#these concerns over AI are for big artists with nice art but I mean I love my creations even if they suck

[antivirusprogram2020]

I am an antivirus program (2020)

> CHAPTER 2 The new human type cannot be properly understood without an awareness of what he is continuously exposed to from the world - Theodor Adorno. Minima Moralia, 1951 We can not change the medium as the medium is predicated on the message (use my square space code for a 10% discount)- we are fixed in this web 2.0 and the control of knowledge will be met with the streamlining of UI and UX design. Design tools like the adobe programs will continue to increase their premium and their monopoly hold on the design space - to be a designer is to be implicated with this process, regardless if you pirate software or notThis is where I raise flags against the tepid conglomeration of blog sites and web in general, the astroturfing of the internet has only amplified the feedback of Graphic Design. You’d typically call this commercial design. Commercial design fits the criteria of an evolving media world, “It is important to note that this ultimate stage of pictorialization was a reversal of pattern. The world of body and mind...was not photographical at all, but anonvisual set of relations”1. Commercial Design started to drive an efficiency science behind it’s aesthetic - you make the access mode immediate and your engagement success is far higher, and you do this through the pictogram, and when photography came about, that too was made into a design appendage. “To understand the medium of the photograph is quite impossible, then, without grasping its relations to other media, both old and new. For media, as extensions of our physical and nervous systems, constitute a world of biochemical interactions that must ever seek new equilibrium as new extensions occur.”1 This is potentially a valuable understanding of media, and thus design, presented by media theorist Marshall Mcluhan, commercial design (and all art and design in a sense) are schizophrenic presentations of the world, they accumulate meanings outside the presented scope of an advertisement, or typography - they link the relational experience of the mass media consumer, as Mcluhan states. However, this is not all, he states an ‘equilibrium as new extensions occur’ - in my context now this weighs with a great importance, we know the new extensions already, something that Mcluhan unfortunately didn’t get to experience fully, and that’s the web, the modern computer, the pocket mobile device. These are in their own rights mediums, your OS (operating system) is a computer language medium that dictates other program mediums, the access mode to the rest of the systems of design, websites contain live feeds and streams to distant realities, it’s all so lucid but at the same time it feels like an astral projection. At times this can feel nauseating, that collapsing feeling of ‘space’ and ‘time’. This presents a wider problem with modern design, technology has embedded itself into the core of the practice since the dawn of paper and pen, stone and chisel etc. The problem being that while technology has stopped gapped connectivity, it refuses to go further - refuses to return the creativity of a design practice unless commandeered. This has led to the necessity for the designer to code, and script, to kit bend and utilise AI - once again “fragmenting” the work role. “Under conditions of electric circuitry, all the fragmented job patterns tend to blend once more into involving and demanding roles or forms of work that more and more resemble teaching, learning, and “human” service, in the older sense of dedicated loyalty.” Graphic design namely has done well to adapt and reshape, showing its versatility in the age of digital design. Not only that, it hybridizes aesthetic models much like a fashion season generates new styles, which keeps design itself fresh and alive, while sometimes slipping into the contrived and over-saturated. But is the “human” service really what Graphic Design is becoming? It certainly hints to this with the proactive design studio model. Interaction and Bureaucracy, it’s an efficiency tactic. All design requires hierarchy even if that hierarchy is to not have one. I see the office space, I remember the spider plant, I see the shore line, I see the whitecaps. The workers space is a micro-territorial space of capital politics and a grab for faux socialism in most cases, in some, it is an honest attempt to form comradery - the cafeteria is an effective grounds to reinforce or detourne this thinking. People like artist Olafur Eliasson effectively install a commons space for the studio team to interact and communicate, job roles are made equal in that space. “The studio, as much as we don’t like it, means working in your own little departments, compartmentalised. And there are hierarchies even though everyone’s a part of the democracy. The kitchen is a nice leveller.” It’s a universal ideology that falls into a majority of Eliasson’s work that provides an effective future-proof for how the operations of studio practice should be carried out (see the Auteur myth). My cynicism is only symptomatic of the consumerist prerequisite that allows design to exist in the first place - a degree in the topic definitely is met with a careerist sentiment, to be financially viable within a milieu of art and design subjects. Graphic Design should not try to divorce itself from this grouping, it stands stronger with the complex wovings and multitudes that allow it to bloom as an individual practice that arranges the practice of others. The efforts here are a concern with the design practice no less, and how ethics and politics are sequestered by a shifting responsibility of effects, how and why Graphic design mutated into the corporate virus that it is now. ”All media work us over completely.”8 This is Mcluhan’s sentiment from his writings in the 60’s, and It stands up true to this day, more so than ever. Algoration (the use of data algorithms to curate a web feed) are notorious and globally implemented into most ‘social media’, but outside social media, it’s used as predictive data. This is the “reversal pattern”, Graphic Design puts a face to this slippery coded underbelly. The automation of design media has become an efficient business strategy to overmine its user base data, and subsequently requires illustration. To be concise, the study of the Graphic Designer is in part the study of Media, the study of media is the lens of relational activities and connectivity. And this is the permitted virus. Adversely, the antivirus program is a research protocol invested in studying the autonomy available to a Graphic Designer, and