3D Typography Design in the Digital Environment

Author(s):  
Fatih Kurtcu

Writing is a visual expression of language-based communication and the most basic indicator and result of human social development and his evolution is in tune with language, thought, art and cultural exchange and/or development. Today, in the concept of writing – typography is far beyond just describing a technique. The effects of developments on technology are reflected in typographic studies and new and effective expression forms are created with new software enviroments, new media and new experimental works. Typographic studies designed in the digital environment by use of possibilities offered by technology presents new expression possibilities to the audience. Examining how digital typography, which is becoming widespread, has been designed and produced is a necessity to meet the communication expectations of the day and in the future with visual designs. In this article, the history of 3D writing, typography studies, usage areas and 3D digital typography designing stages are examined. Keywords: 3D, typography, design, digital environment, graphic design, motion, video.

2017 ◽  
Vol 27 (2) ◽  
Author(s):  
Ugo Carraro

The second 2017 issue of EJTM volume 27 contains the collection of abstracts from the 2017Spring PaduaMuscleDays conference, that was held March 23-25 in Montegrotto, Euganei Hills, Padova, Italy. In addition to a brief history of the Padova Myology Meetings held during the last 30 years, the present and the future of the PaduaMuscleDays conference are discussed with special reference to new media and the options they offer to spread to a larger audience the results of the many workshops held in the Hotel Augustus conference hall and in the <em>Aula Guariento</em> of the <em>Accademia Galileiana di Scienze, Lettere ed Arti</em>, one of the hidden treasures of the medioeval Padua, Italy. Preliminary announcements of the 2017 and 2018 events, in particular of the Giovanni Salviati Memorial, will follow.


2021 ◽  
pp. 38-40
Author(s):  
Andrey Bokov

The history of cultural space is viewed as a history of constant and necessary modernization of infrastructure. The main feature of infrastructure is the network organization and the constructive role of hub-nodes and connections and their bent for rationalization and transnational trends. The power, directions and goals of infrastructure determine the development of cities. Modern strategies for general social development imply the emergence of efficient communication corridors, highway networks and hubs located along the perimeter of the country, determining the country’s gravitation toward global connections and interactions. The development of quality infrastructure is a contribution to the future and an area of the authorities’ responsibility.


2015 ◽  
Vol 11 (2) ◽  
pp. 210-221 ◽  
Author(s):  
Mark Featherstone

This article explores what one might call the dystopia of contemporary screen-based culture through a discussion of the work of Paul Virilio and Bernard Stiegler. Centrally, it explains that the screen might be seen as a negative abyss, where absolute surface creates the effect of infinite depth and a sense of absolute freedom obscures the truth of solipsistic self-reflection and enclosure. It explores this idea through reference to Virilio’s concept of the “squared horizon” and a short history of screen culture that commences with Plato’s myth of the cave, where perceptions of surface and depth clash and contrast in the underworld. It then turns to Friedrich Nietzsche’s use of the idea of the abyss. This work on Plato and Nietzsche brings together the ideas of the screen and the abyss. The article next takes up Edmund Husserl’s notion of the horizon, which structures the human perception of movement through time, and relates this to Virilio’s concept of the negative horizon, which rushes toward humanity rather than endlessly moving into the future. At this point the negative horizon recalls the abyssal screen that is simultaneously infinite distance and absolute surface and the horror of contemporary media culture. Finally, the article reflects on Virilio’s work on technodesertification and disappearance and Stiegler’s theory of the destruction of the delay of desire in the immediacy of drive through attention capture to show how screen culture annihilates the thickness of the thing itself in favor of flat images. In conclusion, the article explains that this is the future of new media culture—the twenty-first-century dystopia of the negative abyss.


