#language is an imperfect medium for the complexity of existence
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ziggy-starbutts · 4 months ago
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While I disagree with the rule “Every time a camera angle changes”, the reformatting shown under is certainly more appealing.
Why?
It gives your words more room to breathe. By dividing up the actions you’re allowing the natural rhythm of the scene to develop.
Building tension.
Then finally a release.
Yes, there are rules to formatting. People who prefer larger blocks of text aren’t necessarily wrong. Formatting is as much a creative choice as it is practical.
The first paragraph feels like someone who’s frantic. Jumping to a decision that he’ll regret later.
The second paragraph feels like someone coming to a deliberate conclusion. Then taking action.
What’s critical is an understanding of how to build contrast in the prose. Like music, or dance, the moments of change are the ones that will stick with the readers. So make sure your emphasis is in the place it needs to be.
I know what my personal preference is. I love it when my prose isn’t afraid to lean into the lyrical side of linguistics. The gaps between are the inhale to each exhale of text. They’re the negative space in a drawing. But those are my words and my choices.
Remember, the human condition is temporary. It’s always changing. Language is an imperfect vehicle for the divinity of existence.
Whatever your formatting choices, don’t forget to get real freaky with it.
Whole-heartedly BEGGING writers to unlearn everything schools taught you about how long a paragraph is. If theres a new subject, INCLUDING ACTIONS, theres a new paragraph. A paragraph can be a single word too btw stop making things unreadable
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dross-the-fish · 1 year ago
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Thoughts on AI I was talking to some people about AI and generally I've been pretty neutral on AI as a tool. I've seen people bring up that it could be used as a good way for disabled people or people who generally aren't good at art to bring their ideas to life and honestly I'm pretty ok with that on principle. I am pretty firmly against AI being allowed to indiscriminately scrape the work of artists without their input or say so and I'm against Ai being used by the entertainment industry as a replacement for actual artists and writers. However what I really want to talk about is the use of AI as a tool, assuming it can be used ethically. I really hate the argument of "It's soulless," or "It's cheating" (used ethically it's just anther medium like photography or collages. Art is not measured by the amount of effort or the tools used. I am really tired of that take) and a particular scaremongering argument I've had directed at myself "It will replace you."
Because I do draw that's the one I get leveled at me the most. That AI will do what I do and do it better so there will be no point to me or what I make. They like to paint artists vs AI as John Henry vs The Machine and I just do not care for it. I think it's reductive to art and to artists to frame the value of art as a matter of effort vs quality of product. AI cannot make what I make because it's not me. It won't create my characters, it can only output what it's fed. The work it creates may be of better quality, more complex in texture and composition, more precise or more detailed but it can never build my characters because it doesn't know my characters like I do. I got curious and tried to use an AI image generator to see if I could make art with it and I could not. I have no idea how to input the fucking prompts in a way that makes something worth looking at and I lost the motivation to learn how to do so very quickly. As a creative outlet there was something so joyless about it. I felt like I was doing paperwork or coding and that's the shit I regularly get paid to do at my soul killing day job. I don't want to do it for fun. Also the intimacy was gone? I didn't feel like I was spending time with my creation and there was no sense of bringing something to life. None of the pleasure of watching a face take shape line by line and filling in the details until my character was looking back at me, imperfect due to the limitations of my skills but still fully realized and in some strange way "alive". Working with an AI generator felt so tedious. Even if I could learn how to use this tool and do it properly so that I get "better" looking results I don't want to. I feel so disconnected from the end product that I can't envision it ever bringing me any kind of fulfillment to make use of this tool. But I think, again, assuming it can be used ethically, as just another tool for making art it deserves to exist and be accessible to people who might enjoy using it to be creative. It's not the process or the software that's the issue, it's the way it's being abused and no amount of people trying to scare me with "AI could do it better than you" is going to frighten me away from preferring to draw by hand.
The point of art is not to be good, it's to create, it's to make something and to bring ideas to life. As much as I have my criticisms about AI I feel like a lot of the language used to condemn it presents a narrow view of what makes art "worthy" and it sets a goal post where none should exist.
Everyone should be allowed to create, and they should have access to whatever tools they are comfortable using and when we talk about AI vs Artists we should focus less on the quality and ease of use and more on the dilemma of using other people's work without consent and the potential for mass production of cheap and lazy products for profit from the entertainment industry at the expense of employing writers and artists.
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beautyblad · 1 year ago
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Exploring the Depths of Beauty: A Multifaceted Perspective
Beauty, a concept as old as time itself, has been a subject of fascination, contemplation, and artistic expression throughout human history. It transcends cultural boundaries and evolves with the shifting sands of societal norms. In this article, let's embark on a journey to explore the multifaceted nature of beauty and its profound impact on our lives.
I. Beauty in Nature: One cannot begin to discuss beauty without marveling at the wonders of the natural world. From the delicate petals of a blooming flower to the awe-inspiring landscapes that stretch across continents, nature embodies a captivating beauty that has inspired poets, artists, and philosophers for centuries. The harmonious symmetry found in a seashell or the vibrant colors of a sunset evoke a sense of wonder that transcends language and cultural differences.
II. Beauty in Art: Art serves as a powerful medium through which we interpret and celebrate beauty. Whether expressed through the strokes of a paintbrush, the chisel of a sculptor, or the arrangement of words in poetry, artists channel their perceptions of beauty into creations that resonate with the human soul. Beauty in art is subjective, allowing for diverse interpretations and fostering a rich tapestry of aesthetic experiences.
III. Beauty in Diversity: The human experience is a mosaic of diverse cultures, perspectives, and individuals. True beauty lies in the celebration of this diversity. Embracing differences, whether they be in appearance, beliefs, or traditions, adds depth to the collective human experience. A society that appreciates and cherishes its diversity reflects a beauty that goes beyond the surface.
IV. Beauty in Character: Beauty is not confined to physical appearances; it extends to the realm of character and inner qualities. Kindness, empathy, resilience—these virtues radiate a beauty that can transform individuals and communities. The genuine warmth of a smile or the strength of a compassionate heart leaves an indelible mark, showcasing a beauty that transcends the fleeting nature of external allure.
V. Beauty in Imperfection: In a world often preoccupied with perfection, there is a unique beauty found in imperfection. The Japanese philosophy of Wabi-Sabi, for example, celebrates the beauty of the imperfect, impermanent, and incomplete. Embracing the cracks and flaws in ourselves and in the world around us adds a layer of authenticity that enhances the overall beauty of existence.
Conclusion: Beauty, in all its forms, weaves a tapestry that enriches the human experience. From the grandeur of nature to the intricate details of art, the celebration of diversity, the depth of character, and the acceptance of imperfection, beauty manifests itself in myriad ways. As we navigate the complexities of life, let us open our hearts and minds to the ever-present beauty that surrounds us, waiting to be discovered and appreciated in its multifaceted splendor.
ream more beauty blog
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My group manifesto!
So my group and I decided to use visuals to illustrate our perceptions of the lessons subjectively. We juxtaposed drawings with quotes from lecturers and any other design languages. With how flexible and complex design is, we felt simple drawings and chosen quotes communicates clearer. I drew the design of the angry face with 'Design don't decorate'.
CTS B, it's needed at least for me. It's one of those modules that regulates me, the one place I love being even if I don't say it.
I chose this quote as it's most relevant. As long as I have been a designer It's difficult for me to detach from my process without keeping my discipline and humility, as much as becoming narrow-visioned and obsessed objectively and just being stubborn. The quote itself for David is just something I hear and begin to see the more reflect. And in a way design in itself presents itself to me, as an obstacle or a proving ground. My biggest obstacle in design frankly are my emotions. With how free and limitless it is as some lecturers put it, it's no wonder.
It is difficult in class at times, most of us being introverted or just shy, it's hard to brainstorm, discuss, debate, and wrestle in the process even though that's what I want the most because design deserves our best and the worst.
I can't think of a better outcome to showcase each one of us. Personally it's excels in its perfect imperfection. Neither of us are the same, let alone take ourselves seriously but for the 3 hours we were all about the manifesto.
I enjoyed the conversations with them more so than the drawings. In between the banter about topics were discussions of backgrounds, previous schools, siblings, interests, turn-off's, it was a conversation.
I value them.
I would enjoy doing a reworked version of a manifesto, I’d lean into podcasting.
