Prototype tests on the class

In class this week we were asked to bring in our prepared prototypes and share and talk them through with a small group of people. I think that this was a really helpful exercise and it allowed people to really talk through their ideas and by getting feed back, things were brought up that may never even have occurred to a person before.

Some of the main points i got out of the prototype session:
- make it more simple - there is a lot going on on the home page, simplify the categories so that there aren't as many things on the page at the same time
- do i want it to be an application or the tablet included?
- tablet very similar to iPad, maybe change design
- maybe try to add a few more features so its not only a controller

Paper Prototypes

Reading notes - Session 4

1. Speculative Everything: Design, Fiction, and Social Dreaming by Anthony Dunne & Fiona Raby. 2013. 

Quotes from reading:

- There are other possibilities for design: one is to use design as a means of speculating how things could be-speculative design. This form of design thrives on imagination and aims to open up new perspectives on what are sometimes called wicked problems, to create spaces for discussion and debate about alternative ways of being, and to inspire and encourage people's imaginations to flow freely. Design speculations can act as a catalyst for collectively redefining our relationship to reality. 
- What we are interested in, though, is the idea of possible futures and using them as tools to better understand the present and to discuss the kind of future people want, and, of course, ones people do not want.
 - For us futures are not a destination or something to be strived for but a medium to aid imaginative thought-to speculate with. Not just about the future but about today as well, and this is where they become critique, especially when they highlight limitations that can be removed and loosen, even just a bit, reality's grip on our imagination.
 - This is the space of speculative culture-writing, cinema, science fiction, social fiction, and so on. Although speculative, experts are often consulted when building these scenarios, as David Kirby points out in a fascinating chapter about distinctions between what he calls speculative scenarios and fantastic science in his book Lab Coats in Hollywood; the role of the expert is often, not to prevent the impossible but to make it acceptable. 
- Design can give experts permission to let their imaginations flow freely, give material expression to the insights generated, ground these imaginings in everyday situations, and provide platforms for further collaborative speculation.

 - With the fall of the Berlin Wall in 1989 and the end of the Cold War the possibility of other ways of being and alternative models for society collapsed as well. Market-led capitalism had won and reality instantly shrank. becoming one dimensional. There were no longer other social or political possibilities beyond capitalism for design to align itself with. Anything that did not fit was dismissed as fantasy. as unreal. At that moment. the "real" expanded and swallowed up whole continents of social imagination marginalizing as fantasy whatever was left. As Margaret Thatcher famously said, "There is no alternative."

 - Now, a younger generation doesn't dream, it hopes; it hopes that we will survive, that there will be water for all, that we will be able to feed everyone, that we will not destroy ourselves.
- For us, this separation from the marketplace creates a parallel design channel free from market pressures and available to explore ideas and issues. These could be new possibilities for design itself; new aesthetic possibilities for technology; social, cultural, and ethical implications for science

and technology research; or large-scale social and political issues such as democracy, sustainability, and alternatives to our current model of capitalism. This potential to use the language of design to pose questions, provoke, and inspire is conceptual design's defining feature.
- We are not talking about a space for experimenting with how things are now, making them better or different, but about other possibilities altogether.
 - Conceptual design provides a space for doing this. It deals, by definition, with unreality. Conceptual designs are not conceptual because they haven't yet been realized or are waiting to be realized but out of choice. They celebrate their unreality and take full advantage of being made from ideas.
 - Conceptual designs are not only ideas but also ideals, and as the moral philosopher Susan Neiman has pointed out, we should measure reality against ideals, not the other way around: "Ideals are not measured by whether they conform to reality; reality is judged by whether it lives up to ideals. Reason's task is to deny that the claims of experience are final-and to push us to widen the horizon of our experience by providing ideas that experience ought to obey."
DARK DESIGN:
- Dark, complex emotions are usually ignored in design; nearly every other area of culture accepts that people are complicated, contradictory, and even neurotic, but not design.

 - It is more about the positive use of negativity, not negativity for its own sake but to draw attention to a scary possibility in the form of a cautionary tale.

