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Journal Entry #10

Companies often change their logo and brand identity to adapt to new trends and technology. This is especially important in today's digital age and the use of internet, where having a modern and recognizable brand can make a big difference in attracting and retaining customers. By updating their logos and branding, companies can reflect their focus on innovation and creativity, appeal to a younger generation of consumers, stand out from the competition and have a long-lasting impression on customers and remain relevant in an ever-changing business landscape.

Celebrities are often used in advertising to create emotional connections with consumers and to leverage their fame and influence to promote a product or brand. By using a celebrity, companies are tapping into the cultural associations and meanings that are attached to that person, such as status, beauty, or power. The benefits of using a celebrity in advertising include increased brand awareness, a positive association with the celebrity's image, and the potential to reach a wider audience. However, the downsides can include high costs, risks of negative publicity if the celebrity is involved in scandal or controversy, and the potential for the celebrity to overshadow the brand or product being promoted.

[itsideh]

Reading #8

#ArtGr522

 Silvio Lorusso's 'Learn to Code vs. Code to Learn'

I found the reading to be quite fascinating, especially as someone who is deeply involved in designing through coding. One part that particularly resonated with me was the idea that coding is a post-digital manifestation of capitalist realism, which forces individuals from various fields, such as graphic designers, journalists, and even coal miners, to deal with their situations through mandatory updates, much like software.

While I agree with this statement to a certain extent, it's not entirely true. As a graphic designer myself, I acknowledge that Adobe software is the dominant tool in the industry, and using anything else could be considered outdated and may require more time and energy. However, there are still many designers who choose to work with traditional methods or mix traditional and modern methods to achieve a unique and harmonious design. Therefore, it cannot be said that using new updates is mandatory.

Another aspect of the reading that I found intriguing was the "Code to Learn" approach, which views coding as a craft and cultural domain, valuing the coding process rather than just the technical skills it entails. Personally, I have experienced a sense of belonging and social interaction through my weblog during high school. Although I didn't have much knowledge about coding, but just searching and asking for certain codes and plug-in effects for my weblog and finding interesting people and websites and forums along the way was a really good experience that led me to one of my best friends, which is still my best friend after about 10 years. The universal community of coders allows for exploration and the opportunity to find like-minded individuals to interact with based on a shared love of coding.

While coding can sometimes be frustrating, the satisfaction of creating a code without any errors and achieving the desired result is undeniable. The feeling of making a design through rational and mathematical thinking, with much effort put into it. It's a satisfying feeling that can be discussed with others from all over the world. Learning to code can teach individuals how to exchange techniques, appreciate each other's solutions, and build upon each other's tools, ultimately leading to a more connected and engaged global community. I didn't see any forum like coders with this extent and this many people willing to help, support, and answer your question. So I truly believe code to learn is an interesting point of view that I haven't thought about before, but now I totally agree and believe in it.

[itsideh]

Journal Entry #9

As I walked along my regular path from the Student Innovation Center to the south, I couldn't help but notice several things that caught my attention. Firstly, the direction was of utmost importance, and I quickly looked up the route on Google Maps. I found myself reflecting on how much technology has advanced over the years, and how the younger generation has adapted effortlessly to modern technologies such as electronic maps and navigation systems. In contrast, the older generation, despite having spent more than two decades using computers, often struggles to learn and use such tools. I have tried to teach my mother how to use Google Maps on numerous occasions, but she still prefers to memorize addresses and ask for directions.

Once I had determined the direction, my groupmates and I started walking towards the south, making sure we were on the right track. Along the way, I noticed various landmarks on campus that I typically use to find my way around and to know my location. I took several pictures of these landmarks as they are the most significant elements in the landscape for me. I believe that landmarks can vary from person to person based on their experiences and backgrounds. While I may not remember street names easily, I can effortlessly navigate to any destination without using a map, thanks to my mental map of the campus marked by my personal landmarks. One such landmark for me is the US Bank ATM, which is not a significant landmark for everyone, but it serves as an important sign for me that I'm entering the campus area.

Another thing that caught my attention during my 30-minute walk was the beautiful blossoms and leaves on the trees, which sometimes obstructed my view, making it difficult to see beyond. I realized that in winter, the view would be more extensive, but with less beauty.

