by haizea.olivaliberjen -

Either one or the other

It comes as no surprise to anyone that there are many who are deeply conflicted about encountering people who are “ambiguous” in appearance or, to use the correct term, who have a dissident gender expression. The reality is that these are not specific acts of rejection, but a whole existence of binarism and labels. Gender is one of the pillars of our socio-economic system.

Even before we are born, depending on our sexual characteristics, there are expectations of how we will be or how we will behave. Thus, in every context and interaction, children identify with certain behaviours and values that they understand to be appropriate to their gender. Little by little, and without us realising it, we limit ourselves and, at the same time, these limitations build our personality.

We are talking about the man-woman binarism where we are forced to enter and punished if we try to escape. The main characteristic of this system is that, in it, there are only two options: to be a man or to be a woman. As we mentioned in the previous post, not on a biological level, but on a social one. This goes so far that even intersex people are mutilated to fit one of the two body types that the system admits. Following this non-sense, there are thousands of ARBITRARY rules and roles that we have to fulfil depending on whether we are one or the other. From the colours we should like (pink/blue) to the emotional abilities we have as adults: we are designed.

In sum, anything that is in between or in the surroundings of the accepted genders (strong man with short hair and kind woman that only wears skirts), is rejected, set aside, made invisible and even denied. Therefore, from a very young age, we are forced to be EITHER ONE OR THE OTHER, with all that this implies.

by Korin -

Walkthrough different types of Headphones

Headphones come in various types, each designed to cater to different preferences, usage scenarios, and audio requirements. Understanding the differences between these types can help users choose the best option for their needs.

  1. Over-Ear Headphones: Also known as circumaural headphones, these have large ear cups that completely enclose the ears. They typically offer excellent sound quality, noise isolation, and comfort for extended listening sessions. Over-ear headphones come in open-back and closed-back designs, with open-back providing a more natural soundstage but less isolation from external noise.
  2. On-Ear Headphones: On-ear headphones, or supra-aural headphones, have smaller ear cups that rest on the ears rather than enclosing them. They are more compact and portable than over-ear headphones but may be less comfortable for extended wear. On-ear headphones provide a balance between sound quality, portability, and isolation.
  3. In-Ear Headphones: Also known as earbuds or in-ear monitors (IEMs), these headphones fit directly into the ear canal. They are lightweight, portable, and offer decent sound isolation. In-ear headphones are popular for use during exercise or travel due to their small size and secure fit.
  4. Earbuds: Earbuds are similar to in-ear headphones but sit outside the ear canal rather than inside it. They are often included with smartphones and portable media players but may sacrifice sound quality and isolation compared to in-ear headphones.
  5. Wireless Headphones: These headphones use Bluetooth technology to connect to audio sources wirelessly. They offer the convenience of freedom from cables but may experience latency issues and require regular charging.
  6. Noise-Canceling Headphones: These headphones use active noise-canceling technology to reduce external noise, providing a quieter listening environment. They are ideal for use in noisy environments like airplanes or busy streets.
by Korin -

Surround Microphonation

Surround microphonation, also known as surround sound recording or multichannel microphone techniques, is a method of capturing audio that aims to replicate the spatial realism of human hearing by using multiple microphones strategically placed around a sound source or environment. Unlike traditional stereo recording, which typically employs two microphones to create a sense of left and right positioning, surround microphonation utilizes three or more microphones to capture sound from all directions, including front, back, sides, and above.The primary goal of surround microphonation is to immerse listeners in a lifelike audio experience that closely mirrors the way humans perceive sound in real-world environments. By capturing sound from multiple directions, surround recordings can convey a sense of depth, dimensionality, and spatial placement, enhancing the realism and immersion of the listening experience.There are several techniques and microphone configurations used in surround microphonation, each offering unique advantages and characteristics. Common setups include the use of omnidirectional, cardioid, or shotgun microphones arranged in arrays or distributed around a recording space. Ambisonic microphones, which capture sound in full 360-degree spatial audio, are also popular for surround recording applications.

