of cyber attacks. It shows where the attacks originate, where is being targeted and the type of attack. It is pretty incredible. If you watch it for long enough you’ll see the map quieten down and then, boom, a massive coordinated attack will fire off. Usually against the USA.
The second site is a real-time visualisation of every emoji being used on twitter. I find it mesmerising. It follows on from an article I read in The Observer last weekend which was interested in the popularity of Emoji and how it has become a ubiquitous virtual language, with pictograms replacing words and combinations of these symbols replacing whole sentences but adding a multitude of increased interpretations. As the author of the article writes at the end of the article, “Barthes would have had a field day.”
Both of the sites are socially interesting and although at first glance I think it seems that the Norse one is the more ‘important’ of the two, I am fascinated by the Emoji one and by the questions it raises about how we communicate digitally, why are we always more drawn towards using pictures (pun intended), what does this mean for words and writing, is the majority of written language superfluous to communicative needs, can we call emoji a recognised language in its own right, and how would a shift towards a pictorial-based language system affect things like journalism, poetry, books etc, and physical interaction? Its a highly unlikely thing to happen but it is interesting to think about.
The Sandberg Instituut discusses its new typeface and website, quoting Herman Zapf (1968);
“Electronics will soon force its claim on letterforms, and let us hope it will liberate us from the dust of the past.”
«Approaching a practice then means approaching it as it diverges, that is, feeling its borders, experimenting with the questions which practitioners may accept as relevant, even if they are not their own questions, rather than posing insulting questions that would lead them to mobilise and transform the border into a defence against their outside.»
Isabelle Stengers, «Introductory Notes on an Ecology of Practices»
Ivor Williams, vis com des person and visiting tutor, launches Uji. Using the wall-clock archetype, this device responds to the heartbeat of the owner/user. The project stems from Ivor’s work and research at Fabrica, and he talks about the project on Dezeen, here.
In the spirit of inter-institutional caring and sharing:
Preview: Thursday 27th March 7pm
Exhibition Open: Friday 28th March 12 – 4pm, Saturday 29th March 12 – 4pm
The White Room project space, Tin Roof Studios. 38-40 Bellfield Street
Dundee DD1 5JD
Presenting an exhibition of work created by 3rd year Illustration Students from Duncan of Jordanstone College of Art & Design.
Come along to our show! It consists of hand printed posters and set designs for a series of imagined theatrical adaptations of plays exploring climate change, sustainability, urban planning and related social and political issues.
Exploring subjects such as:
Hydro Fracking, Gentrification, Micro-topias, Climate Activism, Nuclear waste disposal, Nuclear War, Social Housing, The melting ice caps, Surveillance, Community Gardening.
For more information please visit:
Part of the preview events for It’s Not Very Nice That, a forthcoming exhibition at the Lighthouse, Michael Oswell and Scott King will discuss their recent projects. This talk is the first in a series of events that run alongside the exhibition, and which will be posted on itsnotverynicethat.com, when the organiser gets organised.
The exhibition opening follows the talk, to which everyone is very much invited.
Supported by the Design School, Glasgow School of Art
This event will take place in Gallery 1 at the Lighthouse. Doors 5:30pm.
Image: Libcom Anniversary Poster (Michael Oswell)
In an idle moment, and spurred on by Malcolm showing me a faux-letterpress pro-independence poster, I thought it might be interesting to look at the other design indicators currently being deployed by the two sides in the independence debate.
First up are the new year broadcasts by the ‘Better Together” campaign and the current Scottish Government.
Both deploy a fairly traditional set up, talking to camera, though Alec Salmond’s video is intercut with more footage. Alistair Darling is set up in the corner of (presumably) his living room, while Salmond has opted for a more evocative setting of an exhibition on Scottish history, presumably trying to promote a sense of trustworthy erudition, and the idea that Scottish folk invented everything, ever. The typography is unremarkable, Salmond opting for the system default ‘Verdana’, by Matthew Carter, and the Better Together campaign going for a passable though ultimately forgettable modern slab serif/sans combo.
