#criticalmedia

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How Corruption Influences U.S. Media and Pop Culture - Dennis Joiner

An in-depth look at how corruption influences U.S. media, shaping news, entertainment, and culture through power, profit, and politics.

Can corruption shape what we see and hear in the media? This piece examines how influence, bias, and power dynamics affect U.S. news reporting, and what that means for truth and public trust.

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Photo by energepic.com

Learn to code versus code to learn.

This reading was enjoyable for me because it exemplifies my current life as a graphic design student. I'm in the process of incorporating coding into my design process, and I've been assessing the potential, importance, and demands of myself as a designer. I do know that coding is steadily becoming a part of the design curriculum at schools, which begs the question, should designers be coders? I did not expect to be coding as a design student at Iowa State University, but I was introduced to Python in Drawbot and Javascript in P5.Js has significantly altered my design style and expanded my eyes to new avenues of creativity. 

Traditionally, designers and coders have been considered two separate entities in the world of digital design. Designers focus on aesthetics and user experience, while coders are responsible for implementing the design into a functional website or application. However, with the rapid advancement of technology and the increasing demand for digital products, the line between design and code is becoming increasingly blurred. This has led to the debate on whether designers should be able to code. From my personal experience, I think coding is a great skill to have, but I am still indifferent about whether designers must be able to code. 

One of the major advantages of designers who can code is that it allows them to have greater control over the final product. When a designer knows how to code, they can create designs that are not only visually appealing but also functional and user-friendly. This is because they better understand the technical limitations and possibilities of the platform they are designing for. For example, a designer who knows how to code can design a website with a more efficient and responsive layout, which can lead to better user engagement and satisfaction. Additionally, designers who can code can work more closely with developers, which can lead to better communication and collaboration.

A line of thought that interested me was that the idea of "Learn to Code" is based on the belief that programming is necessary for people who have lost their jobs due to technological advancements. Apparently, this is seen as a way for these people to serve the economic interests of capitalism through "retraining." There seems to be a condescending attitude toward coders. Conversely, coding is seen as semi-skilled labor and part of the workforce rather than a profession. However, I think coding is more than a skill to add to your CV but a craft. Despite how tedious and repetitive coding can be, it is an art of creative expression, just like creative coding. 

However, I know that some of the main drawbacks of coding are that it can be time-consuming to learn how to code, especially if a designer has no prior experience like me. This means that designers may have to spend extra time and resources learning how to code, which can take away from their design work. Additionally, some designers may simply not be interested in coding, and forcing them to learn could decrease motivation and creativity.

In conclusion, the question of whether designers should be able to code is not a simple one. While there are certainly advantages to designers who can code, there are also some drawbacks. Ultimately, it comes down to the individual designer and the specific project they are working on. Learning how to code may be essential for some designers' work. For others, it may not be necessary. However, it is clear that as technology continues to evolve and become more integrated into our daily lives, designers with a basic understanding of code will have an advantage over those without.

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Source: Photo by Tranmautritam

Computers and Design

From this article, I learned a few things. Firstly, I learned that the history of computers as a new medium follows the pattern of new media emulating old media; early digital paint systems were modeled on physical, analog brushes. Computer graphics, image processing, computer vision, and robotics required huge computing power and were used only in high-cost research environments. The cost-effectiveness of connecting pre-press tools to the creative part of the graphic arts and communication industry was soon apparent, and the term user-friendly was unheard of. Desktop publishing emerged from the union of the laser writer and good typography, transforming the graphic arts industry. Many design departments use computers as design tools, and some designers have coupled design and programming knowledge to influence big players in developing new design roles, futures, and methods. This makes sense because I got into university to study graphic design, and I am taking a course this semester in creative coding. This surprised me, but I learned that the design profession has started incorporating programming into their discipline because of the evolution of computer and design software. 

As computers continued to evolve, so too did the software and hardware capabilities that powered them. With increased computing power and more accessible technology, computer graphics, image processing, computer vision, and robotics has become more widely available and affordable. This has allowed for greater innovation in the creative industries, leading to the emergence of desktop publishing. The role of computers in the design industry has continued to expand and evolve over time. 

With the proliferation of software for graphic design and image processing, designers can now explore a wider range of creative options than ever before. This has led to an explosion of new visual styles and techniques across various media. In addition to desktop publishing, computers have also played a significant role in the rise of web design and digital media. The internet allows designers to reach larger audiences and collaborate with colleagues worldwide.

