The integration of artistic expression into current technological design methods.
Min Kyong Pak
University of Southern Indiana
In our high-tech modern world, scientists and
artists push the limits of fusion and innovation to create new avant-garde
narratives, emerging formats, and technological platforms. Technology and medium are
constantly evolving. The demand for better quality in new media, storytelling and medium continue to evolve. Examples of new
media include artificial intelligence, augmented reality, data visualization, interactive
media, human-computer interface, video games, and virtual reality. In order to create this new media, artists are
required to use code, data, and algorithms.
Storytelling is not merely confined to spoken
or written words. There are many ways by which a designer can tell a story. A
designer can exploit cutting-edge advances in science and technology to tell a
story with artistic influence. My interest is to integrate artistic expression
into current technological design methods. This project will give a voice to
ideas that touch and affect us on a daily basis, search for who we are, and
relate to our environmental world around us. The result is to infuse art, technology,
and culture in the context of a community or geographical location. The
greatest work of art connects and engages with our senses, heart, soul, and
We live in a complex world. The digital age
provides us with many opportunities to rebuild and adapt to an ever-evolving continuum.
Both art and science are forms of exploration. Designers explore innovative
designs, and scientists find the answers. Both transform reality and innovation
to push our expectations and imaginations. My vision is to bridge the gap
between art and science to create the best 21st century design. I
believe the fusion of art, science, and technology is transformative and revolutionary.
College of Computing and Digital Media
School of Design
College of Computing and Digital Media
School of Design
Educators are often frustrated with students’ constant attachment to their smartphones. But why do we assume the smartphone isn’t a creative tool akin to a pencil or brush—a simple way of seeing and interpreting the world around us?
As the world of design vacillates forever between the digital and analog, it’s imperative that students (and educators) understand an ever-expanding array of principles. In the words of Seymour Papert: “The role of the teacher is to create the conditions for invention rather than provide ready-made knowledge.” And as classroom content grows, the best thing we can teach students is how to be adaptive and curious thinkers.
Students can best embrace uncertainty and find comfort in a process of discovery by exploring and pushing the boundaries of the familiar. This is where the phone excels as a teaching tool. Analogous to the way a drawing teacher encourages mark-making with a branch or one’s foot, we can use a smartphone’s features in unintended ways that harness its power as a creative tool by altering our own expectations.
The smartphone is a device that most students have as an extension of their hand (though we must be vigilant of our own assumptions from privilege). Once students learn to use the smartphone in unintended and perceptively novel ways, they can extend this method to both past technologies and those yet to be imagined. By having students hack, make, and create in this manner, we are teaching them to think beyond the hand and machine, to the tool that has not yet been discovered.
Lastly, by exploring/investigating the capabilities of, and ever-present reliance upon our smartphones, we can raise awareness and open the classroom conversation to discuss ethical implications in design, including privilege, accessibility, inclusion, privacy and addiction.
Assistant Professor of Graphic Design
Department of Art, Graphic Design and Art History
Oklahoma State University
The advent of the Apple Macintosh brought about a rapid flow of technological change which affected almost every part of visual communication arena, in one way or another. Since the start of this digital revolution, most graphic design communities around the world succeeded in maintaining their national identities, while implementing the technological changes into their industries, hence joining the global world of graphic design. However, because of challenges related to mark-making and the specifics of calligraphic-based scripts, Iranian typography – and by extension graphic design – struggled to maintain and its rich historic traditions and visual aesthetics, as Perso-Arabic characters necessitated a process of digitization for use in dominant graphic software applications of the time.
Furthermore, during this global digital revolution, various socio-political and technological circumstances resulted in the isolation of the Iranian graphic design arena from the global culture, for more than a decade. More recently, the dusk of 20th-century, brought forth an impenitent generation of innovative thinkers and designers, keen to define their lost identity. Through inwards nationalistic perspectives as well as technical and conceptual innovations, this generation made giant leaps and set forth a trajectory toward joining the global graphic design arena.
This research delves into the nuanced traditions of Iranian calligraphy and the struggle for its adaption to western printing technologies. Specifically, it focuses on the process, and the eventual arrival of what may be referred to as a hybrid graphic form – one comprising of the traditional eastern calligraphic forms and nuances, merged with the characteristics found in western typographic structures and letterform design.