I think long-form discussions about designing and the designers themselves speaks more than any other medium. Something similar to an Objectifs exhibition where we don’t have mere pre-recorded dialogue nor written information but the designers themselves in the flesh, so to speak. A roundtable discussion/open mic, with everyone having a pre-existing script. The audience learns to listen and the speaker learns to speak, ideally everyone learns something. It will elevate the activity or CTS B entirely, converting critical thinking into cirticial action. Calling out the comfortable, and making space for the subjugated. Design may not be for everyone but it certainly welcomes anyone.
Moreover these activities, when set alongside the other technical and sometimes dry curriculums can really give both us as students and lecturers a breath of fresh air. I have observed so many who struggle not just with work but struggle within themselves, it makes designing a point to prove rather than a playground. And many cease to exist as ‘ designers whom do design things’ as opposed to ‘designers whom things come from’. 
It is not so much about a feeling of empowerment, but more of understanding critical ACCOUNTABILITY, RESPONISBILITY, HUMILITY, even GRATITUDE. Allying myself with Jaygo’s stance towards the social requirements of a designer alongside his more utilitarian philosophy of our creations, CTS B can nurture and sharpen that humanity that design contains underneath the technicality, meticulouness and sheer grit.
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pamphletstoinspire · 7 years ago
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A LANDSCAPE WITH DRAGONS - The Battle for Your Child’s Mind - Part 3
A story written by: Michael D. O’Brien
________
Chapter III
A Child’s Garden of Paganism
Culture and the Search for Truth
Traditionally, the arts of man have been the medium in which his ideas about life are enfleshed, so as to be examined and understood more fully. In practically all cultures throughout human history, art has been intimately allied with religion, asking the great questions about existence:
“What is Man? Who am I? Why am I? Where am I? And where am I going?”
These questions may be expressed overtly or subconsciously but no one can gaze upon the works of an amazing variety of peoples and civilizations without recognizing that in depictions ranging from the primitive to highly sophisticated, the human soul strains toward an understanding of its ultimate meaning.
Cro-Magnon man crouching in the caves of Lascaux knew that he was something more than just a talking beast, though he would not have been able to articulate this awareness in modern terms. When he smeared charcoal and pigment on the stone walls, depicting the heaving gallop of deer and bison, he was performing a task that has rarely been surpassed for sheer style, beauty and purity of perception. This is a meeting between the knowable and the mysterious unknown, dramatized in the hunt—one creature wrestling for the life he would extract from the death of another. This is more than a news item about food gathering. This is more than a tale about filling the stomach. This portrait speaks to us across thousands of years with an immediacy that communicates the rush of adrenaline, terror, exultation, feasting, power, gratitude, and longing. Depicted here is the search for permanence, and also a witness to the incompleteness that greets us again each morning. This is a probing of the sensitive, mysterious roots of life itself. And the little stick men chasing the galloping herds across the wall are a message about where prehistoric man placed himself in the hierarchy of creation. That he could paint his marvellous quarry, that he could thus obtain a mastery over the dangerous miracle, must have been a great joy and: a puzzle to him. That he portrayed his quarry as beautiful is another message. The tale is only superficially about an encounter with raw animal power. The artist’s deeper tale is about the discovery of the power within himself—man the maker, man the artist! This was not prehistoric man watching primitive television. This was religion.
But primitive religion never stops at the borderlands of mute intuitions about mystery That mythical figure of the “noble savage” never existed, never was innocent. Because man is fallen land the world inhabited with evil spirits that wrestle for his soul, terror and falsehood have always played central roles in pagan religions. It would be impossible here to attempt even a rough outline of the horrors of early pagan cults, to describe their viciousness, the despair of their sacrificial victims, and their shocking synthesis of all that is dehumanizing and degrading in unredeemed human nature. We need mention only a few of the bloodthirsty deities — Moloch, Baal, Astarte, Quetzalcóatl, for example — to recall how very dark the pagan era was.
Man was created “in the image and likeness of God” (Gen. 1:26). Saint John Damascene once wrote that when man fell, he lost the likeness of God, but he did not lose the image of God. For this reason it remained possible, even before the corning of Christ, for man to search for the truth. Thus, as more complex civilizations arose and language and perceptions expanded, man began to reflect more upon the natural world and upon his own extraordinary nature. A kind of natural theology emerged, building upon what he perceived in the order of creation. In time he began to ask himself if the beauty and harmony he saw everywhere about him were pointing to something much higher than the things available to his senses. Thus was philosophy born—the search for truth, the search for wisdom. And though Greek religion never entirely shook off its “mystical” undercurrents (so similar to Indian mysticisms passion to escape the world of sense and suffering, the bodily existence that it saw as a wheel of torment), it gradually approached a less brutal though still imperfect reading of reality. Through Plato especially, the Greek mind turned away from the intoxicating world of appearance toward an other-world of idealized Forms. These eternal Forms, Plato taught, were the dwelling place of “the very Being with which true knowledge is concerned, the colorless, formless, intangible essence, visible only to the mind, the pilot of the soul” (Phaedrus). This was “true Beauty, pure and unalloyed, not clogged with the pollutions of mortality and all the colors and vanities of human life” (Symposium). A more idealized, more humane kind of paganism was emerging, though it still contained elements of life-denying escapism.
With only their intellects and imaginations to guide them, the classical Greeks arrived at an understanding that man does not create himself, nor does he create the world around him on which he depends. Life is a gift, and man owes a debt to the mysterious divine power responsible for it. They accepted that man is flawed and incapable of perfecting himself but believed that by adherence to the powers of reason and beauty he could approach the gods and share in their divine life. Thus, Greek art, preoccupied with embodying myths in harmonious forms, was the visual expression of Greek philosophy.
While the classical pagans were gradually coming closer to an approximate understanding of the shape of existence through natural law, God was drawing another people to that truth through pure revelation. The Hebrews, a small, despised race of Semitic nomads fully immersed in the hot spiritual swamps of the East, could: not yet avail themselves of the cool northern light of reason. They needed God’s direct intervention.
The sacrifice of Isaac was the seminal moment that inaugurated, and the image that represents, the rise of the Western world. It was a radical break with the perceptions of the old age of cultic paganism. When God led Abraham up the mountain of Moriah, he was building upon a well-established cultural pattern. Countless men were going up to the high places all around him and were carrying out their intentions to sacrifice their children. But God led Abraham by another way, through the narrow corridors of his thinking, his presumptions about the nature of reality This was not a typical pagan, greedy for power, for more sons, or for bigger flocks. This was an old man who by his act of obedience would lose everything. He obeyed. An angel stayed his hand, and a new world began. From then on, step by step, God detached him from his old ways of thinking and led him and recreated him, mind and soul. And thus, by losing everything; he gained all. God promised it. Abraham believed it. Upon this hinges everything that followed.
The Old Testament injunction against graven images was God’s long-term method of doing the same thing with a whole people tint: he had done in a short time with Abraham. Few if any were as pure as Abraham. It took about two thousand years to accomplish this abolition of idolatry, and then only roughly, with a predominance of failure. Idolatry was a very potent addiction. And like all addicts, ancient man thought he could not have life without the very thing that was killing him.
Idolatry tends in the direction of the diabolical because it never really comes to terms with original sin. It acknowledges man’s weakness in the face of creation, but it comes up with a solution that is worse than the problem. The idolater does not understand that man is so damaged at a fundamental level that occult power cannot heal him. Magic will not liberate him from his condition. It provides only the illusion of mastery over the unseen forces, the demons and the terrors, fertility and death. Ritual sex and human sacrifice are stolen moments of power over, a temporary relief from submission to. They are, we know by hindsight, a mimicry of divinity, but pagan man did not know that. He experienced it as power sharing, negotiating with the gods. To placate a god by burning his children on its altars was a potent drug. We who have lived with two thousand years of Christianity have difficulty understanding just how potent. God’s absolute position on the matter, his “harshness” in dealing with this universal obsession, is alien to us. We must reread the books of Genesis, Kings, and Chronicles. It is not an edifying portrait of human nature.
When God instructed Moses to raise up the bronze serpent on a staff, promising that all who looked upon it would be healed of serpent bites, he used the best thing at his disposal in an emergency situation, a thing that this half-converted people could easily understand. He tried to teach them that the image itself could not heal them, but by gazing upon it they could focus on its word, its message. The staff represented victory over the serpent, and their faith in the unseen Victor would permit the grace to triumph in their own flesh as well as in their souls. And yet, a few hundred years later we see the God-fearing King Hezekiah destroying Moses’ bronze serpent because it had degenerated into a cult object. The people of Israel were worshiping it and sacrificing to it. Falling into deep forgetfulness, they were once again mistaking the message for the One who sent it. The degree to which they were possessed by the tenacious spirit of idolatry is indicated by numerous passages in the Old Testament, but one of the more chilling ones tells of a king of Israel, a descendent of King Davids, who had returned to the practice of human sacrifice. The Old Testament injunction against images had to be as radical as it was because ancient man was in many ways a different kind of man from us. That late Western man, post-Christian man, is rapidly descending back into the world of the demonic, complete with human sacrifice on an unprecedented scale, is a warning to us about just how powerful is the impulse to idolatry.