As designers continue to push the boundaries of what's possible with technology, we're also seeing new job titles emerge, such as UX designer, UI designer, creative coder and motion graphics artist. These roles require a blend of design skills and technical expertise and are in high demand across various industries. Looking ahead, the continued growth of computing power and artificial intelligence will likely have a profound impact on the design industry. From generative design tools to virtual and augmented reality experiences, countless exciting possibilities exist. 

Indeed, computers are an essential part of the design process for many industries, and designers are using their programming knowledge to influence the development of new roles and methods in the field. With the continued growth of technology, we'll likely see exciting new developments in the design world and beyond.

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Source: Photo by Mahdi Bafande on Pexel

Reading 06

I enjoyed this interview with Zach Lieberman because I agree with some of his points of view. I believe that discussing technological changes over time is critical. Technology evolves, and this evolution forces people to evolve in order to remain relevant in their field. It appears that we are allowing technological advancements to dictate the evolution of art. Yes, technological advancements have made it easier for designers to create innovative and user-friendly designs while increasing efficiency and productivity, but learning about all of these new technologies can be overwhelming. There always seems to be a new language to learn or software to download.

One point that really struck me was that art and design should come before technology. I think that because of the fear of not being employable alot of designers seek to learn how to use so many different softwares that they forget to craft their own design stories. The goal should be to use technology to tell stories. When it comes to design, storytelling is crucial. There should always be a story behind any design, which some designers overlook. How a designer tells stories with their designers should make them employable.

He mentions designers who code and compares coding to poetry, and I can see the similarities. Although coding and poetry appear to be very different fields, there is some overlap that is worth exploring. The use of language is one way in which coding and poetry intersect. A coder usually uses language (in the form of programming languages) to create a functioning piece of software, just as a poet carefully selects and arranges words to achieve a specific effect. In both cases, the choice of language and how it is structured can have a significant impact on the final product.

The importance of structure and form is another similarity between coding and poetry. A coder must use structured and organized code to create a functioning program, just as a poet may choose a specific rhyme scheme or meter to create a specific rhythm or cadence. Furthermore, both coding and poetry necessitate creativity and problem-solving abilities. A poet must be able to express ideas and emotions in new and unique ways, whereas a coder must be able to find creative solutions to complex programming problems. Both coding and poetry necessitate meticulous attention to detail as well as a willingness to revise and refine one's work. In the same way that a poet may spend hours revising to get it right, a coder may spend hours debugging and refining code to create a successful program

Finally, he discusses improving student support by encouraging them to experiment and iterate on their designs. He encourages students to be inquisitive and to share their inquisitiveness. He claims it helps them better understand their decisions. The only point he made that I disagreed with was when he implied that there should be no restrictions on creativity when teaching design students, but I'm not sure how this would work in a university setting where you have to do studio work and receive feedback from professors and sometimes students. Certain feedback sometimes prevents students from doing what they are interested in. I'm not sure how to reconcile the fact that feedback is highly subjective while also being essential for college students.

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Source: Pexel (Photo by Kiara Coll)

My Take On Weaving by Anni Albers

Indeed, designing is a complex and detailed process that considers a wide range of factors, such as materials, construction methods, and the aesthetics of the created object. In the case of building materials or designing an artifact, for example, it is critical to carefully consider the design's practical aspects, such as durability, functionality, aesthetics, and other environmental factors. When a piece of art is commissioned, the commissioner may speak with the artist to discuss expectations and needs. Conversations about where this piece will be hung, whether it will be hung, its size, texture, and other aspects. The same goes for weaving to start weaving a mat; for example, you need to consider many factors before deciding the type of fabric to use for production. By creatively planning the design's methods, materials, and construction, you can ensure that you produce a work of art that stands the test of time.

Similarly, coding requires planning and foresight to create a successful result. It is more efficient to draw your idea on paper or write down what you want to do because it helps your process of design be easier. It serves as a guide to creating the patterns and structures you seek. In weaving, threads are intertwined to create a pattern. Each thread represents data, and their arrangement determines the final design. Similarly, in coding, lines of code represent individual instructions, and how they are arranged determines the program's functionality. They both involve breaking down a task into smaller, manageable pieces requiring creativity and imagination.