 REDUCTO AD ABSURDUM 
- a type of logical argument in which one assumes a claim for the sake of argument and derives an absurd or ridiculous outcome by taking it to its extreme, concluding that the original claim must have been wrong because it led to such an absurd result.

 - [The project] was always about highlighting just how complex and difficult the processes behind even the most simple of everyday conveniences, like toasting a piece of bread, have become.
COUNTERFACTUALS 
- A historical fact is changed to see what might have happened, if . . . . It is sometimes used in history to understand the importance of key events and their influence on how the world turned out.

-  For writers, it is an interesting way of creating an alternative present because the reader can understand how that alternate world might have come about. For design it can provide a fresh alternative to future- based thinking by presenting parallel worlds as thought experiments rather than predictions.

  

Three approaches: 

-       - Conterfactual – what if – question scenarios (fictional) create spaces of debate and discussion – total imagination

-       - Dark design – questioned the limited range of emotional and psychological experiences offered by design products (and marketing) the limitation of ‘making things nice’, possibility of unhappiness.

-       - Reductio ad absurdum – assuming a claim for the sake of argument to derive an outcome – take an idea and follow it through no matter what – but researched and already existing – like making a toaster from scratch 

Session 4 - Workshop

Web tips:

1.     naming conventions – no spaces ‘index.html” “page01_intro.html”

2.     aliasing (when you can see the edge of a pixel) / anti-aliasing

3.     file structure / template page

Slice:

save for web

2-up

JPEG

Save

Format: HTML and images

Slices: all user slices

On DW open choose images

Roll over:

Layer images – same size

Save for web

2-up

GIF

01

make what you want it to change to

all same but save as 02

on DW insert rollover image

GIF:

If you want the picture to change on your website you need to make a GIF

Photoshop – window - timeline - create video timeline

Drag images onto document

Drag down images in order you want them to appear

File - save for web - makes sure its GIF format - animation once or forever 

Final Project Ideas

Me: 

-       Black and white

-       Simple / minimalistic

Project ideas:

-       - Viral videos - Dark design? - laugh at pain

-       - Dark humor - dark jokes - not funny - clowns?

-       - Music - celebrities - royalty - worshiped

-       - Interactive human - make them do whatever - puppets - Build-a-butler

-       - Viral images - tumblr - reddit - 4chan - imgur

-       - Children’s cartoons - how innocent are they really?

-       - Animals - baby animals - fucking adorable 

-       - History - interesting photographs - don’t know the story behind them

Build-a-butler: 

Seller – big corp, no appreciation of human rights, want money

Buyer – richest of the rich – 1 butler costs 1 million dollars

build-a-butler

- the butler is basically a robot

- monthly subscription – very expensive – only for high elite

- choose how they look 

- comes with tablet – mini-butler – what ever you do to mini-butler on tablet your real butler has to do

            - get water

            - make food

            - massage

            - literally everything

-

Session 3 - Workshop

Notes in class:

Terminology

-       Remediation

-       Hypermediacy

-       Immediacy

-       Interface

-       Reproduction

-       Representational inheritance

-       Presence /telepresence

-       Aura

-       Mass media

- “The ultimate purpose of media is indeed to transfer sense experiences from one person to another”

- Media is ‘designed to efface itself, to disappear from the user’s consciousness.”

            - Bolter

- “Media are spaces of action for constructed attempts to connect what is separated.”

-       Zelinski 

What is a ‘deep time of the media’?

-       Media archeology

-       Various obsolete forms

-       Something that has been left out / lost along the way

- “History is the promise of continuity and a celebration of the continual march of progress in the name of humankind. Everything has always been around, only in a less elaborate form; one needs only to look.’

-       Zelinski

Every piece of technology comes from an older form of technology.

- “Do not seek the old in the new, but find something new in the old”

            - Zelinski

Gives us a new perspective when looking at technology and media as it focuses more on the good elements of the past that have sustained to be something of the present.

Gives the example of the Sistine chapel and virtual relative spaces as being immersive media. Does it make a difference if something is painted on the wall or if it’s a projection?

Zelinski wants to retain the possibility of the first moment of inventiveness.