In post-production, surround recordings are typically mixed and processed using specialized software and hardware to create a cohesive and immersive audio mix. By manipulating the levels, panning, and processing of individual microphone channels, audio engineers can recreate the spatial characteristics of the original recording environment and tailor the listening experience to different playback systems, such as stereo, 5.1 surround, or immersive audio formats like Dolby Atmos and DTS:X. Surround microphonation finds applications in various fields, including music production, film and television sound, live concert recording, virtual reality, gaming, and immersive audio installations. As technology continues to evolve, surround recording techniques are becoming increasingly sophisticated, enabling even greater levels of realism and immersion in audio production.

by Korin -

Granular Synthesis

Granular synthesis is a groundbreaking technique in sound synthesis that operates on the principle of breaking down audio into tiny, individual grains and manipulating them to create entirely new sounds. Unlike traditional synthesis methods that generate sound through oscillators or samples, granular synthesis focuses on the microscopic level, treating sound as a series of tiny sonic particles.

At its core, granular synthesis involves dividing a sound wave into small, typically millisecond-sized segments called grains. Each grain contains a snippet of the original sound, ranging from a fraction of a second to several milliseconds. These grains are then manipulated in various ways, such as altering their pitch, duration, amplitude, and spatial positioning, to create complex and evolving textures and timbres. One of the key advantages of granular synthesis is its ability to transform ordinary sounds into rich, otherworldly textures. By manipulating parameters like grain density, grain size, and grain overlap, sound designers can achieve a wide range of effects, from shimmering clouds of sound to rhythmic patterns and everything in between. Granular synthesis also lends itself well to real-time manipulation and performance. With modern software and hardware synthesizers, musicians and sound designers can interactively control granular synthesis parameters using MIDI controllers, touchscreens, or other input devices, allowing for expressive and dynamic sonic exploration.

Applications of granular synthesis span a wide range of fields, including electronic music production, film scoring, sound design for video games, and experimental audio art. Its ability to generate intricate textures and evolving soundscapes has made it a valuable tool for pushing the boundaries of sonic creativity and expression. As technology continues to advance, granular synthesis promises to play an increasingly important role in shaping the future of sound.

by nadja.pirchheim -

Welcome back, let’s get started

Hi everyone. I want to update you on my current status of my Design and Research Blog Entries. As you remember I want to examine if there is a possibility for young people to get realistic insights into apprenticeships. In the first semester I researched the status-quo and numbers of apprenticeships in Austria as well as the formats and communication tools which are already out there. I had an interview with my nephew about his situation and what he learns at school. At the end of my last blog entry I also talked about that I might include new formats into my research for instance Virtual Reality.

I had a meeting with Birgit last week and it was really inspiring to talk about my chosen topic.

This semester I’ll focus on creating a concept for a possible game.

After the excursion in Barcelona, I already started thinking of further steps for my design and research topic. I still need to figure out wheter this is going to be a realsitic approach, but anyway I’ll just tell you my ideas.

I thought about creating two scenarios both taking place in VR.

First scenario: VR Game

I thought of creating a VR-Game inspired by the “job-simulator”. Maybe creating one scenario where the player is working for instance in an garage as a mechanic. The supervisior will give the user simple task which need to be fulfilled e.g. changing a tyre and therefore the user has to go to the drawer and take out a screwdriver or something similar and then the user goes back to the car and changes the tyre. The art style should be comic-like but also more serious than it is in the job simulator game (the game is a bit dorky).

Second scenario: Real life 360° View

For the second scenario I thought of filming a young person following their typical tasks for their work. Therefore the user is in the position of an observer and can look over the trainees shoulder and watch them.

Either way, I need to check out how both of my ideas are feasbile.

I also told Birgit my ideas and she supervised me to start creating a storyboard and a concept and also think about possible interactions for those scenarios. This will be my task for the next blogpost where I will guide you through my process.

by keso.modebadze -

How Paint Color Can Influence a Museum Exhibit

Color is an everyday element of our lives that becomes a subconscious concept the more we are exposed. Whether we are aware of or not, color relationships affect our behavior and emotions. The three basic properties of color; hue, value, and intensity/chroma, have intense power to influence color association. Variation of any of these properties could influence human  behavior, emotion, or the functionality of a space.

Color Properties: 1) to catch attention, 2) hold attention, 3) convey information, and 4) make information memorable. Its function is determined how it is perceived in the space. As Josef Albers states, “In visual perception a color is almost never seen as it really is – as it physically is.”