As I continued my walk, I noticed a significant difference in the Dunkin' store, which was situated in the middle of our route. The store had undergone a refurbishment, and the new look was refreshing to see. This difference, coupled with the arrival of spring, made the walk even more enjoyable.

Finally, as we walked out of the campus towards the city, I couldn't help but notice the change in the atmosphere. Although there was no physical fence or wall separating the campus from the city, you could sense the difference in the surroundings. We passed by all the dormitories, and most of the students were heading in the opposite direction to attend their classes. This experience highlighted to me the distinction between being on-campus and off-campus, even when there is no clear boundary. These pictures are of the landmarks that will serve as my memory cues for navigating my path in the future. They are like a visual representation of my mind map for this particular route.

[itsideh]

Reading #7

Muriel Cooper's 'Computers and Design'

It was an interesting reading that enlightened me on some aspects of the new world of computational design. The article dates back to 1989 and discusses that time in new technologies. I, as a Generation Z, could tell that future predictions and assumptions in the article have already happened. But reading about that time's ideas and primary thoughts behind the computational design was interesting and gave me a better understanding of it. Nowadays, the design world has changed, and we can only imagine designing using computers and Adobe software as the main way of design. As we discussed in class, although it could be a political strategy that leads us to just use Adobe software and nothing else, I believe when something is the best in their own field and it is the most convenient tool to use, it is inevitable that become the first priority tool in design industry.

As the author discussed, with the development of artificial intelligence, design, and design thinking would change more and more because people seeking more interaction with design want to be more involved in the process to have a more satisfying feeling.

Designers should go towards computational designs as well. As the field of design continues to evolve, it is becoming increasingly clear that computational design offers a wealth of benefits to designers and audiences alike. This can be seen in the work of Hugh Dubberly, the Apple designer who created a series of trees using PostScript software. By using computational design techniques, Dubberly was able to make quick and precise modifications to his designs simply by adjusting a single number in the program. This level of flexibility and precision is simply not possible with traditional design methods, and it enables designers to experiment more freely and iterate more quickly.

In addition, computational design allows designers to create more interactive and engaging designs that can respond to user input or external factors. This can result in a more immersive and memorable experience for audiences, helping to establish a stronger connection between the design and the viewer.

[itsideh]

Journal Entry 8

My daily life and cultural semiotics

As a student of design and cultural semiotics, I would pay attention to the design of my surroundings more, such as billboards, bus advertisements, and signs. However, I interact most frequently with my virtual environment, which consists of my cellphone and social media accounts. I rely on these platforms to stay connected with friends who are located far away from me, some of whom reside on the other side of the planet. In our daily communications, we use a variety of tools, including text, emojis, pictures, and GIFs, to convey messages.

I have observed that some emojis have different connotations depending on the region and culture of the users. For example, the 🙂 emoji, which represents a simple smile, is used as a symbol of fake smiles and bitter feelings in my country. Although American users tend to interpret it as a symbol of kindness and happiness. This cultural difference can create barriers in communication, as I am often hesitant to use emojis in my texts to people from other countries out of fear that they may interpret them differently or find them inappropriate.

It is important to recognize that some gestures that are widely accepted and commonly used internationally can hold negative connotations in certain regions. As such, it is important to exercise caution when using such gestures.

In addition, I often refrain from using text or emojis and instead send videos or pictures to convey my message. However, the interpretation of such media depends on the individual and their shared experiences and stories. Even though these tools are designed to have universal meaning and encompass all perspectives, regional culture holds significant power and often takes precedence over international norms.

As a student girl, different cultures have had various effects on my daily life beyond just social media. One activity that I particularly enjoy is riding my bike. However, back home, it was viewed as inappropriate or sometimes even illegal for women to ride bikes. This resulted in people perceiving me as a rebellious person or even just not normal when I did ride.

In contrast, since coming to the US, I have been able to ride my bike more often without fear of judgment or legal repercussions. I have taken advantage of this newfound freedom to explore the campus and discover new places. This has not only provided me with a better sense of well-being but also helped me stay active and get more exercise.

The fact that riding a bike as a girl is not considered strange in the US was surprising to me, and it has encouraged me to ride my bike more frequently. Overall, the cultural differences in attitudes towards women riding bikes have had a significant impact on me, making me more appreciative of the freedom to engage in activities I enjoy.