Impossible machines vs possible impossible machines

Zelinski doesn’t think that any ideas should be looked at as fiction – e.g. Da Vinci drew plans for machines that at the time seemed impossible, yet were created several years later.

HTML – Hyper Text Markup Language

Today we use HTML 5 and HTML X

WYSIWYG – What You See Is What You Get

An application that enables you to see on the display screen exactly what will appear

Dream weaver is a WYSIWYG

Basic HTML web structure starts with <html> and finishes with </html>

On dreamweaver:

Open HTML

Designer – change to classic

Code / Split / Design – mostly be on design will sometimes use code to see what it looks like in code

Title: what you want it to say at the top of the web browser

Inset à Table à choose preferences à take time to fill out caption and summary (its how people figue out how to navigate)

Save as index – front page should always be saved as index

Page properties à appearance (CSS)

Lorem ipsum

Just want floating text choose insert à layout objects à AP Div

From photoshop to dream weaver

Slice what you want to move

If header use GIF

If photographs pale colour use JPEG

Save it in right place folder

Save as all user slices

Then you have your images to plug into page on dreamweaver

You can make your image link by selecting it and looking at box at bottom

Practice Website

Original Idea: (technology artefact)

Mood board:

Lay-out on Photoshop: 

Site Inspiration: 

Final product: 

Reading Notes - Session 3

1. Zielinski, Deep Time of the Media

Quotes from the reading:

Introduction:
- In the early 1980s, the Texan science-fiction author Bruce Sterling invented the phenomenon of cyberpunk" e.g. Bladerunner, matrix
- "Sterling'sprojectconftonted burgeoning fantasies about the immortality of machines with the simple fac­ticity of a continuously growing list of things that have become defunct. Machines can die. The dead media project
- Nothing endures in the culture of technology; however, we do have the ability to influence how long ideas and concepts retain their radiance and luminescence.
- In the extensive literature on the genealogies of telematics (from antiquity'S metal speaking-tube to the telephone; from Aeneas's water telegraph to the Integrated Service Data Network [ISDN}), or cinema archaeology (from the cave paintings of Lascaux to the immersive IMAX), or the history of computers (from Wilhelm Schickard's mechanical calculating apparatus to the universal Turing machine), one thing above all others is refined and expanded: the idea of inexorable, quasi-natural, technical progress. It is re­ lated to other basic assumptions, such as the history of political hegemony de­veloping from the strictly hierarchical to strictly democratic organization of systems, the rationale of economic expediency, the absolute necessity for simple technical artefacts to develop into complex technological systems, or the con­tinual perfecting of the illusionizing potential of media. In essence, such ge­nealogies are comforting fables about a bright future, where everything that ever existed is subjugated to the notion of technology as a power to "banish fear" and a "universal driving force."

- Past centuries were there only to polish and perfect the great archaic ideas. This view is primitive pedagogy that is boring and saps the energy to work for the changes that are so desperately needed. Now, if we de­ liberately alter the emphasis, turn it around, and experiment, the result is worthwhile: do not seek the old in the new, but find something new in the old. If we are lucky and find it, we shall have to say goodbye to much that is famil­iar in a variety of respects.
- Hutton's Theory of the Earth of l778, thousand pages long, and the two-volume edition published in 1795 no longer explained the history of the Earth in terms of the old theological dogma. Hutton asserted that Earth's history could be explained exactly and scientifically from the actual state of the "natural bodies" at a given moment in time, which became known as the doc­ trine of uniformitarianism. Further, Hutton did not describe the Earth's evolution as a linear and irreversible process but as a dynamic cycle of erosion, deposition, consolidation, and uplifting before erosion starts the cycle anew.
- Hutton's concept of Earth as a cyclic self-renewing machine,S without beginning or end, is in stark contrast to the time reckoning instituted by humans. Gould takes this concept a step further when, for his field, he rejects all ideas of divine plans or visions of progress. In a specific continuation of uniformitarianism, Gould's studies on the long chronology are marked by a contemporary concern for the ongoing loss of diversity.