While there’s likely no place we’re more focused on seeing than in a museum, it’s, ironically, one of the places where many design details go unnoticed. The main event in any museum or gallery exhibition is, of course, the art, but hours of thought and labor go into framing it in a certain, precise manner. From gallery layouts to framing styles, each small decision made by curators and exhibition designers will have an impact on the final show. One of the most important? Paint. Though many museumgoers might be hard-pressed to remember the color of the walls behind the art after their visit, paint selection is an important aspect of exhibition design. In the case of MoMA’s recently opened show “Frank Lloyd Wright at 150: Unpacking the Archive,” the museum’s curators worked with Farrow & Ball to create a color palette that would underscore the multimedia exhibition and act as a visual guide, connecting certain displays that are most relevant to one another. In one portion of the exhibit, for example, plans for Wright’s Imperial Hotel and the Midway Gardens, though displayed in adjacent rooms, hang on the same colored backdrop. “These two projects were concurrent and share a lot stylistically, so we used the same color across their galleries to indicate that they’re connected,” explains Betty Fisher, MoMA’s senior design manager. Though these details might not be explicitly noticed by every visitor, they play an invaluable, if subconscious, role in establishing not only the layout but the general feel of the show.

Generally, it is the curators or exhibition directors who select the paint colors, as it is their vision that needs to be translated into the space. I think that you look at the collection as a whole and decide what reaction they want to elicit from museumgoers and what mood they are looking to create in each space they are planning, as color will have a huge impact on how the guest feels as they experience the exhibition. Some curators opt for bolder palettes while others opt for more traditional neutral colors, but whichever they choose from our offering, they always love how richly pigmented colors like ours can completely change the space in question and impact the works of art themselves.

The most difficult aspect is really that each of  colors can have a completely different impact on a given space depending on the lighting and layout. all colors have the potential to be a backdrop.

What continues to surprise even the curators who choose the colors is how much of a dramatic impact  paint can have on a gallery space or installation—whether it is the backdrop for the artwork or part of the artwork itself created by the artist. That being said, the colors are often integrated so perfectly into shows, museum visitors sometimes do not even notice the specific colors; rather, they experience the mood that the paint colors and art work to create in the space together. every color can impact a space and mood drastically.

For me the backdrop can make or break the show—color can help accentuate details, can hide others, and can dramatically affect the experience of the visitor by helping to either highlight the mood the artist was trying to convey in the piece or act as a juxtaposition to it.

by laura.siller -

Research: Japanese Stab Binding

Today, I will take a closer look at Japanese stab binding, an ancient technique for side stitch binding. The stab binding represents the last stage in the history of traditional East Asian bookbinding, which was predominant in the 14th to 17th centuries. Although it is now commonly referred to as Japanese stab binding, this technique was also widespread in China and Korea. Unlike traditional bindings which run along the spine, this method secures the book’s pages by passing the bindings through the front and back covers. The method was widely used during Japan’s Edo Period (1600-1868) and served as the primary commercial binding until the 1890s when it was gradually replaced by Western-style hardcover binding. Due to the right-to-left reading style of Japanese writing, these books were designed to be read in that manner.

The popularity of Japanese Stab Binding can be attributed to its efficient utilization of the available resources during the Edo Period. At that time, Edo (now Tokyo) had become a bustling economic center with a population exceeding one million people. Previously, paper was a scarce and valuable resource, affordable only to the elite class, making book production expensive. However, with the economic prosperity in Edo, paper became more accessible, leading to an increase in literacy and the demand for books. Japanese Stab Binding emerged as the preferred binding method due to its cost-effectiveness, ease of handling compared to scrolls, and its durability.

Books created using this technique consisted of four essential components: covers, text block, internal binding, and external binding. The covers were flexible and easy to bend, composed of layered paper with a recycled core surrounded by higher-quality outer layers. Decorations on the covers were typically subtle and light, often featuring delicate patterns or a design known as clover brush line, which involved hand-painted lines or lattice patterns. Initially, covers were predominantly monochromatic, commonly brown or blue, but as book production expanded, a wider range of colors emerged. Popular fiction books even incorporated multicolored printed images on their covers to appeal to the growing number of literate individuals.

An important element of the cover was the title slip or title strip, a vertical rectangle affixed to the top left corner of the front cover, providing biographical information about the book. The title slip typically occupied around 70% of the book’s height and 20% of its width.