The Incarnation and the Image
Jesus Christ was born into a people barely purified of their idolatry. Through a human womb God came forth into his creation. God revealed an image of himself, but so much more than an image—a person with a heart, a mind, a soul, and a face. To our shock and disbelief, it is a human face. It is our own face restored to the original image and likeness of God.
The Old Testament begins with the words, “In the beginning”. In the first chapter of John’s Gospel are the words of a new genesis.
In the beginning was the Word,  and the Word was with God, and the Word was God. . . . And the Word became flesh and dwelt among us.
Here we should note not only the content but the style. The text tells us that Jesus is man and that he is God. But it does so in a form that is beautiful.
Because the Lord had given himself a human face, the old injunction against images could now be reconsidered. Yet it was some time before the New Covenant took hold and began to expand into the world of culture. Jewish Christians were now eating pork and abandoning circumcision. Paul in Athens had claimed for Christ the altar “to the unknown God”. Greek Christians were bringing the philosophical mind to bear upon the Christian mysteries. Roman converts were hiding in the catacombs and looking at the little funerary carvings of shepherds, seeing in them the image of the Good Shepherd. Natural theology began to flower into the theology of revelation. Doves, anchors, fish, and Gospel scenes were at first scratched crudely in the marble and mortar, then with more precision. Hints of visual realism evolved in this early graffiti, but it took some generations before these first buds of a visual art blossomed into a flowering culture. That it would do so was inevitable, because the Incarnation was Gods radical revelation about his divine purposes in creation. Christianity was the religion of the Eucharist, in which word, image, spirit, and flesh, God and man, are reconciled. It is the Eucharist that recreated the world, and yet for the first two centuries the full implications were compressed, like buried seed, waiting for spring.
When the Edict of Milan (A.D. 313) liberated the Church from the underground, an amazing thing happened: within a few years churches arose all over the civilized world. As that compressed energy was released, the seed burst and flowered and bore fruit with an astonishing luxuriance in art and architecture. The forms were dominated by the figure of Christ, whose image was painted on the interior of church domes—the architectural dome representing the dome of the sky, above which is “the waters of the universe”, above which is Paradise. This was no longer the little Roman shepherd boy but a strong Eastern man, dark, bearded, his imperial face set upon a wrestler’s neck, his arms circling around the dome to encompass all peoples, to teach and to rule “the entire cosmos. He is the “Pantocrator”, the Lord reigning over a hierarchical universe, enthroned as its head — one with the Father-Creator and the Holy Spirit. His hands reach out to man in a gesture of absolute love and absolute truth. And on these hands we see the wounds he bears for us.
This is religion. This is art. This is culture. It is a powerful expression of the Christian vision of the very structure of reality itself. Because of the Incarnation, man at last knows his place in the created order of the universe. Man is damaged, but he is a beloved child of the Father. Moreover, creation is good, very good. It is beautiful, suffused with a beauty that reflects back to him who is perfect beauty. It is permeated by grace, the gift of a loving Creator. From this time forward material creation can never again be viewed with the eyes of the old pagan age. It is Gods intention that matter is neither to be despised, on the one hand, nor worshiped, on the other. Neither is it to be ignored, suppressed, violated, or escaped. “All creation is groaning in one great act of giving birth”, says Saint Paul (Rom. 8:22). Everything is to be transfigured in Christ and restored to the Father. Man especially is to be restored to the original unity that he had “in the beginning”.
The New Gnosticism
Man is free to refuse grace. When he does so, he inevitably falls back into sin and error. But because he is a creature of flesh and spirit, he cannot survive long without a spiritual life. For that reason whenever he denies the whole truth of his being, and at the same time rejects the truth of the created order, he must construct his own “vision” to fill the gaping hole within himself. Thus, because the modern era by and large has rejected the Christian revelation and its moral constraints, we are seeing all around us the collapse back into paganism. There are countless false visions emerging, but among the more beguiling of them is the ancient heresy of Gnosticism, which in our times is enjoying something of a comeback. Its modern manifestation has many names and many variations, including a cold rationalist gnosticism (science without conscience) that claims to have no religious elements whatsoever.1 But the more cultic manifestations (their many shadings number in the thousands) can be loosely grouped under the title “New Age Movement”. In order to understand its power over the modern mind we need to examine its roots in ancient Gnosticism.
Gnostic cults predate Christianity, having their sources in Babylonian, Persian, and other Eastern religions, but they spread steadily throughout the Middle East and parts of Europe, corning to prominence during the second century A.D. By the latter half of the third century, their power was in sharp decline, due in no small part to the influence of the teachings of the early Church Fathers, notably Saint Irenaeus. Irenaeus links the Gnostics to the influence of the magician Simon Magus, mentioned in Acts 8:9, where Saint Luke says that Simon “used sorcery, and bewitched the people of Samaria”. This same Simon offered money to the apostles in an attempt to buy the power of the Holy Spirit. When he was rebuked by Peter, he apparently repented, but second-century sources say that his repentance was short-lived and that he persisted in the practice of magic. Early Church writers refer to him as the first heretic; Irenaeus and others call him the father of Gnosticism.2
The Gnostics continued to have influence until the eighth century and never entirely disappeared from the life of the Western world. Strong traces of Gnosticism can be found in the great heresies that plagued the early Church, in Manichaenism (a cult to which Saint Augustine belonged before his conversion), in kabbalism, medieval witchcraft, occult sects, Theosophy, Freemasonry, and offshoots of the latter.
Gnosticism was in essence syncretistic, borrowing elements from various pagan mystery religions. Its beliefs were often wildly contradictory. For example, some Gnostic groups were pantheistic (worshiping nature as divine), and others, the majority, were more strongly influenced by Oriental dualism (that is, the belief that material creation is evil and the divine realm is good). Despite these confusing differences, they shared in common the belief that knowledge (from the Greek word gnosis) was the true saving force. Secret knowledge about the nature of the universe and about the origin and destiny of man would release a “divine spark” within certain enlightened souls and unite them to some distant, unknowable Supreme Being. This Being, they believed, had created the world through Seven Powers, sometimes called the Demiurge. The initiate in the secret knowledge possessed a kind of spiritual map that would guide him to the highest heaven, enabling the soul to navigate the realms of the powers, the demons, and the deities who opposed his ascent. If the initiate could master their names, repeat the magic formulas and rituals, he would by such knowledge (and sheer force of his will) penetrate to the realm of ultimate tight.
Superficially, Gnosticism resembles the Christian doctrine of salvation, but the spirit of Gnosticism is utterly alien to Christianity. The two are fundamentally different in their understanding of God, man’s identity, and the nature of salvation. Cultic gnosis was not, in fact, a pursuit of knowledge as such; it was not an intellectual or scientific pursuit, but rather a supposed “revelation” of hidden mysteries that could be understood only by a superior class of the enlightened. In a word, it was “mystical”. But this mysticism could never come to terms with material creation in the way the Christian faith had. Even the “Christian” Gnostics found it impossible to reconcile their concept of salvation with a historical redeemer, nor could they accept the resurrection of the body. They could only attempt a crude grafting of the figure of Christ into their mythology. In their thinking, Jesus was no more than a divine messenger who brought gnosis in a disguised, symbolic form to simple-minded Christians. The Gnostic Gospel, they believed, was the unveiling of the higher meaning. They were the first perpetrators of the idea that “all religions are merely misunderstood mythologies” — a catchphrase that in our own times has hooked large numbers of New Age devotees, agnostics, and even some naive Christians.
G. K. Chesterton, who was involved briefly with the occult during his youth and later became one of this century’s greatest apologists for the faith, understood the powerful seductions of counterfeit religion. The new heretics, he maintained, were not for the most part purveyors of bizarre sects; they were rather fugitives from a decaying Protestant liberalism or victims of the inroads made by Modernism into the Catholic Church. They were groping about in the dark trying to strike lights from their own supposed “divine spark”, and the effort could appear heroic. The exaltation of the rebel against organized religion, Chesterton knew, was really a romantic illusion. At the time he wrote his book Heretics (published in 1905), the illusion did not appear to be a widespread evil, but he foresaw that it would be the breeding ground for an apostasy that would spread throughout the entire Western world. Each succeeding generation would be fed by a large and growing cast of leading cultural figures who rejected Christianity and made disbelief credible, even admirable. Chesterton understood that culture is a primary instrument of forming a people’s concept of reality. And he warned that when shapers of culture slough off authentic faith, they are by no means freed to be objective. They merely open themselves to old and revamped mythologies. When men cease to believe in God, he observed, they do not then believe in nothing; they will then believe in anything.