 - The notion of continuous progress from lower to higher, from simple to complex, must be abandoned, to­gether with all the images, metaphors, and iconography that have been-and still are-used to describe progress. Now, if we make a horizontal cut across such events when represented as a tree structure, for example, branching diversity will be far greater below the cut-that is, in the Earth's more distant past-than above. In this paleontological perspective, humankind is no longer the hub and pivot of the world in which we live but, instead, a tiny accident that occurred in one of evolution's side branches.

 - The paradigm of technology as an organ was a crutch used in the development of mechanics; similarly, the organic becoming technology is now a poor prosthesis in the age of electronics and computation. Technology is not human; in a specific sense, it is deeply inhuman.

- In Gould's view, this difference is demonstrated by two particular traits, which influence cultural development decisively.
- The first is topological. Humans are nomadic animals; and our migrations lead to productive mixes of different situations and traditions, which often find expression in subsequent periods of rapid development.
- The second trait that has influenced the development of civilization is the culturally acquired ability to collect and store knowledge and experience and to pass these on to others.This ability can also lead to periods where qualitative developments are extremely concentrated: these could not possibly be achieved via the mechanisms of biological evolution.
- The history of the media is not the product of a predictable and necessary advance from primitive to complex apparatus. The current state of art does not necessarily represent the best possible state, in the sense of Gould's excellence. Media are spaces for action for constructed attempts to connect what is separated. 
- The body of anarchealogical studies should form a variantology of the media. 
- This goal of facilitating heterogeneity as before, or even de­veloping it further with the aid of advanced media systems, was in direct contradiction to the trend toward universalization being demanded by the cen­ters of technological and political power.

 - Radical experiments, which aim to push the limits of what can be formalized as far as possible in the direction of 'I the incalculable and, vice versa, to assist the forces of imagination to penetrate the world of algorithms as far as is possible, are potentially invaluable for shedding light on a culture that is strongly influenced by media and for opening up \ new spaces for manoeuvring. A most important arena where the two sides engaged, both theoretically and practically, proved to be a specific area of media praxis and theory, namely, the handling and design of the interfaces between ar­tifacts and systems and their users. Cutting-edge media theory and praxis be­came action at the interface between media people and media machines.
- In media, we move in the realm of illusions. Dietmar Kamper, philoso­pher and sociologist, used to insist in public debates that the verb illudere not only means to feign Ot simulate something, but also includes the sense of risk­ ing something, perhaps even one's own position or convictions: I think that this is of crucial importance for engaging with media.

 - When the spaces for; action become ever smaller for all that is unwieldy or does not entirely fit in, that; is unfamiliar and foreign, then we must accempt to confront the possible with its own impossibilities, thus rendering it more inspiring and worth experiencing.

Chapter 5:
- Media machines were designed and built in such a way that their functioning mechanisms remained a mystery to the audience: the projected world must not be recognisable as an artificial construct.
- Above all else, the intention was that the effects should take the onlookers by surprise, captivate them, and prevent them from giving free rein to their imagination and reason.

  

   

   

  

Obsolete Media - Session 2

Obsolete to me is something that is no longer produced or frequently used, making it  ‘old fashioned’, ‘vintage’ or ‘out of date’. With the world constantly changing and new products being released everyday, several media become obsolete everyday. The two obsolete media that I am going to reflect on are: film cameras and MySpace.

Film cameras:

I think that film cameras are an obsolete type of media because although you can still purchase them, they are no longer the most common type of camera, digital cameras are. As film cameras were the first type of cameras they are seen as ‘old fashioned’ and ‘out of date’. Although taking pictures with film cameras can give a photo a nice effect there are many reasons that the digital camera quickly became much more popular. First of all digital cameras are much more simple than film cameras as they use a SD card instead of film. This means that to look at the photographs you have taken you no longer need to go through the struggle of developing your photos from the film in a dark room, instead you insert the SD card into a computer and you can look at your photographs straight away. This makes it easier to share your photographs, edit your photographs and store your photographs. Going from film to digital also means you can take thousands of photographs vs 50 photographs as SD cards have compact memory space whereas film takes up much more space. This aspect also lets digital cameras be more compact. We have gone from cameras being so large you had to transport them in a suitcase to cameras being so small they can be attached to the end of a pen. I think that the advancement with cameras can only be viewed positively as it has opened up the world to people. Photographers are able to capture what they see with their eyes in high definition and share it with everyone around the world. 