The text block in this binding method consisted of individual sheets of fine, semi-translucent paper that were folded in half. This allowed for single-sided printing, simplifying the printing process. The fold of these pages was oriented towards the fore-edge of the book, opposite the spine. The pages contained text and images enclosed within frames. Historically, woodblock printing was predominantly used for printing the pages, despite the introduction of movable type to Japan in the late 16th century. Woodblock printing offered the advantage of utilizing the same processes and skills for creating both images and text.

Part of the binding’s durability stems from the internal binding, which remains hidden once the book is fully assembled but serves to hold the text block together. Traditionally, a twisted piece of paper is threaded through two pairs of holes punched through the text block and tied at the back.

The final binding is accomplished by threading string through holes and looping it around the spine. While the most simple pattern consists of just four holes, this technique allows for many different binding patterns, ranging from simple to intricate and usually reflecting the origin country’s culture.

Sources:

Faux, Kristen, “Explorations in Book Binding Techniques” (2020). Williams Honors College, Honors Research Projects. 1114.

by hannah.kremer -

AR-Poster

Augmented Reality (AR) ist ein beliebtes Mittel für Künstler, ihre Werke zu verbessern, und AR-Poster sind eine der innovativsten Möglichkeiten, diese Technologie in die Kunstwelt zu integrieren. Durch das Überlagern digitaler Inhalte auf einem physischen Poster können Künstler ein einzigartiges und immersives Erlebnis für ihre Betrachter schaffen. Allerdings gibt es auch einige Herausforderungen und Überlegungen, die mit der Erstellung von AR-Postern einhergehen. In diesem Blogbeitrag gehen wir auf die Vor- und Nachteile von AR-Postern ein und erläutern, was Künstler bei der Erstellung von AR-Postern beachten müssen.

Vorteile von AR-Postern:

Erhöhte Interaktivität: AR-Poster ermöglichen es den Betrachtern, sich auf interaktive und dynamische Weise mit dem Kunstwerk auseinanderzusetzen. Dies kann ein einprägsameres Erlebnis für den Betrachter schaffen, was das Engagement und die Wirkung erhöhen kann.

Erhöhtes Engagement: AR-Plakate können ein breiteres Publikum ansprechen, auch solche, die sich bisher vielleicht nicht für das Kunstwerk interessiert haben. Dies kann zu einer erhöhten Aufmerksamkeit und potenziell zu mehr Verkäufen führen.

Vielseitigkeit: AR-Poster können leicht mit neuen Inhalten wie Videos, Musik oder Text aktualisiert werden, was sie zu einem vielseitigen Medium für Künstler macht.

Nachteile von AR-Postern:

Eingeschränkte Zugänglichkeit: AR-Poster erfordern ein Smartphone oder Tablet, um auf die digitalen Inhalte zugreifen zu können, was die Zugänglichkeit für einige Zielgruppen einschränken kann.

Technische Schwierigkeiten: AR-Plakate sind von Technologien abhängig, die unvorhersehbar sein können und möglicherweise nicht immer wie vorgesehen funktionieren. Dies kann für die Betrachter frustrierend sein und zu einem weniger zufriedenstellenden Erlebnis führen.

Kosten: AR-Plakate können in der Herstellung teurer sein als herkömmliche Plakate, vor allem wenn der digitale Inhalt komplex ist oder eine spezielle Softwareentwicklung erfordert.

Was bei der Erstellung von AR-Postern zu beachten ist:

Inhalt: Überlegen Sie, welche digitalen Inhalte in das AR-Plakat aufgenommen werden und wie sie das Erlebnis des Betrachters verbessern.

Gestaltung: AR-Poster sollten visuell ansprechend und leicht zu scannen sein. Berücksichtigen Sie die Größe, Form und Platzierung des QR-Codes oder anderer Markierungen, die zum Auslösen der AR-Inhalte verwendet werden.

Technische Überlegungen: Stellen Sie sicher, dass die digitalen Inhalte für mobile Geräte optimiert sind und dass die verwendete AR-Plattform zuverlässig und einfach zu bedienen ist.

Referenzen:

AR-Artists

Heather Day: heatherdayart.com/ar-posters
Wild Beasts: wild-beasts.co.uk/projects/the-last-night-on-earth-ar-poster/
Julian Opie: julianopie.com/AR-Plakate
ARTECHOUSE: artechouse.de/plakate/
Eduardo Kobra: eduardokobra.com/portfolio/flip-ar/
Nevercrew: nevercrew.com/projects/ar-poster/
Belin: instagram.com/belin_official/

“AR in Print: How AR is Changing the Poster Industry.” Aurasma, 9. Mai 2013, blog.aurasma.com/ar-in-print-how-ar-is-changing-the-poster-industry/.

