Everything is junkspace. What counts as space or non-junkspace? (he probably said this in the reading, but I did not catch it). A civilization devoid of outside influences and truly xenophobic perhaps? I have no idea.
Are designer’s solely responsible for the accumulation of junkspace?
The moment an object or tradition that creates objects is conceived, junkspace is created? Is this fair?
Does the current system of copyright law work too well?
Should there be a systematized format to reimbursement for damages for those who willingly or unwillingly committed copyright infringement (as in the person who supposedly committed the crime does not meet the criteria for excuse)?
What examples of copyright infringement in design exist? Are there any other than Shepard Fairey? which isn’t really about design because that’s more illustration.
So I went about collecting obsolete media formats mainly because I was interested in the aspect that although relatively new, these objects are very hard to find. In addition, even if you do find it, it is not function without a proper device (for instance, a tape cassette is useless without a tape recorder). I went about this idea in 2 ways: a verisimilitudinous crafting of paper into the media format, and a faux museum gallery.
Why does the human act of collecting suddenly place value upon the collected?
What do objects produced specifically for the act of collecting, tell us about our environment?
Why do we find so much comfort in collecting physical objects? (when Elleman claims that intangible concepts such as words function in the same manner as physical objects in shaping us and our environment)
Latour seems to place emphasis on the forming of social hierarchy based on tangible objects molded to form those differences that are already innate, however, he dismisses the keycode, or that which is intangible. Which leads me to think that just because an object does not have a tangible form, does not dismiss that it operates in the same manner as the key?
Are all designed things in essence, a ploy to categorize us in socio-economic hierarchy, no matter how egalitarian/utilitarian?
Do you feel ethically repulsed by Latour’s stance? Or is his stance benign?
I experimented with the Crystalize default tool in Photoshop to construct French Impressionist-esque compositions in a matter of seconds—both as homage and defacement.
Also, as a side, played with Maya’s default Fire Particle generator to create very un-fiery effects.
Why do we place such high value on chance? Does the use of chance highly increase the value or allure of a work of art, as opposed to doing everything intentionally?
Is chance never involved in the process of production?
Should we place prospects of chance in such high regards? Is it pretentious to do so? Should we go about having chance naturally in our work as opposed to forcing?
For this assignment, I made a variety of works in which a number generator dictated every action. Prior to making each composition, I wrote out a set of instructions which each parameter was assigned a range. From there, I went through the process and utilized the number generator to dictate each parameter quantity.
Is viewing a particular piece of writing or artwork without the notion of author looming necessarily a bad thing? Even if a work was author-less or under a pseudonym/alias, wouldn’t we still place author into context?
Wouldn’t the “death of the author” lead the reader to be perpetually confused? To play devil’s advocate, not knowing the author/the author’s intent/the author background, would be tantamount in aspects of informational loss as knowing the following information of the author (according to Barthes)?
“The trick is to find ways to speak through treatment, via a range of rhetorical devices—?from the written to the visual to the operational—to make those proclamations as poignant as possible, and to return consistently to central ideas, to re-examine and re-express.” Is this not content-driven? :/
So I struggled finding an interesting topic so I fell on my haven of video games. I wanted to explore the non-diegetic, informative graphics within video games—a.k.a. heads-up display graphics. Collecting and accumulating a group of images taken from a wide-variety of game genres, I erased the core visuals of the game and only left the HUD graphics for display. It’s nice to see how iconic even the graphical approach and implementation of HUDs within game and how well they speak the language of the game.