MySpace:

Although MySpace technically still does exist and there are a few people who are active members, I consider it to be an obsolete medium as it is no longer used by the masses and there is now a different medium that people use instead of it. MySpace was very popular in the 2000s as it was the first time people were able to share things about themselves online. People could customise their pages to make them look however they wanted, people could upload songs that they liked, pictures they had taken, write on each others profiles, and share links they find interesting. When it was popular nearly everyone had a MySpace page and as soon as you made a new friend you would follow (?) them on MySpace. Today Facebook is what the masses use. In fact Facebook has become more popular than MySpace ever was. It is estimated that if Facebook were a country and its users made up the population, it would be the country with the 3^rd largest population in the world. Facebook and MySpace serve the same purpose and have many similar features, yet why did MySpace die out and Facebook take over? In my opinion Facebook became more popular because it is easier to use. You cant customise your page on Facebook, however this could be seen as a good thing as it was very difficult to make yourself a good MySpace page. Secondly Facebook bought more to the table, for example it has links to games, connections to other applications, you can follow celebrities, and you are able chat to people using messenger. Once Facebook's popularity began to increase it was obvious that MySpace did not have a chance at keeping up, and in the span of about a year Facebook was what everyone had, and MySpace was deemed ‘un cool’ and ‘old school’.

Session 2 - Workshop

Notes in class:

Media
Medium
Mediation

Remediation 'double logic' - wants to use old media to create new media, but at the same time erase the traces of mediation
- Hypermediacy
- Immediacy

"What all media share is a notion of immediate communication that is direct and tangible, yet invisible. We shouldn't feel as though there is anything between us when talking on the phone, the media is invisible."

Interface - e.g. flight simulator - hypermediacy humans and technology interacting so close

"What is new about new media come from the particular ways in which they refashioned older media and the ways in which older media refashioned themselves to answer the challenges of new media."

Walter Benjamin
- The work of Art in the Age of Mechanical Reproduction
- imaging embedded within economic and political structures
- representational inheritance
- presence and authenticity vs. reproduction
- aura (decay of the aura)
- technological vision
- reproduction = portability and proximity
- portraiture (cult value)
- mass (mass media)
- spectacle and distraction
- language of cinema - optical image / tactile image


Benjamin sets up a frame work where it is always important to think about the economic structuring of art.

The images we interact frames the economic selling and buying, clear where the money is.

Bolters examples of mediation:
- The frame - rectangular inheritance - portraits
- frame aspect rations
- shot conventions - rectangle frames the body

Reading Notes - Session 2

1. Remediation by Bolter & Grusin

Quotes from the reading: 

- If the ultimate purpose of media is indeed to transfer sense experiences from one person to another, the wire threatens to make all media obsolete.

 - The wire bypasses all forms of mediation and transmits directly from one consciousness to another.

 - When Lenny himself puts on the wire and closes his eyes, he experiences the world in a continuous, first-person point-of-view shot, which in film criticism is called the “subjective camera.”

 - Still, contemporary virtual reality is, like the wire in Strange Days, an experiment in cinematic point of view. Meanwhile, the proliferation of media in 2K L.A. is only a slight exaggeration of our current media-rich environment, in which digital technologies are proliferating faster than our cultural, legal, or educational institutions can keep up with them. In addressing our culture’s contradictory imperatives for immediacy and hypermediacy, this film demonstrates what we call a double logic of remediation. Our culture wants both to multiply its media and to erase all traces of mediation: ideally, it wants to erase its media in the very act of multiplying them.

-  The logic of immediacy dictates that the medium itself should disappear and leave us in the presence of the thing represented: sitting in the race car or standing on a mountaintop.