“The Advantages and Disadvantages of Augmented Reality.” AppReal-Vr, 16. September 2021, appreal-vr.com/blog/advantages-and-disadvantages-of-augmented-reality/.

by frederike.struck -

Leitsystem Typografie

Bei diesem Experiment sollte herausgefunden werden wie verschiedene Typografien wirken in einem Leitsystem.

Die Serifenschrift wirkt vertrauenswürdige, da es eine traditionelle Schrift ist sowie Autorität ausstrahlt. Es wirkt auch recht förmlich und verlässlich, dennoch schwer zu lesen, wenn man weiter weh steht.

Die Slab Serif Schrift wirkt kühner, aber unverwechselbar. Sie hat etwas von Stabilität und Tradition und wirkt deswegen stark und fähig. Auch hier kann es schwierig sein sie zu lesen durch die Serifen.

Die Serifenlose Schrift ist fortschreitend und offen. Sie wirkt freundlich, aber auch emotional. Sie bricht mit der Tradition und ist zukunftsorientiert, was sie modern macht. Eher informell, aber innovativ ist sie sowie nahbar. Diese Schrift ist leicht zu lesen wo jedem Abstand.

Skript Schriften sind lustigen und amüsanten Schriften. Sie wirken kindlich und naive. Sie können etwas romantisches haben und Jugend ausstrahlen. Solche Schriften haben eine schwere Lesbarkeit.

Display Schriften sind unabhängige Schriften. Sie sind neuartig und einzigartig sowie individuell. Sie sind anders, spannend und antikonformistisch. Sie haben die Fähigkeit sich anzupassen und wegzuweisen. Hier kommt es auf das Design der Schrift an, um die Lesbarkeit zu beurteilen.

by rabia.hombauer -

Vorbereitungen für Experiment 1

Um das erste Experiment zu starten, müssen Basisüberlegungen durchgeführt werden. Welche Verpackungsform soll gewählt werden? Welche Farben kommen ins Spiel? Welche Informationen sollen auf die Verpackung kommen? Was ist von Relevanz?

Dazu habe ich bestehende Milchverpackungen recherchiert und bleibe für das erste Experiment bei der klassischen Tetrapack-Form. Ich strebe für mein erstes Experiment ein minimalistisches Design an, wo mit der Typographie spielerisch umgegangen werden soll.

Inspiriert hat mich folgendes Design der Firma Klammerth. Obwohl es kein auffälliges Design hat, sticht die Milchverpackung genau deswegen aus der Masse und ist ein Eye-Catcher. Normalerweise sind Milchverpackungen nämlich sehr überladen mit Informationen und Farben, wie man in der nachfolgenden Grafik sehen kann.

Aus diesem Grund möchte ich für mein erstes Experiment in diese Richtung mich bewegen und verschiedene Variationen probieren. Ich werde Etiketten gestalten und dann diverse Mockups erstellen, um es bestehenden Verpackungen gegenüberstellen zu können.

Moodboard für das 1. Experiment

Quellen:

  1. https://klammerth.at/riviera-maison-giesser-carton-2024901/?gclid=Cj0KCQjwxYOiBhC9ARIsANiEIfa9Z87FUgBkpK1FvfKX2RWZjP0WntshFT5dVh_sCHFBejWtnI4T7jgaAkfWEALw_wcB
  2. https://packaging-journal.de/milchverpackung-nachhaltig/
  3. https://www.sarkina.com/roller/ipsblog/entry/minimalist-packaging-and-your-products
  4. https://alltimedesign.com/minimalist-packaging-design/
  5. https://de.vecteezy.com/vektorkunst/4646474-milchverpackung-und-ein-glas-milch-auf-einem-weissen-hintergrund-vektorillustration-im-flachen-cartoon-stil
  6. https://de.freepik.com/vektoren-premium/vektorlayout-der-milchverpackung_3620019.htm
  7. https://www.vectorstock.com/royalty-free-vector/minimal-juice-or-milk-flat-lay-packaging-vector-31667312