But maybe we need to dig a little deeper. What better tool to do this than the Gaussian Blur function of Adobe Photoshop CS6. Passing these two images through a Gaussian filter set to 18.9 (18/9/2014 being the date of the referendum of course, such is the conceptual integrity of this post), we get the following results:
What is immediately apparent is that both deploy a little blue/white in the bottom right corners, though more striking is the fact that Darling’s slightly creepy green and red stocking/jesters hat still makes its presence felt, even through the Gaussian fog. Salmond looks like he is standing next to the very edge of a big Union Jack.
Finally this is what the images look like with the classic 50% opacity overlay, perhaps not better together.
Addendum: In other news, and in another project that I will probably never get round to doing, I’d like to make a new responsive Scottish web typeface in three weights: Devo, Devo-Max and Indy. This would be a web-only typeface that responds automatically to currently polling and adjusts its own weight. As per usual I don’t have the faintest idea how to achieve this technically, so any pointers welcome.
“We’ll have Google Glass, but we’ll still have ‘business-casual'”
This video is currently doing the rounds. Bratton is perhaps saying what we all think and feel, but after initially faltering a little, does it in a very convincing and coherent way. A slight tangent, but wonder if it’s linked in some way to this article, many parts of which I disagree with: Why being nice in the online world is no bad thing.
Mon 21st and Tue 22nd Oct
with Lizzie Malcolm/ http://lust.nl
‘Patterns and Parameters’
taking place in SWG3 studios
15 places, allocated on first come first served basis. Sign up (via the VLE) opens at 10am on monday morning (14th oct).
Starting from before computers, this workshop will introduce the relationship between code and creativity, specifically the concept of parametric design, and generative patterns.
We will look beyond software that has been made for design and explore ways to use computation as a tool in the creative process.
Beginning with a simple pattern generation program in the Processing language, we will manipulate input, process and output to build a generative visual system.
Sign up: opens, via the VLE design school community, at 10am on Mon 14th Oct.
Note: If you sign up for this event, you need to commit to being available 9am-5pm on both the mon 21st and tue 22nd Oct. 2013.
This event is mainly aimed at 3rd and 4th year undergrad students in order to fit around FOCI days etc, but there will be other events later in the year timed to suit other year groups.
The public event attached to this workshop is open to everybody, and is free but ticketed: aferalstudio-001.eventbrite.co.uk
Concrete Flux 流泥 is a multi-media, multi-disciplinary online journal, (edited by Solveig Suess, Vis-com-des person), which takes as its subject matter China’s hyper-fast emerging urban spaces, their meaning and one’s everyday experiences of them. They believe that a new configuration of space through urbanisation will lead to a new configuration of society. Their aim, then, is to contribute to some understanding of or gain insight into what these spaces, which seem to emerge faster than our minds can log and assess, may mean. Issue 1: Beijing is now live.
Facebook Analog Research Laboratory is, well, odd. Wired magazine, the breathless pronouncers of all that is ‘new’, write about it here. At first glance it would appear that to enter this ‘research lab’ you need to be able to convincingly pretend to yourself that it is 1953, be comfortable with the idea of ‘self-help’, and have read all editions to date of The Little Book of Calm. From the image above, and those in the link, you’ll see that all boxes are ticked. Proofing press (with new lick of paint) – tick!, fixie – tick!, Miley Cyrus (hang on, is this some kind of topical bandwagon jumping? -ed), weird distinction between analog [sic] and digital – tick!…
I am on Facebook, but I really don’t get it, and all this makes me wonder what dynamics are at play here? If it’s a desire to seem human, handmade, authentic, then is that desperation or pure cynicism? Is the supposed reverence of ‘traditional’ tools and techniques an attempt to search for some inspiration, or filling a worrying void in someones life and experiences? I find facebook, from a user perspective, to be a strange combination of simultaneously compelling and boring experiences. This kind of cultish hipster fetishism pushes me one step closer to web suicide 2.0
New journalistic low for the ol’ blog.
From the comments; “…the benefit of living in an urban environment are the social discrepant events that propel society forward – these “collisions” between disparate power structures and groups that shape our cultures and social innovations – this proposal effectively wants to eradicate this necessarily messy conflict and “negate authorship” – which is extremely alarming – because then it becomes impossible to pinpoint who is really behind the green curtain.”