In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists.
Interactive visualization is emerging as a vibrant new form of communication, providing compelling presentations that allow viewers to interact directly with information in order to construct their own understandings of it. Building on a long tradition of print-based information visualization, interactive visualization utilizes the technological capabilities of computers, the Internet, and computer graphics to marshal multifaceted information in the service of making a point visually.
The mobile device is changing the ways we interact with each other and with the world. The mobile experience is distinct from the desktop or laptop experience; mobile apps require a significantly different design philosophy as well as design methods that reflect the unique experience of computing in the world. This book presents an approach to designing mobile media that takes advantage of the Internet-connected, context-aware, and media-sharing capabilities of mobile devices.
When the fashion industry declares that lime green is the new black, or instructs us to “think pink!,” it is not the result of a backroom deal forged by a secretive cabal of fashion journalists, designers, manufacturers, and the editor of Vogue. It is the latest development of a color revolution that has been unfolding for more than a century.
Humans did not discover fire--they designed it. Design is not defined by software programs, blueprints, or font choice. When we create new things--technologies, organizations, processes, systems, environments, ways of thinking--we engage in design. With this expansive view of design as their premise, in The Design Way Harold Nelson and Erik Stolterman make the case for design as its own culture of inquiry and action. They offer not a recipe for design practice or theorizing but a formulation of design culture’s fundamental core of ideas.
In Adversarial Design, Carl DiSalvo examines the ways that technology design can provoke and engage the political. He describes a practice, which he terms “adversarial design,” that uses the means and forms of design to challenge beliefs, values, and what is taken to be fact. It is not simply applying design to politics--attempting to improve governance, for example, by redesigning ballots and polling places; it is implicitly contestational and strives to question conventional approaches to political issues.
This book explores image processing from several perspectives: the creative, the theoretical (mainly mathematical), and the programmatical. It explains the basic principles of image processing, drawing on key concepts and techniques from mathematics, psychology of perception, computer science, and art, and introduces computer programming as a way to get more control over image processing operations. It does so without requiring college-level mathematics or prior programming experience.
China is on the verge of a design revolution. A “third generation” of the People’s Republic of China that came of age during China’s “opening up” period of the 1980s now strives for fame, fortune, and self expression. This generation, workers in their thirties and forties, has more freedom to create--and to consume--than their parents or grandparents. In China’s Design Revolution, Lorraine Justice maps the evolution of Chinese design and innovation.
Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments.
Design Things offers an innovative view of design thinking and design practice, envisioning ways to combine creative design with a participatory approach encompassing aesthetic and democratic practices and values. The authors of Design Things look at design practice as a mode of inquiry that involves people, space, artifacts, materials, and aesthetic experience, following the process of transformation from a design concept to a thing.