[itsideh]

Journal Entry #7

ARTGR #520

From the onset, there has been a strong connection between our design and cultural semiotics course and the ongoing women's protest in Iran. Every aspect of this event has been intertwined with our course.

Firstly, On the 16th of September 2022, a 29-year-old woman named Mahsa Amini was reportedly murdered in Tehran by security forces while she was in custody for having an inappropriate hijab. Amani’s death sparked outrage and protests across Iran in cities like Tehran, Isfahan, and Tabriz, later spreading worldwide, with demonstrators demanding justice for her and ending police brutality and violence against women. The designs of protest posters, banners, and other visual materials play a crucial role in conveying the message of the protests. Using symbols, colors, and imagery can communicate powerful messages and ideas and reflect the cultural and historical context of the protests. For example, the hijab as a symbol of oppression and resistance is a common motif in protest art and design. Iran also gained international attention from this protest, with human rights organizations and activists worldwide expressing solidarity with the protesters and condemning the Iranian government's response. Even the United Nations also called for an investigation into Amani’s death and urged the Iranian government to ensure accountability for the perpetrators. Many human rights organizations, including Amnesty International and Human Rights Watch, condemned the Iranian government's response to the protests and called for an independent investigation into Amani’s death. These organizations also expressed concern about the broader issues of police violence and discrimination against women in Iran. Without the use of posters, animations, and prompts to spread the message to the world, none of these events would have occurred. Upon reading about the Madame Binh Graphics Collective (MBGC), I came to the realization of integrating graphic design into a larger ethical framework that encompasses concepts like allyship and privilege as a means to achieve revolutionary goals.

The protests in Iran also highlighted long-standing issues of police brutality and violence against women. Women in Iran have long faced discriminatory laws and practices, including mandatory hijab laws, which they have protested in the past. The protests after Amani’s death are part of a broader movement for greater gender equality and human rights in Iran.

Also, cultural semiotics did help me to understand the deeper cultural and social meanings behind the women's protests in Iran. The hijab, for example, is not just a piece of clothing but is also deeply embedded in Iranian culture and history. By protesting against the compulsory hijab, Iranian women challenge traditional cultural norms and assert their right to self-expression and individual freedom. Understanding the cultural and historical context of the hijab and its symbolic significance is essential for understanding the meaning and significance of the protests.

The international support for the protesters in Iran highlights the growing awareness of human rights issues in the country and the importance of solidarity and collective action in promoting greater freedom and justice for all.

Finally, design and cultural semiotics shed light on the power dynamics in the women's protests in Iran. By analyzing the visual language and symbolism of the protests, we can see how different groups and individuals are positioning themselves toward each other. For example, using the hijab as a symbol of resistance can be seen as a challenge to the authority of the Iranian government and the conservative clerical establishment. Understanding these power dynamics is essential for understanding the protests' broader social and political context.

[itsideh]

Reading #6

Critical Media #522

It was an interesting interview with such a brilliant man and see how he thinks and how he plans and schedules his work and how he became who is now and what he learned and things that lead him to this path.

one interesting thing that I read in this interview was the part that he said that some artwork that are made with using new technologies are just demonstrations of the technology and it is worrying him. It also worries me. The other day I was reading about new AI which can write a screenplay and direct a whole movie without human help!

it can leads to an scary world that machines and Ai can replace humans and take their jobs. Although there are argumetns that they can help human to enhance their work and reduce the time dedicated to work but with these developements I cannot believe it.

As at the moment, Neuralink company is working on a human experince to impliment a chip on a human brain. it sounds like machine taking over humans empire. there are concerns about the ethical implications of brain-computer interfaces and the potential for misuse or unintended consequences. The technology is still in its early stages of development, and it will likely be several years before it is widely available to the public. Though it can be used for treatment of neurological disorders such as Parkinson's disease and epilepsy, the restoration of movement and sensation to people with spinal cord injuries, and the enhancement of cognitive abilities such as memory and learning.

Personally, i believe in the near future everyone who know how to talk with computers (how to code) and ask them what he/she wants from them, can do things that other people cannot have easily. Either created things by Ai and computer and technology not consider as art or consider as art, they will take over many things, including design and creative works and it is inhavitibale.