2016 ◽  
Vol 13 (2) ◽  
pp. 3280
Author(s):  
Hülya Pehlivan

Games, which are as old as the history of the world, were played all over the world in all periods of history and in all cultures; and will be played in the future. A game which can be rule governed or free of rules, but in which children always participate voluntarily is a part of real life; and is the basis for physical, cognitive, social, linguistic, emotional and social development. Games are the mirrors reflecting the inner world of children, and they are the imaginary environments re-created by children so as to understand their emotions and enthusiasm, distress and relations. A game, which is defined as a field of experimenting in which children test and reinforce what they see, sets up ties with the past and forms a source for the future. Games are regarded as  children’s most important pursuit, and they mean discovering, learning, creating and expressing oneself for children. All materials for playing which introduce regulation into children’s movements, which help them in their physical and psycho-social development, which develop their imagination are described as toys, and toys have important functions in children’s development and in the development of their learning and creativity. Designing playgrounds, which are the locations for effective learning for children,  bring about significant responsibility. Therefore, this fact should be taken into consideration while choosing toys for chidren and while desgning playgrounds, and games should be employed in pre-school education in the light of scientific data.  Özetİnsanlık tarihi kadar eski olan oyun, dünyanın her yerinde, her çağda ve her kültürde oynanmıştır ve oynanmaya da devam edecektir. Oyun, belli bir amaca yönelik olan veya olmayan, kurallı ya da kuralsız gerçekleştirilen fakat her durumda çocuğun isteyerek yer aldığı fiziksel, bilişsel, sosyal, dil, duygusal ve sosyal gelişiminin temeli olan gerçek hayatın bir parçasıdır. Oyun çocuğun iç dünyasının bir aynasıdır ve çocuğun duygu ve coşkularını, üzüntülerini, ilişkilerini anlamak için onların yeniden yarattıkları bir düş ortamıdır. Çocuğun gördüklerini sınadığı ve pekiştirdiği bir deney alanı olarak tanımlanan oyun geçmiş ile bağ kurmakta, gelecek için kaynak oluşturmaktadır. Çocuğun en önemli uğraşı olarak kabul gören oyun, çocuklar için keşfetme, öğrenme, yaratma, kendini ifade etme anlamına gelmektedir. Gelişim basamakları boyunca çocuğun hareketlerine düzen getiren zihinsel, bedensel ve psiko-sosyal gelişimlerinde yardımcı olan, hayal gücünü geliştiren tüm oyun malzemeleri de oyuncak olarak tanımlanır ve oyuncakların çocukların gelişim, öğrenme ve yaratıcılığın gelişmesinde önemli bir işlevi vardır. Çocuk için etkili bir öğrenme mekânı olan oyun alanlarının tasarımlanması önemli bir sorumluluğu beraberinde getirir. Bu nedenle, çocuklara oyuncak seçerken ve oyun alanları dizayn ederken bu durum göz önünde bulundurulmalı ve özellikle okul öncesi eğitimde de bilimsel veriler ışığında oyundan faydalanmalıdır.


2017 ◽  
Vol 20 (8) ◽  
pp. 2880-2897 ◽  
Author(s):  
Rebecca Roach

This article traces the history of epilepsy’s affinities with new media. It draws on interviews with people with epilepsy (PWE) and wider instances of the condition’s representation in the socio-cultural imaginary to demonstrate the degree to which epilepsy has been heavily technologized in the second half of the 20th century. Thanks to common analogies made between the seizing brain and the faulty electrical circuit, the PWE has been increasingly conceived within cybernetic terms: in particular, these subjects have long been ‘black boxed’ by the medical establishment. Tracking this connection across the rise of so-called ‘Surveillance Medicine’ and new digital health technologies reveals, I argue, suggestive parallels between the stigmatized PWE and the data-driven subject of today’s digital environment.


2021 ◽  
Vol 6 (11) ◽  
pp. 329-342
Author(s):  
Elanur PİLİCİ

The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.


Slavic Review ◽  
2013 ◽  
Vol 72 (2) ◽  
pp. 219-223 ◽  
Author(s):  
Sibelan Forrester ◽  
Yvonne Howell

Science fiction is the genre that links our lives to the future: the faster the pace of scientific and technological advancement, the greater our awareness of what István Csicsery-Ronay called “the science-fictionality” of everyday life. The more we feel the effect of scientific and technological change on global flows of economic, social, and cultural exchange (not to mention the blurring of biological and environmental boundaries), the more we are drawn to a literature that Boris Strugatskii identified as “a description of the future, whose tentacles already reach into the present.“ It is hardly surprising that scholarly interest in Russian and Soviet science fiction has been growing in recent years, with an expanding roster of roundtables and panels exploring the topic at professional conferences. Why talk about Soviet science fiction? As the articles in this special thematic cluster suggest, science fiction functions more as a field of intersecting discourses than as a clearly delineated genre: for readers of Slavic Review, it is a genre that foregrounds the interdisciplinary connections between the history of Soviet science and technology, political and economic development, and social and literary history. Science fiction, in short, offers a way to read the history of the future, with texts selfconsciously oriented toward distant spatial and temporal horizons, even as they point insistently back to the foundational factors shaping the vectors of a society's collective imagination.


1970 ◽  
pp. 102
Author(s):  
Frans Lundgren

”Museums of the future [...] ought not to be as I would like to have them, but as the visitors and users would want them if they knew what makes a museum.” Otto Neurath’s vision in 1933 of the future development of the museum as a public space, and as a pedagogical and social project, gives a good idea of why he is often mentioned in handbooks on the history of museums. But considering the rapidly growing number of studies since the 1970s of Neurath as a philosopher, economist and sociologist – the literature on his many exhibition projects is still very small. These projects and his writings on museums have usually been treated as a slightly anecdotal part of his career; a separate, straightforward and practical undertaking, only indirectly linked to his supposedly more serious and theoretical pursuits. The exception is the fairly large literature on ISOTYPE, the standardised graphic language for visual education, developed in the latter half of the 1920s at the “social and economic museum” in Vienna. However, rather than analysing ISOTYPE as an integrated part of Neurath’s many-faceted museum project, these studies have mostly treated the exhibitions as a given, as the historical circumstance for the birth of a new kind of graphic design. 


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