Chesterton prophesied that the last and, greatest battles of civilization would be fought against the religious doctrines of the East. This was an odd prophecy, because at the time the influence of both Hinduism and Buddhism was minor, and devotees of the European occult movements were few in number. Yet within a century we find a great many people in the arts, the universities, the communications media, psychology, and other “social sciences” exhibiting strong attraction to, and promoting pagan concepts of, the cosmos. During the past three decades these ideas have flowed with great force into the mainstream of Western culture, surfacing in all aspects of life and even invading Catholic spirituality. One now sees among professed religious, clerics, educators, and lay people a persistent fascination with Jungian psychology, which is based in no small part on Hinduism and ancient Gnosticism. Those who are in doubt of this should read Carl Jung’s autobiography, Memories, Dreams, Reflections, which includes a section of Gnostic reflections titled “Seven Sermons to the Dead”, written when he was in his early forties. Consider also the following passage from his later work The Practice of Psychotherapy: “The unconscious is not just evil by nature, it is also the source of the highest good: not only dark but also light, not only bestial, semihuman and demonic, but superhuman, spiritual, and in the classical sense of the word, ‘divine’.” That Christians give this pseudo-scientific theorizing credibility is symptomatic of grave spiritual confusion. We should not be surprised that many people immersed in Jungianism are also attracted to astrology, Enneagrams, and other “mystical” paths that promise self-discovery and enlightenment. That large numbers of Christians now seem unable to see the contradiction between these concepts and orthodox Christianity is an ominous sign. The new syncretism has been romanticized as the heroic quest for ultimate healing, ultimate unity, ultimate tight — in other words, esoteric “knowledge” as salvation.3
Many Christians are becoming Gnostics without realizing it. Falling to the primeval temptation in the garden of Eden: “You shall be as gods, knowing good and evil”, they succumb to the desire for godlike powers, deciding for themselves what is good and what is evil. The error of Gnosticism is that knowledge can be obtained and used to perfect oneself while circumventing the authority of Christ and his Church. Using a marketing technique that proves endlessly productive, Satan always packages this offer with the original deception, by proclaiming that God and the Church do not want man to have knowledge because it will threaten their power and by asserting that God is a liar (“You will not die”). Authentic Christianity has no quarrel with genuine science, with the pursuit of knowledge for good ends. But because the Church must maintain the whole truth about man, she warns that unless the pursuit of knowledge is in submission to the pursuit of wisdom, it will not lead to good; if it is divorced from God’s law, it will lead to death.
A people cut off from true spiritual vision is condemned to a desolation in which eventually any false spiritual vision will appear religious. Man cannot live long without a spiritual life. Robbed of his own story, he will now listen to any He that is spun in a flattering tale. This is one of the long-term effects of undermining our world of symbols. It is one of the effects of assuming that ideas are mere abstractions—a very dangerous misconception, as the tragic events of our century have proved so often.
Recently, a young artist showed me her new paintings. She is an intelligent and gifted person, and the work was of high quality, visually beautiful. With particular pleasure she pointed out a painting of a woman with dozens of snakes wriggling in her womb. It was a self-portrait, the artist explained. Judaism and Christianity, she went on to say, had unjustly maligned the serpent. And in order to rehabilitate this symbol, it was necessary to take the serpent into her womb, to gestate it, and eventually to bear it into the world as a “sacred feminine icon”. I pointed out thai the meanings of symbols are not merely the capricious choices of a limited culture. We cannot arbitrarily rearrange them like so much furniture in the living room of the psyche. To tamper with these fundamental types is spiritually and psychologically dangerous because they are keystones in the very structure of the mind. They are a language about the nature of good and evil; furthermore, they are points of contact with these two realities. To face evil without the spiritual equipment Christianity has given us is to put oneself in grave danger. But my arguments were useless. She had heard a more interesting story from a famous “theologian”.
This is one of the results of forgetting our past. The record of salvation history in the Old Testament is primarily about the Lord’s effort to wean man of idolatry and to form a people capable of receiving the revelation of Jesus Christ. It was a long, painfully slow process marked by brilliant moments and repeated backslides into paganism. It bears repeating: when Hezekiah inherited the throne, smashed the pagan shrines, and broke up the bronze serpent that Moses had made, the people of God had for centuries already seen abundant evidence of God’s authority and power. What had happened to them? Why did they have such short memories? Was Hezekiah overreacting? Was this a case of alarmism? Paranoia, perhaps?
The bronze serpent, after all, had been made at God’s command. Hezekiah’s act must be understood in the context of the fierce grip that the spirit of idolatry had over the whole world. The people had succumbed to the temptation to blend biblical faith with pagan spirituality. They had forgotten the lesson learned by their ancestors in the exodus from Egypt:
When the savage rage of wild animals overtook them, and they were perishing from the bites of writhing snakes, your wrath did not continue to the end. It was by way of reprimand, lasting a short time, that they were distressed, for they had a saving token to remind them of the commandment of your Law. Whoever turned to it was saved, not by what he looked at, but by you, the universal savior. . . . And by such means you proved to our enemies that it is you who deliver from every evil. . . . For your sons, not even the fangs of venomous serpents could bring them down; your mercy came to their help and cured them. . . . One sting — how quickly healed! — to remind them of your utterances, rather than, sinking into deep forgetfulness, they should be cut off from your kindness. - Wisdom 16: 5-12
What has happened to the people of our times? Why do we have such short memories? It is because over-familiarity and the passage of time blur the sharp edges of reality. Minds and hearts grow lax. Vigilance declines. Again and again man sinks into deep forgetfulness. Serpents and dragons are now tamed like pets by some, worshiped by others. The writer of the book of Revelation has something to say about this. He reminds us with a note of urgency that we are in a war zone. Every human soul is in peril; our every act has moral significance. Our danger increases to the degree that we do not understand the nature of our enemy. Saint John wrote us a tale drawn from a vision of what will come to pass on this earth and in our Church. It was given in a form that can be imparted to the soul of a child or to those who have become as little children, but not in a form that can be mastered by those who fail to approach it with reverence. In chapter 12, John tells us that a dragon has a passion to devour our child:
A great sign appeared in the sky a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars. Because she was with child, she cried aloud in pain as she labored to give birth. Then another sign appeared in the sky: it was a huge dragon, flaming red, with seven heads and ten horns; on his head were seven crowns. His tail swept a third of the stars from the sky and hurled them down to the earth. Then the dragon stood before the woman about to give birth, ready to devour her child as soon as it was born.
The early Church Fathers taught that this passage has a twofold meaning: on one level it refers to the birth of Christ; on another it refers to the Church as she labors to bear salvation into the world. This child is, in a sense, every child. The Church is to carry this child as the image of God, transfigured in Christ, and to bring him forth into eternal life. She groans in agony, and the primeval serpent hates her, for he knows that her offspring, protected and grown in her womb, will crush his head.
________
1 This is a false claim, because some scientific theories exhibit the qualities of religious myth and Sanction that way in the thought of many supposedly objective minds, For those interested in learning more about this trend, I suggest five scholarly studies: Eric Voegelin’s Science, Politics, and Gnosticism and his The New Science of Politics, Thomas Molnar’s The New Paganism, Wolfgang Smith’s Cosmos and Transcendence and his Teilhardism and the New Religion, While all these books are a useful contribution to the study of Gnosticism, they are not of equal merit. The latter two tides are unencumbered by certain presumptions that mat the first three.
2 See A Dictionary of Biblical Tradition in English Literature, ed. David Lyle Jeffrey (Grand Rapids, Mich.: Eerdmans, 1992), p. 714.
3 Readers who wish to learn more about this tragic development should read Fr. Mitchell Pacwa’s Catholics and the New Age (Ann Arbor, Mich.: Servant Publications, 1992).
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suteandsops · 4 years ago
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October 2020
Dark Study Application: Please tell us about yourself.
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(1) How do you see your practice benefiting from our program’s general mission? Why does it resonate with you at this point in your life?* (546 Words)
Within the span of last three years, my own worldview has been swiftly transitioning from wanting meritocratic institutional amplifiers and then seeking mentorships from the individual gatekeepers of these competitive fields and now to surround myself with a certain kind of community that is both inclusive and intimate enough to creatively employ our collaborative resistance and existence. All of these continuous transitions are both riddled with the baggage of spiritual taxations and the appeal of inspiring alternatives.
