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Abstract
This paper will focus on my personal Digital Future. What is becoming relevant for my career.
Select 5 career opportunities from either indeed.com or glassdoor.com
Build these jobs in a 5 year arc for your career. Use descriptions and links for each opportunity.
- Entry level
- Junior – level
- MidLevel position
- Senior level
- C Level position
What skills will you need to develop in order to achieve this career arc. What skills do you have leaving school and how will you keep developing your skills?
Why do you think these skills will help you moving forward.
What will be the difficulties?
Which corporations do you think will give you these opportunities?
How does your portfolio reflect your future career opportunities?
Conclusion
Are you going to continue to go forward? How will you do it?
Paper Due: 12/20/18
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Top Graphic Design Trends For 2019
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https://design.co/1998/07/01/the-south-face-of-the-mountain/
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Course: Art 85-001
Professor: Patrick Aievoli
Minyi Liang
Some people will say that only the works of art, which have entities, have collection value, or those art works will have more cultural value or commodity worth will be higher than those works, which only have digital form. I think this view is wrong, and digital arts has its own value. Although the fashion in the digital world may change very quickly, it still has its own effect to the art history, people’s minds or many other things. The example I will use in this paper is the home page of Sagmeister’s website. The design only exists in digital from, but it has its own value which cannot be had in other forms, such as paper.
The home page of Sagmeister’s website is a real time camera shooting of his work room. It is a picture which will be updated by itself many times a day, or it will be updated while the user updates the website. It shows the actual scene of Sagmeister’s studio, such as the employees doing their designs on the computer. This innovation is a good way to advertise their studio, because people who are not in the design field or people who are interested in their studio may have curiousness in their studio. People may wonder about what designers do for their job, or how they do their design. This real time camera shooting satisfies peoples’ curiosity and let people take a peek into a famous designer’s studio as long as they open the website online. This modality is the soul of this design, so that its digital form becomes an advantageous part to this design. It is more about a design than as an artwork.
The words, which are stuck on the studio’s floor shown on the website, are WORK, ANSWERS, PRESS, ABOUT US, NEWS and STORY. Those words are constant whereas the people in the studio are not. Designers are walking around or doing their works, but those words are invariable, which are facing the camera. Therefore, those words are also invariable to the viewers who visit their website, no matter what is happening or who is there. Those words are the same with the sub classifications in the catalogue in the home page. This shows that no matter what changes with the people in the office, the essence of this studio will not change, and the whole idea of the design will not change. This message can only be sent to the viewers by digital form, because it can show the different dynamic condition between people and the words. It shows that although the digital arts or digital world changes very fast nowadays, the main idea of design and the progressive spirit of designers will not change. Designers can use digital form as a presentation of their design, and they also can make some development in the digital art world. On the other hand, the irreplaceability of digital form shows the idea that makes the digital form become an important part in this design, and it also increases the value of this design.
This piece of design work can only exist online. However, it also achieves the exposure and the influence of it to viewers. People can go to the website and look at it as long as they have the Internet and tools which can let them surf the Internet. The higher the exposure and popularity, the higher value it has. This home page website can also be an advertisement about their studio. So long as people think of a home page, which uses a live shooting scene as a background, they will think of Sagmeister’s website and his studio. The commercial value in this design makes it have much value as a design work.
However, it is not enough to use the digital form to create artworks or use the Internet as a method only to act as advertising. This has become a new type of art discipline, which is different with the readymade art, Installation Art, Body Art, or Land Art. As Lev Manovich mentioned in his book, The Language of New Media, with the computerization of cultural content, the generation of the new media is inevitable. New Media Art is the artwork, which used video, computer, Internet, digital technology and other latest technologies as the media to create it, and it has already gone deep into every field of modern arts. Sagmeister also has many design works and art works that are created with new media. For example, his publicity photos for his cooperation with Walsh are their naked photos and spread by email. His works posted on his website are mostly processed or created through digital ways. The example I mentioned before, the home page of his website, is totally established on the digital media. It is also a piece of design work and an artwork for him to some extent.
Therefore, to define the value of an artwork or a design work whether it only exists in digital form is not the main issue. In my opinion, the New Media Art is going to be the main stream of modern arts, and it is inevitable. Designers can change the appearance, image, and even its meaning through the direct interaction with the work. The computer cannot only exist as a tool to a designer. It is the result of technology development. The computer or other kinds of new media becomes a bridge between designers, or artists, and their works.
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ART85
Professor Aievoli
Paper #5
December 17, 2014
The digital art of Mark Napier
My first encounter with the artist Mark Napier and his digital artwork Riot from 1999, is when its thumbnail catches my eyes while I am browsing the Whitney artport. This is the Whitney museum’s online portal to digital art. The colorful composition of the thumbnail stands out in the crowd, as it is showing a digitally warped and almost abstracted face. It takes me quite a while to figure out both the visual properties of the artwork as well as the artist’s statement. Despite being used to look at physical art and constantly being exposed to online feeds of paintings, drawings etcetera, I find it hard to understand what I am looking at. To my help, I try to make references to the article Philosophy on art by Theodore Gracyk, in which he compares Hume and Kant’s philosophies on beauty and how to distinguish what art is.