[itsideh]

Journal Entry 6

While in class, after watching all the videos and all readings, I asked myself how someone gain a deeper understanding of semiotics and develop the skills needed to apply semiotic analysis to a wide range of communication and media or maybe even being an art critic like John Berger; he’s fluent each time he speaks something he knows and explains to the detail. From my understanding, learning the basics, like what we are doing in class, because it’s the first time to learn about semiotics, we get to know the principles of the subject like icons, indexes, and symbols. Another way is by studying examples in action, such as the visual analysis of how different signs convey meaning and interact with others. Through practice, we get to master the subject of applying semiotics to different media and communication, which involves using particular text or images to examine how they contribute to the meaning. Exploration of different semiotic systems used in different fields, since our class consists of people from different backgrounds, would be a better way to learn from everyone how they apply semiotics in their field of study. This act can lead to collaboration, understanding, and analyzing different forms of communication to gain insight and perspective from the different semioticians with all their viewpoints. The most important factor of the subject is to stay current since the field of semiotics is evolving and new forms of communication and media are emerging each time; current academic readings have helped us with in-class activities and learning from our colleagues in class. I believe this would help me master semiotics and apply the skills. Any other add is welcome.

[itsideh]

Reading 5

Critical media #Artgr522

The writer mentioned interesting points in regard to weaving and the importance of the material in weaving textiles andthe weaver's understanding of it and the process of making based on that. I completely agree with her that weaving has been used to express cultural traditions and identities, as well as how it has been influenced by different cultures and historical periods. It is well known to me as an Iranian that Persian carpet weaving is a significant cultural tradition in my country and has been passed down through the generations. It is often viewed as works of art rather than simply functional textiles. Persian carpets are known for their complex designs, which often incorporate traditional patterns and symbols. In most cases, the designs are created using a combination of geometric and floral patterns, along with bold colors and intricate detailing. The creation of Persian carpets is often considered a form of artistic expression and can serve as a way to communicate cultural identity and heritage. Even right now, most grandparents' houses have the same carpet which is identified by its red color and ornaments on it which was a sign of wealth in the 20s. There is still a large population of people who make their living by weaving carpets, and it has been their family business for generations.

It can also be said that Persian carpet weaving was an early form of graphic design, with intricate patterns and motifs being used as a means to communicate meaning and tell stories. As each region has its own specific design. Persian carpet designs have also been influential on contemporary design and can be seen in a variety of forms, from fashion to architecture.

Further, I believe there are similarities between weaving and coding, as we discussed in class. In both, designers need to have a deep understanding of the properties of their materials, whether it be the fiber in weaving or code in programming. This will enable them to create successful designs. Additionally, both weaving and designing with code require an element of experimentation and innovation. For weavers to create new and innovative designs, they must be willing to experiment with different materials and techniques, just as designers who design with code must be willing to discover new programming languages and technologies.

[itsideh]

Reading 4

Critical Media #522

The writer of the essay discussed the importance of following the material and working with it so as to be able to improvise and adapt it to circumstances as they arise. Due to the dynamic nature of materials and the requirement for improvisation, there is a lot of inefficiency and waste in the making process. In the absence of a clear plan and precise specifications, designers and artists can end up wasting materials, resources, and money in the long run. Personally, as a designer, I prefer to use technology and digital material to reduce waste and make changes to the design as I see fit.  While it is true that skilled practitioners often have to allow the materials in which they are working to lead them and follow their lead, this does not mean, however, that preconceived forms or abstract geometric concepts do not have a place in the process of making. This is necessary to get the most out of materials and resources. Investing in eye-catching design can be beneficial for developers and builders by adding value and increasing returns on investment in a competitive market, without necessarily requiring a higher budget. In graphic design, it is common to create sketches or rough drafts before proceeding with the final design. This helps to explore different ideas and options and refine the design. Additionally, mock-ups or prototypes can be created to test the design physically and ensure that it will work effectively in its intended context. Also, in bigger projects like architecture When the designer lets the material lead the design, there is a risk of creating a building or structure that does not fulfill its intended purpose or not being sustainable and compromises safety. The same thing is true in coding. Though improvisation and allowing code to guide the design process can result in new ideas, having a plan and sketches beforehand can save time and energy. The design can be more cohesive and well-organized by outlining the goals and objectives of the project. On the other hand, an improvisation-only approach may result in design errors or inconsistencies.