Just as the admits to theories and practices housed within western institutions personally render to me as impractical and confining, I am also now being introduced to the idea of Dark Study here on the internet as a radical alternative whose ideology goes beyond simply responding to the ongoing COVID realties. As I feel excluded from the concerns, theories and practices of the land I belong to, I also feel removed from economic and cultural possibilities of inclusion in neoliberal western institutional settings I am invited into. In complete contrast to this, Dark Study here appears to promise a global assimilation in its community which specifically takes down the economic barriers on these gateways. Perhaps, I never encountered a community more welcoming. In the institutional choices available to me both globally and domestically as a dalit lower caste person in an increasingly hegemonic upper caste hindu rule in seemingly the biggest functioning democracy in the world, I have often either self-excluded or felt excluded. This very exercise of submitting my essays with an intention to get my self-selection for The Dark Study program validated helps me against the accumulated anxiety and helplessness so far.
With a clear hope to accumulate social capital through western access and validation, I once had romanticized the idea to fetch political power and cultural attention to the dalit lower caste sections of the society I come from. Just as I started to discover the neoliberal shortcoming and hypocrisies, I started to question my own spiritual strength in an art culture in the larger society that was anyway increasingly punishing and exclusionary to the experiences I wanted to articulate. With economic fragility and lack of access to a community with similar goals and experiences, I currently feel an affinity towards marxist unification of a worker and an artist in a person. All of us are artists anyway and all of us need to work. My such interpretation of a cuban filmmaker by Julio García Espinosa’s reflections on an imperfect cinema is currently asking me to seek a regular day job in this capitalist setting and express myself in the evenings. My current work is a product of intimate gaze through a self-compassionate lens on the psychological complexities produced within a familial setting that is informed by socio-political histories and surroundings. My art is primarily an expedition within the self and which is why a capitalist mind may render my art as non-work. Just as I continue to grapple with the material equations to facilitate my future as a dedicated artist in isolation, I also feel blessed to witness Dark Study as a promising community in the making to host and inspire creative alternatives. Within the fraternity shelters of Dark Study, I anticipate it would be less lonely and less jarring to study for alternative solutions.
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(2) We are hoping to build a rich virtual community. What do you seek from an online community, and how have you been living online? How do you see yourself helping to build community within this learning platform?* (419 Words)
I see myself as a part of the section that creates and consumes art primarily in digital forms. The Internet as a gallery promised me a democratic space with universal access when I had just started expressing online. My practices evolved and changed as the internet evolved and changed over the last five years. But these practices and evolution were largely at the mercy of social media platforms. Though the attention span these social media platforms offer to our expressions are limited, the durability in the form of a permanently accessible online record was nonetheless motivating in the culture of solitary art making. The Internet’s potential as a language and technology in itself recently started to interest me to further look at it as a primary medium for creating expressions. Web Development and Processing Coding Language are my newly picked up self-education assignments. I intend to patiently acquire skills and practice Internet based interactive web pages as a medium for my expressions.
Knowledge creation as a rigorous individual process in an essentially collaborative pursuit is my idea of communal cultures that is also not exclusionary in the guise of meritocracy. I have never had an experience of being a part of an artistic or political community yet. Dealing with anxieties and loneliness often swindled my priorities, influenced my decision making process and limited the scope of my study. A community, bonded through similar set of values and experiences yet fostering diversity in approaches and positions, promises a pool of cognitive and knowledge resources to share. At Dark Study, I anticipate a formation of such community where I could get inspired and informed about media, technology and coding avenues and also share my own political growth as a lower caste dalit person. 
I see The Dark Study community as a possible alternative for kinship as well. Dark Study with its commitment to diversity and inclusivity, can also evolve into an active kinship that amplifies the process of healing and the courage for resistance. To be a part of such communities and to collectively find ways for replicating and reproducing many of these experiments with their own autonomy to reshape and repeat, wasn’t as inviting as it is with the promise in the potential of Dark Study. Yet, even with these preformed ideas, I am still indefinite and unclear with curiosities about how I see myself interacting within this community. I currently see these interactions and relationships shaping themselves with the future experiences they decide to remember and to reflect upon.
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(3) Please tell us a different version of “your story”, your alternative biography, as it relates to your creative development. This can include your access to - or exclusion from - opportunities, your relationship to institutions, and your class position. For example, what was your first experience with labor and compensation - hidden or unseen, paid or unpaid - of any form? Our aim, here, is to understand how these assembled life experiences shaped your attitude towards both education and art, and further, would inform your work in Dark Study. (Please take a look at "People" on darkstudy.net for an example of what an alternative biography might look like.)* (991 Words)
I identify myself as a visual artist who has been using digital media to reflect on relationships in his life through an intimate lens to recognize and heal through traumas induced by intergenerational, casteist and patriarchal residues. My ongoing studies involve understanding the psychological complexities that inform the replication of interpersonal relationship patterns in socio-political contexts, learning to use digital media with internet infrastructure to create-curate accessible technophilic content and finding ways to economically support-sustain practices. 
I also happen to hold two engineering degrees from one of the most prestigious institutes in my country. The honeymoon days of this meritocratic dream couldn’t always distract me from the mental illnesses that had just started to show up in my small nuclear family. My mother’s paranoid schizophrenia, my father’s depression and my own bad performance in my college bagan their own triangular dance steps around that time. I wasn’t cognizantly equipped to get to the roots of this at the time, but I started to express myself through abstract and cryptic graphic designs. Both the shame and ignorance, about intergenerational trauma and internalized caste dynamics within the family which was also a part of larger society that stays in the denials of casteist and patriarchal influences, convoluted my process to seek articulation and healing. 
Soon after my parents and I began receiving medical attention for the mental illnesses we all had slipped into after years in ignorantly replicating interpersonal traumas, we all also began to heal and repair our familial bonds. Around the same time, I had decided to continue my interest in documentary photography once I finish my engineering degree. Our family, which had just started to recover from long ignored mental illnesses, felt triggered once again because of my wish to change my career path. Both my parents are first generation college attendees. My father’s job as a school teacher broke the poverty cycle. As I was growing up in an Indian village in a lower caste community, my mother, who’s also a housewife, decided to bring me to a town in the hopes of providing me with better education opportunities. With the new spatial privilege and exposure from a town, I was able to further capitalize on the progress made by my parents and continue a shallow relentless pursuit of meritocratic validation. I had earned a place in the most elite engineering institute in the country and letting that rare privilege go ‘waste’ was very upsetting for my parents who were still struggling with the present and past of social imprisonment. Yet, while I was informing myself with the problematic histories of colonial gaze as a part of my self-education to learn documentary photography, I had started to discover possible analogies between racial divide in global context and caste divide in indian context.
Around the same time I was being exposed to the history of black american photographers and their relationship with their own community within the american context. My interests in black scholarship and black feminism had already started to provide me with vocabulary to articulate my own experiences with caste and class in indian context. Photographs by Gordon Parks and Deana Lawson and words of Fredrick Douglass and Sarah Lewis started to influence and motivate my documentary work very deeply. Their language of compassion and grace overwrote my previous ambitious make to do ‘big’ in photojournalism. Around the same time, I started to revisit the indian scholarship on caste and dalit lower caste literature. Dr B R Ambedkar, who is also a contemporary of Dr W E B Du Bois, though his writings, inordinately helped me repair and reclaim my self-esteem. After being introduced to the photographs by Carrie Mae Weems and words of Ta Nehisi Coates along with the self-awareness from a social lens once again radicalized me. I started to feel like I might have been using my interest in documentary photography as proxy mourning for the intergenerational mourning I had denied myself.
I had started to turn my camera towards my own family as I continued to read Dr Ambedkar and Bell Hooks. I started to visually record, rewatch, analyze and discuss my relationship with my parents (Digambar and Alka) and my then-partner (Pallavi), through the newly honed insights from my readings. This is also when my visual documentation motivated and helped me understand how our interpersonal spaces too are influenced by each of our individual intergenerational traumas within the larger casteist patriarchal world. With the similar compound lens of psychoanalysis and socio-political understanding, I started to make and see the textures of compassion and grace in my friendships beyond my kin and community through my other bodies of visual work. Currently, I am emotionally grappling with the ways to visually represent the gulf, a possible result of the difference in the ways we make sense of our personal and social positions, between me and my father.