 - Yet these same old and new media often refuse to leave us alone. Many web sites are riots of diverse media forms—graphics, digitized photographs, animation, and video—all set up in pages whose graphic design principles recall the psychedelic 1960s or dada in the 1910s and 1920s

 - Immediacy depends on hypermediacy. In the effort to create a seamless moving image, filmmakers combine live-action footage with computer compositing and two- and three-dimensional computer graphics.

 - The desire for immediacy leads digital media to borrow avidly from each other as well as from their analog predecessors such as film, television, and photography.

 - A painting by the seventeenth-century artist Pieter Saenredam, a photograph by Edward Weston, and a computer system for virtual reality are different in many important ways, but they are all attempts to achieve immediacy by ignoring or denying the presence of the medium and the act of mediation.

 - Our primary concern will be with visual technologies, such as computer graphics and the World Wide Web. We will argue that these new media are doing exactly what their predecessors have done: presenting themselves as refashioned and improved versions of other media. 

- What is new about new media comes from the particular ways in which they refashion older media and the ways in which older media refashion themselves to answer the challenges of new media.

2. Chapters 1 & 4, Motion Graphic Design

Quotes from the reading: 

Chapter 1:

- This article suggested that its readers cut the pictures out and place them in a zoetrope to recreate the illusion of motion. This fueled Muybridge to invent the zoopraxiscope, an instrument that allowed him to project up to 200 single images on a screen. This forerunner of the motion picture was received with great enthusiasm in America and England.

 - In 1884, Muybridge was commissioned by the University of Pennsylvania to further his study of animal and human locomotion and produced an enormous compilation of over 100,000 detailed studies of animals and humans engaging in various physical activities. These volumes were a great aid to visual artists in helping them understand movement.

 - In 1889, Hannibal W. Goodwin, an American clergyman, developed a transparent, celluloid film base, which George Eastman began manufacturing. For the first time in history, long sequences of images could be contained on a single reel. For the first time in history, cinematographic films were projected onto a large screen for a paying public.

 - Dada and Surrealist artists sought to overthrow traditional constraints by exploring the spontaneous, the subconscious, and the irrational. These forms of Modernism abandoned the laws of beauty and social organization in an attempt to demolish current aesthetic standards of art. This was manifested in music, poetry, sculpture, painting, graphic design, and experimental filmmaking.

 - During the early 1900s, Swedish musician and painter Viking Eggeling described his theory of painting by way of music, in terms of “instruments” and “orchestration.” His desire was to establish what he referred to as a “universal language” of abstract symbols, and he strived to accomplish this by emphasizing musical structure and avoiding representation. 

- Richter’s silent films of the late 1920s demonstrated a more surreal approach that combined animation with live-action footage. At the time, these shocking films challenged artistic conventions by exploring fantasy through the use of special effects, many of which are used in contemporary filmmaking.

- Jan Švankmajer was one of the most remarkable European filmmakers of the 1960s. His innovative works have helped expand traditional animation beyond the concept of Disney cartoons. ... [H]e employed a wide range of techniques and used almost anything he could find, including man-made objects, animals, plants, insects, and bones in order to fuse object animation with live action.

- Inspired by Eastern European culture and the films of Jan Švankmajer, identical twin brothers Stephen and Timothy Quay (the “Brothers Quay”) were among the most accomplished puppet animation artists to emerge during the 1970s. Their exquisite sense of detail and decor, openness to spontaneity, and use of extreme close-ups have enchanted audiences worldwide, and their innovations contributed a unique sense of visual poetry to animated film.

- During World War II, [John] Whitney discovered that the targeting elements in bomb sights and antiaircraft guns could calculate trajectories that could be used to plot graphics. From surplus antiaircraft hardware, he built a mechanical analog computer (which he called a “cam machine”) that was capable of metamorphosing images and type.

- In 1974, John Whitney, Jr. and Gary Demos formed a Motion Picture Products group which led to the first use of computer graphics for motion pictures while working on the film Westworld (1973).

 - “[Saul] Bass fashioned title sequences into an art, creating in some cases, like Vertigo, a mini-film within a film. His motion graphics compositions function as a prologue to the movie—setting the tone, providing the mood and foreshadowing the action.”