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Journal Entry 5 (Visual Essay)

[itsideh]

Reading 03

Critical Media #522

Concept of skeuomorph was so interesting for me because it is a thing that we deal with it all the time but take it for granted. There is a history behind each one of them and the way that nowadays we consider some specific icons for different element in design.

Skeuomorphs are often used in product design to provide a sense of familiarity and comfort, even as technology evolves and changes. But they need to be clearer or more accurate in some cases. For instance, when some icons represent something, but they are so small in the place that they are used, you cannot tell what the element is and what the function is or even get it wrong with something else. For example, the use of skeuomorphic with textures was popular in the early days of digital design (Apple's designs), when designers wanted to create a sense of physicality and familiarity in their interfaces. But, as flat design and minimalist aesthetics became more popular, designers started to move away from skeuomorphism and make simpler, more abstract design elements. All in all, I cannot imagine contemporary technology with a user interface that uses something other than skeuomorph.

I believe nowadays with advancements in technology and that most people at least have interaction with one smartphone and internet throughout the day, there would be no problem using more sophisticated Skeuomorphs with various functions in a single go.

Also, they can be used with other technologies like voice commands and augmented reality, providing users with a more interactive experience. For example, skeuomorphic elements could be used in conjunction with voice commands to create a more natural and intuitive interface, where users can interact with digital devices just like they would with physical objects.

[itsideh]

Journal entry #4

Maps Comparison & Contrast

My map and Meagan's map:

The purpose of my map is to document and remember the places that I liked in a specific street that I used to go, and Maegan is the locations that she has visited, including both favorite spots and less memorable locations.

My map focuses on a small area, which is a single street, but Maegan’s map includes a larger area that includes different states and countries.

My map contains my personal opinions and experiences and it is not necessarily accurate or reliable for others. Same as Maegan’s map.

My map is useful for anyone looking for recommendations on where to go and what to do in this specific area of Tehran. Maegan’s map is also the same, and it can be used by a person who wants to know about Maegan's experience. It is subjective and may only be useful or applicable to the individual who created it or to others who share their experiences and interests.

Both maps did not specify a timeframe.

Both maps are minimal and easy to navigate through.

Both maps are personal and informational.

Linguistic elements can be seen in both maps.

There are Iconic elements in both maps. For instance, House and apartment buildings in Maegan’s and restaurants and cafes in mine.

There is no tectonic or historical element in both map.

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finished

assignment_4

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#ARTGR522

Final animation

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journal entry #3

In the ways of seeing videos, Ruben Pater mentioned that in oil painting, women usually were shown as a sight to be looked at. He claimed that women see their self base on this picture and try to present their self as society wants. But in nowadays, people started to see the wrong assumption and trying to change this believe. It is harmful and women should be valued for their achievements, abilities, and character rather than reduced to objects to be looked at. One recent example of using women for objectification purposes is the controversial Victoria's Secret fashion show. The fashion show, that featured models wearing lingerie and walking down a runway, has been criticized for maintaining harmful beauty standards and objectifying women's bodies. This commercials try to work on our imagination that we try to achieve things that we do not have but we can see all around and dream about having them.

Both European oil paintings and today's publications seems to aim same goal which is commercing wealth and joy. Each in a different manner. As we can study it from old oil paintings that there are trace of rich people all over but nothing about working class.

In this new world we are surounded by other lives on walls and in our screens which try to persuade us and show glamoures.

[itsideh]

Reading 2

critical Media #522

In the early 1980s, there was a debate in the academic design journal Visible Language between Stanford Professor Donald Knuth, who wrote about his software MetaFont, and mathematician Douglas Hofstadter, who challenged Knuth's view that the shape of a letterform is mathematically containable. Hofstadter argued that the shape of a letterform cannot be contained and that type design should allow for change and adaptation. Geoffrey Sampson, a linguistics professor, later weighed in, saying letterforms can be both closed systems (Knuth's A-shape) and open systems (Hofstadter's A-ness).