an extended hand to all fragmented sectors that require a similar reclamation. Language dictates media – media manufactures consent, therefore language manufactures consent. A small quibble no less, that the Graphic Designer goes to bed with media every day. And in the morning they arise with vast spawns of editorials, emailing lists, content posts - lots of fucking content posts by content creatures. The homogeneous sprawl of media is a compounded expository of new design conditions. “Today, the mass audience can be used as a creative, participating force. It is, instead, merely given packages of passive entertainment.”8 The passive entertainment is reflexive of its audience, an audience that is content on not being challenged when engaging and consuming media, not being challenged when creating and releasing it - the language logic is a false preposition - things don’t have to occur in the forefront of our percepts, media can be a stealth operation for critical theory or a dog whistle for nazis. Even a glass of milk is steeped in meaning. “The photograph is just as useful for collective, as for individual, postures and gestures, whereas written and printed language is biased toward the private and individual(s) posture.”1 Mcluhan and designer Rapheal Roake seem to fit perfectly in collusion with one another here, “All design is a political act”, this fits Mcluhan’s collective principle for the photograph precisely, as this explicitly gives backing to the relational dynamics of media itself, it sits in the collective sphere - the global village. It all begins to feel like a fever dream, the spectres of Helvetica, Comic sans and Papyrus jumping on your chest as you’re paralysed in a waking dream. Blink and you’ll miss the horses head 144hz refresh rate. The grid settings of your life are closing in tighter and tighter as you cant kern in a moment for peace, please adobe I’m plugged in to your creative cloud let me use my kettle already, yes dear, they’re wacom tablet plates, we threw out the cutlery and replaced them for tote bags and ironic panel hats. The decoherence of the 21st century is here and it’s got anthropocene smeared all over its lips. Everyone wants to fuck their OLED displays, the screen is constantly flirting with me, it bulges and writhes along with it’s circuitry like an obscene Cronenburg slide show, and with a tilt of the hinge, it rips my hands straight off the bone. It’s simultaneously psychosexual and completely meaningless, but there doesn’t seem to be any Big Other alternative, can you see the demons wearing the guise of post-modernity, and where they emit a solar flare? Just tryna game the system can’t you see, if I shake it at just the right moment, at the right angle, I’ll get an additional diet coke. You don’t understand how fucking much I like diet coke. A man who finds himself among others drinking diet coke is irritated because he does not know why he is not one of the others drinking diet coke. I have graphic design Stockholm syndrome, what do you mean you don’t know who Gerrit Noordzij is? At this point going outside will trigger my flight or fight response, I’m afraid of being swooped by seagulls while I’m bound on a rock, I sleep in a bed with a faraday blanket, I’m absolutely glowing, washed in sunlight. “As for the anticipation of reality by images, the precession of images and media in relation to events, such that the connection between cause and effect becomes scrambled and it becomes impossible to tell which is the effect of the other” These collective postures translate into all modern media and are littered with effects. One is singular and rhizomatic in any given instance of engagement towards media and the invisible hand of the ‘designer’. And on the contrary the medium is an assemblage of arborescence and is later politicised in the factory line assembly - a by-product of ‘essential’ capital labor. The capital fiction is overwritten by the post-market mythos of a company and it’s figureheads, it’s in-house publishing team use individual members to feature in nice magazines. Effects, we are overcome by so many different effects daily, to the extent that we become desensitized to the potential the subsequent causes and effects, modern reality makes sure to compound these consequences of media to a sensory overload of hysteria, the neurotic ones take to pinterest to organise themselves. We like to order things, It gives clarity and comfort within the dysphoria and entropy of our lives, pinterest, tumblr, are.na, instagram are all negentropical solutions in an overstimulated digital environment. “Instant communication insures that all factors of the environment and of experience coexist in a state of active interplay.”8 To understand this I need to clarify that the medium, the message, the photograph and all subsets of visual and nonvisual information are communication - it goes without saying - but this establishes the politicised and astroturfed space of Graphic Design, a designer is expected to make commercially viable work to thrive, and usually this is achieved by co-opting styles to any degree appropriate to a brief. This results is the parody, the hyperstition and hyperobject - an overly ironic and self aware ventilation apparatus that keeps the gimmicks of Graphic Design alive. The overtures of a design piece can appear stark placid and regurgitated. It’s very much easy to default to a ctrl-c, ctrl-v automation process. Reinforced no less by an autodidact push of some educational institutions - more concerned with juggling design briefs than focusing their teachings on a core design system (despite their ever love for the Bauhaus - yes huni the library is open). Of course, with the new emphasis on a technology dominated world we are expected to rely and reinforce the techno-dependent designer (work smart not hard). And we are yet to catch up to this mutation in design, where design was once a phylogeny of different features that collected to assume a physical medium, centrered on type, constrained by fibres and ink and oil - these components have congealed onto the Macbook, the ergonomics of physical/digital unbound the Designer from the difficulties of a physical medium. So why do we remain in the realm of rehashing typefaces and conventional media, why are we tied down to the revolving doors of design trends - surely now than ever we have all the components, all the tools to produce new design movements, this can’t keep up “When the circuit learns your job, what are you going to do?”8

#antivirus #ual #graphicdesign #art #line drawing #stock #stock image #meme #chapter 2 #ANTIVIRUS%20TEXT

[screechingmagazinebasement-blog]

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