- During his [Pablo Ferro] advertising career in the 1950s, Ferro introduced several techniques to the commercial film industry including rapid- cut editing, hand-drawn animation, extreme close-ups, split-screen montage, overlays, and hand-drawn type.

 - Harry Marks, who was working for ABC, conceived the idea of the moving logo and hired Douglas Trumbull, who pioneered the special effects in the film 2001: A Space Odyssey (1968), to help him animate the sequence to ABC’s Movie of the Week, which captivated audiences nationwide and brought about a major graphic design revolution.

Chapter 4: 

- A major benefit of video wall architecture is that it is scalable and interchangeable, allowing many screen sizes and horizontal or vertical configurations.

 - Immersive environments shape a sense of place by providing order, ambience, comfort, and insight to a physical or virtual space. They are a unique confluence of architecture, interior design, images, motion graphics, and sound that operate holistically to provide aesthetic, meaningful experiences and enhance social interaction.

 - Today, the field of exhibit design combines graphic design, interactive media, motion graphics, and product design. Exhibit designers typically have backgrounds that include a variety of disciplines, such as industrial design, architecture, interior design, graphic design, and theatrical design. They must demonstrate strong creative skills and sensitivity to basic aesthetic principles, such as color, composition, and perspective, as well as a knowledge of materials, lighting, and the ability to work independently or as part of a team.

 - An imaginative, well-designed exhibit creates a memorable and lasting impression on its viewers. Its success is judged by the effectiveness in which its content meets the aesthetic and spatial requirements of a site. The design must incorporate the essence of the individual products or brands being featured, while tying them into a cohesive, unified environment.

 - Other considerations involve the creative use of lighting and architectural elements such as stairways, lounges, reception desks, entranceways, conference rooms, flooring, ceilings, walls, and so forth. Further, materials can range from sand and tree bark to synthetic materials such as translucent concrete or fiberglass.

 - In recent years, motion graphics have played a significant role in interactive educational installations. For example, multidimensional forms and patterns move and change in size and color on several giant screens in response to people’s traffic patterns in Goldman Sachs’ new Learning Center in New York City.

 - In retail spaces, immersive environments can create genuine, emotional branding experiences by putting guests into new intuitive and exotic worlds. An example of this is the HBO Shop in HBO’s New York headquarters in Manhattan. A combination of large-scale instal- lation, and motion graphics transform the store into an architectural canvas onto which large-format video projections, choreographed lighting, and audio work together to create a unique visual experience

 - It seems likely that, as technology continues to advance, motion graphic designers will have more creative opportunities to play a greater role in designing the content for these types of public spaces.

- Today, motion graphics are playing a much greater role in shaping our architectural, urban landscape, due to the rapid advancement of LED technology. Integrated software/hardware systems can stream and scale live video content from various media sources, including servers, DVD players, camcorders, and computers, to accommodate large-scale architectural installations. e.g. Chanel Tokyo

 - LED lights wrapped around buildings “have forever changed the skyline of Atlantic City”

 - Digital signage—one of the fastest growing marketing opportunities in the world today—ranges from sports scoreboards to giant video screens in large public spaces such as shopping malls. As a “real-time” messaging medium, it is used to present many forms of content over high-speed networks to video displays in public venues.

- Interactive digital signage solutions, such as touch-screen kiosks, can deliver dy- namic, timely messages that can impart information or influence con- sumer behavior. In advertising, its marketing content can be crafted based upon specific information that consumers provide or from the purchases that they make.

 - Dynamic digital signage—typically com- posed of a server, a monitor, and software—is emerging as a new gen- eration of sign technology in the advertising industry. It is capable of delivering dynamic visual content to multiple locations, meaning that advertisers can communicate a brand or message locally or around the world to employees and customers from a central location. 

- In response to the demands of advertisers to reach more audiences, and to the decline of prices in LCD, plasma, and projector displays, the need for digital signage has accelerated. Wal-Mart, The Gap, and Foot Locker have already adapted dynamic digital signage technology to promote their brands nationwide.

 - As staging becomes more extravagant, the prospects of giant illuminated video screens and elaborate lighting facilities call for new methods of choreographing data to synchronize with the changing scenery or music being performed.