First, I had applied for a Documentary Practice and Visual Journalism program at the International Center of Photography. I received an admit but soon realized that I may not completely avail domestic or international scholarships to make this admit a reality. Soon, my visual interests in photography had already started to shift from documenting to expressing. So, the next year, with a complete shift in my practice and intent, I reapplied at the International Center of Photography for MFA program instead. I received the admit, but both the program and scholarship opportunities stay suspended this year owing to the pandemic. As the economic anxiety to sustain and support my artistic curiosities anyway becomes my largest preoccupation lately, I also feel the need to reinvent my language and medium to coding for visuals and web development for digital curations. With a little hope left to make the access to western institutional support economically possible, I am now looking for alternative support without these economic barriers. Writing this application for Dark Study is part of responding to such rare opportunities.
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eddiecowell · 5 years ago
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APP DEVELOPMENT VS WEB DEVELOPMENT COST
In the age of digital, establishing an application or website could be one faster way to approach a larger number of potential customers. However, is your corporation are well afford the prices? Let’s take a look over the app development vs web development cost below.
APP DEVELOPMENT COST
When you began to develop an app, you can’t expect your software development company to tell you about the app development cost estimate right off the bat. there’s no rate list for the applications’ development and everything depends on various factors. Surely before you’ll be sent a bill, the team of developers will estimate what percentage hours were required to implement your specifications. Still, the foremost significant factors influencing the average app development cost are:
Features and functionality
Customization of visual design
Platforms
Backend infrastructure and app administration
Location and structure of a development team
App maintenance costs
Well then, it is time to get what features influence the complexity of the entire app. As we mentioned before, implementation of some features are often significantly lengthy, while others are relatively short and straightforward. Depending on the complexity of solutions, developers got to use third-party API or code from scratch. Simpler solutions, in turn, require standard instruments and have interaction native features.
Let’s take a glance at the approximate development time and price required for basic features then move forward to more complex ones.
  1.Visual Design Customize
Creating a singular interface design may be a complicated deed that gives additional expenses to your project. The cheaper variant suggests using OS-supplied items and building screens of ordinary elements. The number of screens is additionally a determining factor.
2. Platforms
Are you thinking of making an iOS app? Maybe your app is supposed to figure on Android OS as well? So, you ought to know the value to make Android and iPhone apps. Making a choice on which platform to start out from, app owners attempt to take into consideration such factors as iOS and Android market share, device fragmentation and prevalence, but the foremost meaningful is that developing mobile applications for these platforms differs greatly. These platforms take over different programming languages, have different SDKs and utilize different development tools.
The question comes up: is there any price difference in developing apps for iOS or Android? Actually, no. Just in case you’re creating an app for one platform, there’s no significant price discrepancy within the costs of making Android and iOS apps. But if you would like your application to support two or more platforms, prepare to pay extra money for development.
3.Backend Infrastructure and App Administration
In mobile application development, the backend is generally an OS that gives developers with APIs to supply data exchange between an app and a database. So as to track user activity and assess the performance of your consumer app, it’s equipped with analytics. Counting on the number of parameters you’re getting to track and the way detailed and specific the tracking is going to be, costs vary.
The administration panel is unquestionably a really useful gizmo for managing app content, users and statistics. There are options to adapt existing admin panel templates for your needs, but finding an honest one may be a problem. So it is sensible to make an adequate panel to satisfy your business requirements.
4. Location and Structure of a Development Team
As mentioned earlier, the situation of your app development team may be a vital factor influencing the product’s final price. the value of making an app within the UK will differ from the value of app development within the US and other regions.
Now, let’s determine who are the members of the event team.
a. Business Analyst
A Business Analyst is a person responsible for the following:
Gathering requirements
Identifying tech and business problems
Analyzing competitors
Defining project value
Writing project specification
b. UI/UX designer
The designer’s responsibilities include:
Analysis of similar applications
Analysis of user preferences and pains
Creation of wireframes
Creation of final design.
c. Mobile app engineer
Their main task is to build and publish the application considering all the tech and business peculiarities described in the specification.
d. QA engineer
Quality Assurance engineers check the application’s stability performing regression, load, smoke, and other types of tests. They also check the UI and other app components for compliance with the specification.
e. Project Manager
Project Managers coordinate the work of the entire team and make sure the product will be ready in time and comply with all the requirements.
  5. Cost of Maintaining an App
One of the last points to consider is how much does it cost to maintain an app. In many cases, the app maintenance cost may account for 15% to 20% of the original price of development.
Maintenance includes the following:
Continuous bug fixing
Improving stability and performance
Code optimization
Adding support for latest OS versions
Developing new features
Supporting the latest versions of third-party services
  II. WEB DEVELOPMENT COST
1. General web development cost
The average web application development cost starts from $3,000 and reaches 250,000+. Quite a gap, right? All because custom apps come with custom requirements, so there’s no magic wand for uncovering the price. But to show how the development price is calculated, we’ve roughly estimated three categories of applications by their complexity.
a.Simple web
These are websites with a basic set of functions, landing pages, and simple online stores. Minimum content and interactive elements – minimum development time (up to a month).
Web application cost: $3,000-15,000.
  b. Medium applications
Pro-level web apps are more challenging to build, and they often contain interactive pages and lots of content. That’s why their development takes up to 3-4 months. These are:
e-commerce websites
prototypes of Internet portals
web apps for small companies
Cost: $15,000-55,000
  c. Complex applications
Custom web apps come with exclusive CMS, well-thought-out design, and thus a high level of complexity. They’re often aimed at profit-making or help with automating regular business processes. The development of complex web applications takes up to 6 months of work.
Cost: $55,000-250,000+
What Factors Affect Web App Pricing?
So why a web app development company – even a large and well-experienced one – can’t tell the sum just by hearing out the idea? Time to check what actually influences web app development cost, and why a plain idea is rarely enough.
a.Scope of Work
The very very first thing influencing the value is that the app’s functionality. It matters whether you’re building an easy online store, a web brochure, or a singular and sophisticated system like hotel management software. Is it a standalone solution or third-party integrations (payment systems, GPS navigation, etc.) are the must-haves?
Various APIs, databases, hosting, mobile compatibility – the more sophisticated the online app is, the longer it’ll fancy develop and thus the more it’ll cost.
And don’t ditch the code quality. If the team of developers works with very strict deadlines, they could not have enough time for writing clear and high-quality code. during this case, each bug and imperfection will begin in time.
Finally, mind that project requirements are rarely carved in stone. they’ll change over time bringing new features and style elements as your audience grows. And it, again, affects the general web application price.
b. Сomplexity of UI/UX Design
Same here: if you select to go for custom UI/UX design services, be able to pay more. And the way far more depends on its complexity, number of elements, animations, etc. Besides, app interfaces shouldn’t only be unique but eye-pleasant, intuitive, and convenient to use too. Both designers and web app developers need time to bring all that to life, ensuring the seamless performance of every part of the app.
Sure, there are many ready-made design templates that cost two bucks. But uniqueness is very desirable when it involves custom products. What’s more, if you employ one among the well-worn designs, you’re putting in danger your brand’s reputation and recognition. Not standing out here means to not be noticed.
c. Business Niche
It matters which project you select and the way complex it seems to be. as an example, if you’re building another online store or web journal, you’ll expect lower web app development pricing.
Projects like those don’t require special knowledge and skills, in order that they are comparatively cheap. But unique and sophisticated suites are entirely different. These cannot be built without experienced and highly qualified developers plus thorough management expertise. And these two resources are of most value within the world of web development.
d. Developers’ Location
Offshore development is often cheaper than local. In the USA, Canada, and Australia an hour of software development costs from $80 to $250 – the highest rate in the world.
For example, according to Clutch, in the UK there are plenty of firms that provide web development services for $50-99/per hour. And Eastern Europe offers rates twice as low – an hour of web development costs $20-50 in Ukraine or Belarus.
If your corporation is considering making an application or website, and in need of a professional consultant, ten-year Magento experienced CO-WELL Asia is full-time available to solve the problem.
        Bài viết APP DEVELOPMENT VS WEB DEVELOPMENT COST đã xuất hiện đầu tiên vào ngày Cowell Asia.
source https://co-well.vn/en/tech-blog/app-development-vs-web-development/
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philiprafael · 7 years ago
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Light and the Oriental Cultures
[originally published in the ILP Lighting Journal, April 2012]
All built elements and environments have a human nature to it. They are in a way an extension of us and as such, can have human or emotional qualities to them. These qualities only exist in the human mind but none the less, they are important to understanding how people relate to their built environment.