The history of typography has been marked by a desire for rationalization, starting with the invention of movable type in the 15th century. In the 17th century, Louis XIV commissioned the "King's Roman" in Paris to apply Enlightenment rationality to technical ends. It was a mathematically rigorous structure imposed on organic forms. With Herbert Bayer's Universal Alphabet, a pared-down sans-serif made up of lower-case characters, the Bauhaus revived this approach. TheBauhaus Stencil Alphabet by Josef Albers was also created using similar principles. Futura, a commercially successful typeface, toned down the hard geometry of the Bauhaus fonts. The letterform of the age cannot be created by one person alone, according to Tschichold, a prominent figure in the "New Typography."

Stanley Morison was a British type designer who was asked by The Times, London's newspaper, to publish a 1,000-page ad in the 1930s. The paper's typography had to be redesigned by Morison. The result was Times New Roman, a typeface that was amalgamated from various historical typefacesHis role was similar to that of a producer, editor,or or arranger. The foundry Deberny & Peignot released Adrian Frutiger's Univers in 1957 as an extended family of fonts, with 21 fonts at any given size. Frutiger later added more variants, bringing the total to 63. Univers was charted in a two-dimensional matrix, with the potential to expand in any direction, and Frutiger has kept the project open since its inception.

Donald Knuth created MetaFont, a font generation system, as a companion to his typesetting system TeX. He aimed to enhance the appearance of text by adjusting the details of a font based on the output device and to meet the need for variety in typefaces. However, he emphasized that typefaces should be a medium rather than a message and that they should have a clear appearance while being subliminal in their effect. Knuth did not expect the widespread use of novelty as an end in itself.

Walter Benjamin, a German cultural critic, wrote about the relationship between technology and writing in his 1928 book "One Way Street" and his 1936 essay "The Work of Art in the Age of Mechanical Reproduction." He believed that the increasing intimacy between the writer and technology would result in the writer composing work with a typewriter rather than a pen, leading to a closer connection between content and form and a new evolution of writing. Benjamin was a Marxist who believed that the means of production should be owned by the people who operate them. In "The Author as Producer," he demanded that artists transform the root-level means by which their work is produced and distributed, rather than just adopting political content. He offered Sergei Tretiakov and Bertolt Brecht as examples of artists who implicated themselves in their work and transformed the functional relationships between their work and production.

The essay "A Noton Type"e" discusses the relationship between writing and production in the arts. The author argues that artists, including writers, should not be limited by norms, job descriptions, and expectations, but instead should freely explore different mediums and methods of expression. The author uses the thMeta-The-Difference-Between-The-Two-Fontsnt (MTDBT2F) project, which is a revised version of Donald Knuth's MetaFont project. In the author's view, the difference between MetaFont and MTDBT2F is not easily discernible, but is related to time and intellectual backstory. MTDBT2F is not only a tool for generating PostScript fonts, but also a tool for thinking around and about MetaFont. Boris Groys argues that the new is not just a difference, but a difference without a difference, or a difference not recognizable because of the lack of preexisting structural code.

The concept of "letter vs. spirit" can be traced back to the "Visible Language" debate and was keenly foreseen by Douglas Hofstadter, who believed that typefaces could inspire readers to reflect on the intelligence of alphabets. The idea is also related to Walter Benjamin's "The Author as Producer," where he called for writers to reflect on their role in the production process. Several design critics have updated this notion to reflect the digital age, when code has replaced heavy machinery and hand tools as "tools of production." To reflect the influence of digital technology on religious practices, Boris Groys also updates Benjamin's title in his essay "Religion in the Age of Digital Reproduction." He argues that contemporary fundamentalism is grounded in the repetition of a fixed "letter" rather than a free "spirit," and this antinomy informs all Western discourse on religion.

This passage is discussing the evolution of media and how it affects the distribution of religious and philosophical ideas. The author argues that with the advent of digital media and the internet, the spread of idiosyncratic views has become easier. However, the author also argues that this has led to a lack of trust in the form of images and that meaning is no longer tethered to definite surfaces. The author proposes the creation of a shapeshifting typeface, called MTDBT2F4D, which would constantly move and change. Through cross-domain thinking, this would enable a more dynamic representation of ideas. An example of the "Hello World" script in a new programming language is used to illustrate the distinction between instructions and instances.