Another major similarity is that they both involve a lot of trial and error and much repetition and practice to create the 'perfect' design. This act does not take away from the final product. It even helps create patterns and sets of instructions that can be followed by other artists or designers trying to create similar things. These two forms of design help the artists create limitless pieces, but the reading addresses an important point on pricing, and my view is seen below.

Some designers should focus on creating pieces that align with current trends, as this will ensure that their products remain relevant and popular. Designers should also capitalize on current economic trends to make their products more accessible and affordable. They can increase the number of people who have access to their designs in this way, leading to greater success (income) and recognition. This is my opinion because art is one of the most difficult commodities to commoditize, and if there is a way to earn a living as an artist, it should be encouraged. This, however, does not apply to all art forms. My point applies to UI/UX designers or graphic designers.

Overall, successful design necessitates carefully balancing creativity and practicality and thoroughly understanding the materials and techniques involved. Designers can create truly remarkable works of art that stand the test of time by carefully considering all these factors and working with precision and attention to detail.

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source: istock images

Textility of Making - Drawing

Drawing is an incredibly special and unique art form, as it captures the essence of a moment in time that cannot be replicated. It is a window into the artist's creative process and can be seen as a physical representation of their thought process. For example, when looking at a finished drawing, one can note the direction of the strokes and how they were placed to create the overall image. Furthermore, drawings can be used to uncover the deeper meaning behind what the artist has created, giving us an insight that we may not have otherwise. Drawing is an ever-evolving art form that allows us to explore our creative potential in new and exciting ways.

In plain language: Drawing is a dynamic and ongoing process of becoming rather than being. It differs from painting in that it leaves an indelible record of the maker's movements. The key to making things last is the contrary forces of friction that materials exert on one another when interwoven. Alberti's lineaments are imagined as threads pulled tautly, and the example of Chartres Cathedral shows that master-builders of medieval times were already stringing outlines on the ground. The Reading suggests that the key to the ontology of making may be found in a length of twine.

While it is true that Renaissance art and architecture were indeed projected onto paper, it is also true that the construction of art and architecture was done by hand. The master builders of medieval times were not simply stringing outlines on the ground but were also constructing the art and architecture with their own hands. Therefore, it is inaccurate to say that the "ontology of making" is to be found in a length of twine. The ontology of making lies in the hands of the craftsman who is constructing the art and architecture.

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Assignment02_Translation_01 #ARTGR522

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Image source: @0xCharlota on Twitter

Reading Set 3

Skeuomorphic design has been a part of our culture for centuries, but it has been recently revitalized with the advent of digital technology. We can now create virtual objects that are so realistic, it's almost impossible to tell the difference between real and faux. The ability to move between physical and virtual worlds has enabled us to explore new possibilities for interface design. Digital interfaces allow us to create a unique combination of elements that can be tailored to individual user preferences and even provide an enhanced user experience. With the right combination of form and function, we can take full advantage of the visual power of skeuomorphic design.

From the reading, I discovered that Susan Kare, who was a doctor of art history, coined the phrase "metaphor shopping" to describe the job of an icon designer where she draws a comparison between the tile mosaics of the Romans and bit-mapped graphics, as well as medieval weavings and tapestries. Her original macPaint design was heavily influcneced by this and she created an infinite palette of fills. 

This simply shows that the virtual world reflects the physical world through metaphors of use, such as the example given of a virtual pencil that can draw with pixel-precision and make ruler-straight lines. This I completely agree with. Take for example, the adobe illustrator software. The little icons and feature are designed to replicate real life paint brushes, pencils or pens to aid the digital experience of the artist. This is why a first time user might not struggle so much with it. There are icons designed to aid your digital drawing experience. 

In addition, Alan Kay explains that screens should have understandable magic, and that the user interface design should attend to this. As new things arrive in the virtual space, some fall away and some persist even though they may no longer be necessary. An example of a skeuomorph is a fake-fur leopard-skin coat, which has no insulating qualities but has other qualities such as a capacity for social signaling. This brings back my example of using illustrations of physical objects to suggest the features of virtual icons or objects on digital softwares. 

Other ways we can also see skeuomorphs in everyday applications are the sound of a shutter when taking a photo with a phone, the paper-like texture of the digital notes app, or the user interface of a modern website mimicking the layout and design of a physical book or newspaper or the buttons and icons on a smartphone. Skeuomorphs help make digital experiences more familiar to users, bridging the gap between physical and digital spaces. It's fascinating to think about how these metaphors of mobility are used to create immersive digital experiences that are both familiar and unique.