As such, our cultural background has a significant influence on how we see and understand light. This influence is difficult to perceive and many times can only be achieved by comparison to other cultures that differ from ours.
I many times look at the oriental culture as a counter reference to my western upbringing and in my research, I have found that what is often described as ‘oriental culture’ is (not surprisingly) far more complex with a variety of different cultures within it. A good example of this can be found by simply comparing the Chinese and Japanese cultures, both are very different and as such have a different understanding of light and light design.
The Chinese culture is significantly influenced by the Tao philosophy. Taoism is a complex philosophy that is intrinsically related to Yin and Yang (a concept of how the world is built on equal polar forces) but also emphasizes on the tangible and intangible qualities of the universe. In ‘The Tao of Architecture’, Amos Ih Tiao Chang describes the tangible and intangible of architecture as the qualities that relate to its formal and functional language. He explains how its tangible qualities are the formal language to which we relate to, while its intangible qualities such as void are deeply connected to its functional existence.
‘Moulding clay into a vessel, we find utility in its hollowness; Cutting doors and windows for a house, we find utility in its empty space…’.in The Tao of Architecture
The Japanese culture is influenced by the Zen philosophy. Focused on experimental wisdom, it gives insight into one's true nature and searches for what the Japanese often refer to as the emptiness of our inherent existence, opening a path to a liberated way of living. Such emptiness tends to be related to some form of detachment from the superficial.  Although its origins derive from Chinese Buddhism, in Japan it becomes significantly more focused on individuality and beauty. Another differing aspect is the Japanese Ensō. Represented by a circle, ones Ensō represents his true self and differs according to ones’ state, it may be an incomplete or complete circle, have a strong or thin brush stroke. There is no perfect Ensō and to be in Zen is to be at peace with ones’ imperfect self.
This subtle difference between the perfect balance of Yin and Yang with the imperfection of ones Ensō is enough to have a significant influence on how these two oriental cultures see and understand light.
Despite the balance that the Yin and Yang concept claims for, for the Chinese, light does not seem to be part of this equation. It seems that for them, light is a medium to represent their perfect society, a society that over shines the imperfect individual. Light is seen as a single element which purpose is to assist the whole to shine bright demonstrating success.
The Japanese on the other hand search for individual harmony, aspiring to beauty and accepting one's imperfection as beautiful. Japanese Light Designers search for a sober balance of light and shadow, seeing them both as an essential part of beauty. In ‘In Praise of Shadows’, an essay on Japanese aesthetics, Junishiro Tanazaki describes “...the beauty of a Japanese room depends on a variation of heavy shadows against light shadows…”. Mainly focused on beauty, Junishiro claims for a need of shadow as beauty is also what one cannot see, “…the person who would shine a hundred-candlepower light upon the picture alcove, drives away whatever beauty may reside there”.
The Western culture varies greatly from the oriental cultures and as them, we are equally diverse. However, when it comes to light we tend to have a pragmatic approach. For the Westerner, progress is crucial and for that, we seek individual success in order to triumph collectively. Light tends to be seen as a mean to that end - a tool that allows us to extend our activity and increase efficiency - this is why we are so focused on lighting for the task. This functionalisation of light has resulted in a widespread standardisation to ensure that we all can be individually efficient. The diffusion of standards may also be why Western cultures find fewer differences in our understanding of light when compared to our Oriental neighbours.
Despite our pragmatism and standardisation, our cultures are still diverse. We only need to look at the variety of our city centre lights to understand this, the romantic variety of Paris and the Eifel tower compared to the Scandinavian love for long but sober light and shadow from the low sun. Our understanding of light is definitely linked to our culture and searching for these subtle connections is important if we are to design light designs that people can relate to.
Tao (道) is a Chinese word meaning 'way', 'path', 'route', or sometimes more loosely, 'doctrine' or 'principle'.
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Ensō (円相) is not only the Japanese word for "circle" but is also symbolises absolute enlightenment, strength, elegance, the universe, and the void; it can also symbolise the Japanese aesthetic itself
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posmatraclegenda · 8 years ago
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Наслов: Inclusive Illustrations, By Design, Линк: http://ift.tt/2pgc4Tg , Садржај:
I like to think that designers solve problems, while artists ask questions. And when the two go hand-in-hand, real magic happens. Why? Because the right question gets answered with the right solution — art asks, and design responds.
Here at Automattic we were extremely fortunate to recently get to partner with independent artist and designer Alice Lee, who seamlessly integrates abstract ideas with concrete solutions. The following is an interview with Alice that is followed by another interview with Joan Rho, the designer who led the project.
JM: How did you become an illustrator?
AL: My path is a little nontraditional. I was always an artistically curious kid growing up, but was never of the “stand-out art star” variety. Rather, I went to business school, and after graduating, I worked at Dropbox as an early product designer.
Some of my first few projects there involved designing for externally facing projects (new user education, onboarding flows, home & landing pages), and I found that adding illustrations really elevated my work — understandably, no one wants to read paragraphs of text describing file sharing. At the time, there weren’t any dedicated full-time illustrators on the team, so I decided to just do it myself, learning as much as possible on the side and receiving guidance from teammates. Eventually I transitioned over into brand and communications design at Dropbox, working full-time as a product illustrator. I left to freelance almost three years ago and have been illustrating since!
JM: I’ve found that many people confuse an illustrator as someone who is “good at drawing.” I’ve found that description to be terribly narrow-minded. Anything to add?
AL: That’s a really interesting question because it describes two key qualities to being an illustrator. The first is the technical ability to draw — one doesn’t necessarily need to be the “second coming of art,” but it is important to possess a foundation in basic draftsmanship. The second is the conceptual ability to think like a designer — as an illustrator, you’re interpreting challenging design prompts and figuring out how to present visual ideas that often represent complex topics.
Having one piece but not the other is extremely limiting; a great illustrator balances and sharpens both. If you have more of the technical art / draftsmanship piece, this limits the type of high-level projects that you can take on and requires a heavy hand by an art director to guide you through. If you’re more of a conceptual thinker but lack drawing fundamentals, it limits the way that you can express your ideas — e.g. perhaps you can only work in a few basic styles. It’s never so black-and-white, of course, but putting the two together in illustration yields high-quality, conceptually brilliant work.
JM: Having worked in the technology world for many years, what recurring patterns have you seen in the kinds of commissions you’ve been awarded?
AL: I’m excited by the fact that illustration has become a huge part of the tech branding landscape; so many companies are incorporating illustration as keystones of their brand. Companies are now developing their own unique illustration styles that build into their brand voice, exploring different mediums, differentiating themselves, etc.
This is exciting to me because I love to work in a variety of styles and mediums; it’s a great feeling to extend yourself as an artist. Many of my recent projects have involved building illustration branding systems in addition to creating the illustrations themselves, and I love bring analog media and textures into a traditionally vector world. We experimented with this a bit on this WordPress.com illustration branding project, of adding a subtle, candid brush stroke to accent vectorized, precise shapes. With little touches here and there, under an editing eye, this interplay between mixed media does a lot to elevate what an illustrative voice is saying.
JM: Tell me about your commission from Automattic.
AL: This project had two parts: 1) the first, building out an illustration branding system: the voice and style guidelines for how to create illustrations that extended the brand; 2) the second, producing 50+ illustrations that expressed this style to be used for the product and marketing collateral.
We went through lengthy explorations of the illustration style: what brand did we want to express, and how could it be expressed visually? A key tension was in balancing the friendly, fun, accessible direction of the brand with the business need of still being professional and refined. In many ways, our final output reflects this: it’s a combination of sturdy, grounded shapes that fill out most of the composition, guided by the expressiveness and imperfection of linework that adds in quirky detail. The solidness of these geometric shapes is still tied in to the prior style of illustration used in the product, but the linework adds in personality, playfulness, and a hand-drawn quality.
JM: What was the same with respect to your past work for tech companies, and what was different?
AL: One thing I’ve noticed is that this balance of “warm, relatable, friendly, fun” and “polished, serious” is a common tension in past work for tech companies. I think this is due to a few factors: first, it’s a natural tension to exist when you’re trying to express complicated, often technical concepts via visually appealing illustrations. Second, though I work with each company’s unique brand voice, you can still see my personal voice coming through across all of my work: energetic, bright, and purposeful.
Something different that I loved was how the team uses the WordPress product to document and comment on the design process, because everyone is remote! We had a central illustration blog where I would post up each round of exploration, pose questions to the team, and receive feedback. At the end of each major deliverable, it was nice to look back on the progression and evolution of the style and work produced. It was a very structured way to document the process, which is lacking when your working files exist solely in emails or asynchronous chat tools.