The Whitney artport’s describes Napier’s piece as “an alternative, “cross-content” Web browser.” A link takes me to the actual web page of Riot and my screen gets filled with a chaotic composition of pixels in red, yellow, white and black. An orange box in the right top corner says “RIOT” with large capital letters and the subtitle explains the function of this alternative web browser as it “builds its page by combining text, images and links from the recent pages that any Riot user has surfed to.” When I click on the link that says “Enter Riot,” an error message pops up and I feel like I am missing out on the artistic experience.
I spend a few minutes searching for other works by Mark Napier that I might find easier to understand and I end up going through his archive of gallery installations. To be completely honest, I even struggle to figure out the logic behind his artist website. Eventually, I stumble over another of his net art pieces called digital landfill and the similarities to Riot are striking. I feel like I might have a chance at understanding his art after all, but I am still confused over the function the artworks seem to be offering me. From what I understand by the descriptions on the digital landfill’s home page, it is a “virtual compost created by the Landfill, a fertile source of ideas for artists and web designers.” While trying to understand the digital art, I unintentionally tried to analyze it and distinguish features according to Kant’s features and judgment of taste (Gracyk 7). I catch myself thinking that it sounds cleaver and somewhat useful. This thought reminds me of the feeling I get when I realize the meaning of what we commonly call art such as physical art on paper.
Visual art is a form of language and I find myself trying to learn the digital aspect of it. The art I appreciate the most is the kind of visual experience that give me another, preferably new perspective on things that I am already familiar with. In addition to that, it is worth mentioning that I am not very familiar to the digital language and perhaps that is why I struggle to understand its attempts to artistic approaches. I do not believe it is a coincidence that I find myself better understanding the digital art by Napier that had been shown in a physical gallery space. It is nice to see examples of digital works translate so well into a gallery space, which further allows a much greater audience’s appreciation. Bottom line is that I do think that digital works can be art and that art is not necessarily depending on a physical wall.
Technology gave us a different language and more complex ways to interact. The art adapted to this, using its advantages and possibilities for new expressions. Digital art might be harder in terms of understanding since it is still quite new and to the ordinary person it is still an unusual approach to art. The discussion between Hume and Kant regarding what distinguishes design from art is here valid due the fact that digital artwork’s greatest strength still is the technological function of it. Further, the digital art’s higher level of complex concepts often interferes with the simple concept of judging whether a painting is of liking or not. What separates digital art from design is unfortunately still very blurry and the question still depends on the aesthetic judgment of taste, something Kant emphasizes in Gracyk’s article (7). I personally believe that a piece of art is successful if I enjoy the visual experience that it presents to me and it becomes of even greater personal value if I understand its concept. And the same rules apply to digital art.
By studying more design and digital art, I have come to realize that I understand it better now and I have a greater appreciation for it. It took me a few years to understand so called classical, physical art too, but I enjoy the challenge and the experience of discovering perspectives that new art presents me. Being able to now appreciate more digital works of art has certainly brought more beauty into my life. I agree with what Joseph Addison once wrote, expressing that “there is nothing that makes its way more directly to the soul than beauty” (Gracyk 3). In other words, I find Mark Napier’s digital works inspiring, functional and beautiful at the same time and therefore it is art.
Works cited
“Artport.” Artport. Whitney Museum of American Art, 2014. Web. 17 Dec. 2014. <http://whitney.org/Exhibitions/Artport>.
Gracyk, Theodore. “Philosophy of Art, Hume and Kant: Summary and Comparison.” Aesthetic Theories of David Hume and Immanuel Kant. N.p., 2002. Web. 17 Dec. 2014. <http://web.mnstate.edu/gracyk/courses/phil%20of%20art/hume_and_kant.htm>.
Mark Napier
<http://www.potatoland.org>
<http://www.potatoland.org/riot>
<http://www.potatoland.org/landfill>
“Whitney Artport: Mark Napier.” Whitney Artport: Mark Napier. Whitney Museum of American Art, n.d. Web. 17 Dec. 2014. <http://artport.whitney.org/exhibitions/biennial2002/napier.shtml>.
]]>Given the student’s new knowledge base in this assignment we progress from paper to pixels. Students are asked to select work from only a digital format. The examples given are the Whitney’s artport or commercial digital uses – Web pages, digital portfolios or more animated Flash websites. In the case of digital art the text of Lev Manovich is used to supplement the prescribed readings. In the case of digital design current periodicals are selected as supplemental readings. Students are brought full circle with this assignment to review each work based again on the viewpoints of Kant and Hume. The selected work is reviewed and the issue of craft and its importance in the process is focused on. Students present their findings and theories to the group.
Due Date: 12/20/17
John Sculley: Rising to the Challenge of ‘Truly Disruptive Innovation’
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