JM: How did it feel to be pushed harder on the inclusion question?
AL: It was something that I deeply appreciated. We all carry our own internal assumptions and biases; and just like in design, assumptions should be challenged and improved with different perspectives, user research, and critical thinking.
For instance, John, you had just gotten back from doing user research in the field, talking to small mom and pop shops and individual entrepreneurs in the suburbs. In some early illustrations, I had drawn a lot of younger characters sipping coffee on their computers to illustrate people working on WordPress.com, and you challenged the “perfect latte / laptop world” that is a common backdrop in tech illustrations.
This made me realize that there was a whole range of characteristics I was missing from my internal definition of inclusiveness in illustration, due to my own biases: age, occupation, location, lifestyle, socioeconomic background, etc. I worked to place characters outside of the “perfect latte / laptop world,” drawing different backdrops in the larger scenes, expressing different jobs and backgrounds through props and attire, and including a section on how to depict age in the style guide.
JM: What is difficult about taking this direction? And what is easier?
AL: It is always challenging but necessary to address your own biases and assumptions in order to produce better work. In the above example, for instance, user research about who actually uses the product helped inform what the brand illustrations looked like — which in turn results in visuals that are more in line with the business objective of catering to the actual users.
It can be difficult because it’s also personal: the biases in a person’s artwork can also reflect their personal biases. Sometimes it can be hard to be challenged on that, but it’s necessary to acknowledge and no one is ever finished with this journey. I also think it is easier to start with inclusion and representation as core values than it is to tack it on after you’ve finished the branding process.
JM: What are your hopes for how people use this language you’ve produced for us?
AL: Artistically, I hope that this language can be extended and applied across the platform by many collaborators: designers, illustrators, animators, etc. I always love to see how a style evolves, and I also think it is really cool to have distinct mini-styles within a larger brand family — so that would be neat to see.
Socially, I hope that we can use these conversations around inclusivity to spark a larger dialogue in the illustration community about what it means to be inclusive in the work we produce. For instance, I personally rarely see people of color depicted in tech product illustrations (or, on a personal note, even Asian characters). When John pointed out the “perfect beautiful latte / laptop world” bias that’s common in tech illustration, I sat back and thought to myself, “you’re so right!” It made me realize some of my own assumptions about what should be depicted in illustration, and I hope that we can continually challenge each other within the illustration community.
Just like photographers, art directors, and designers, we as illustrators have the power to be thoughtful and inclusive in our work, to create artwork that shows people that anyone can use these products, not just a certain perceived stereotype of who “should” be.
I’ve found over the years that behind every innovative project launched by a company partnering with an outside artist, there’s a special somebody within the company who cared enough to make the case for doing things differently. That person, in the case of this project, is Joan Rho — one of our new Marketing Designers here at Automattic.
JM: How did you come by the work of Alice Lee?
JR: I’d seen Alice’s illustration work before and admired both the quality of her work and range of styles she was able to execute. After a brief initial chat with her about her work, her process, and learning that she was already familiar with our platform having been a longtime blogger on WordPress.com, I could tell she’d be a great collaborator who could help us elevate and unify our brand’s visual language.
JM: What is “design”?
JR: It’s communication, it’s innovation, it’s aesthetics, it’s optimization, and it’s strategic. Design shapes the way a message or experience is delivered. Good design is informed by human behavior—it makes things easier to use, more intuitive, and more enjoyable to experience.
JM: Can you describe the development of this project — from its conception to completion?
JR: Our company, Automattic, was founded on open-source principles: community, collaboration, and hard work. We’re fully distributed with our ~550 employees spanning the globe representing over 50 countries and over 76 different languages. WordPress.com, our major product in our family of offerings, is powered by WordPress, the open-source software project (which was co-founded by our CEO). WordPress.com has been around since 2005 and is primarily known as a powerful blogging platform. However, these days, you can use WordPress.com to do much more—such as starting a website for your business, creating a portfolio, or even just getting a domain name. So, as part of updating our message to communicate this better, we wanted our visual language to also reflect what we stand for and what we offer.
This illustration project was a collaborative effort that looped in many different members of our Automattic team spanning various timezones, cultures, and backgrounds. Some of our collaborators weren’t even designers, but one thing they all had in common was that they intimately knew WordPress.com and Automattic, which helped me greatly as a relative newcomer to the company. I had the benefit of working closely with Kjell Reigstad, a more veteran designer on the team, who was my “brand partner” in this project from the start. Kjell’s knowledge of our brand’s history helped us develop an illustration language that combined a geometric style in line with how we historically represented the WordPress.com brand with a newer, organic style that felt more distinctive and embodied our brand values and personality.
JM: What are a few turning points in its evolution where you saw “inclusion” coming into the picture?
JR: During one of our creative reviews, we were exploring the representation of human characters (which we hadn’t ever used before across our site pages or UI) and it was actually a comment by you, John, that initiated the discussion of introducing more diversity in skin tones, body types, hair color, age, etc. into these characters. Many Automatticians joined the conversation thanks to a prompt by Mel Choyce, sharing personal stories and pictures of themselves and their friends representing a wide variety of people, backgrounds, and personal styles. This provided inspiration for the diverse cast of characters you can now see across our brand illustrations. As a minority female who grew up seeing mostly Caucasians represented in media and design, it’s been very rewarding to help shape a more inclusive brand identity.
JM: When you consider our company, as a fellow newbie as we joined around the same time last year, what lessons do you take away from leading this project with Alice?
JR: Your best work will always be the result of collaboration. Great collaboration happens only with equal trust, respect, and engagement from everyone involved. Leadership isn’t about bossing people around; it’s about fostering an environment that encourages great collaboration.
JM: Any shoutouts for other designers who participated in this work?
JR: Shoutout to Alice Lee, Kjell Reigstad, Ballio Chan, John Maeda, Ashleigh Axios, Dave Whitley, Davide Casali, Mel Choyce, and all of the Automatticians who participated in the brand discussions and creative reviews throughout the process.
You can find these new illustrations by Alice Lee on any of our main pages, such as /create-website, /create-blog, /business, /personal, /easy, /premium, and more!
And you can read the complete story behind these illustrations at Alice Lee’s site right here from the same titled post, Inclusiveness in Illustration.
Filed under: Design, Diversity & Inclusion, WordPress.com
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wdddddddddddddd · 8 years ago
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the future of design
Today a condescending salesman informed me that automation will make the future of design obsolete. He introduced me to his multitalented intern who just does his company’s graphic design for free, since it’s her easy self-taught hobby. He told me that in 5 years all graphic design will be automated, rendering the profession obsolete. From this man’s comments I see that in order for the general public to grasp design’s true potential, there’s a need to reconceptualize the way it’s commonly understood. Since I would like to retain my belief in active imagination as a powerful agent in the world, I’d like to step on a soapbox to the future of human-generated design is undoubtably fruitful.
Much of this argument feels absolutely redundant in a time when people seem to be screaming from their rooftops about the importance of creative work in our future. “Creative” is now a broad moniker used to describe professionals in fields ranging from design to project management, and rightly so, for an exclusivist members-only mentality about creativity greatly limits the amount of necessary collective innovation required for a bright future.
The recognition of creativity in a broader range of professions has been accompanied by a rising number of self-identifying designers. Increased access to affordable software and intuitive digital tools has cultivated a do-it-yourself culture, which has created a shift in the traditional course of specialized production. People’s contagious desire to dispense all insights has been met with endless opportunities for information sharing—this has lead to the emergence of the entrepreneurial self-taught designer. The profession’s widespread popularity and quick adoption has lead to a decreased understanding of the nuances in the design process. The true value of design method, not the result. There’s a stress on conceptual thinking in design schools, but the details of the process are often neglected in accessible design tutoring resources online. I do not mean to imply that a good designer needs a classic training. This is far from true in our ever evolving digital landscape. The criteria for becoming an expert—once indicated by a fancy education, accolades and an impressive resume—has significantly lessened. In this new culture of designers it is crucial to highlight the importance of the process. By strengthening imaginative thinking in the design process, the profession be immune to the threats of automation.
Shortcut approaches to design so common because avoiding the details of the envisioning process makes the medium feels more approachable. Design is an accessible tool with the ability to empower the masses to share their message, to positive effect. Graphic design allows more people to feel they have an agency to create change, and successful design has the powerful ability organize movements lacking coherency in order to form and direct resistance.
So yes, expanded design access is largely valuable, but it does come with a few drawbacks. The design services that are presently automated— logo and color scheme generators—create the illusion that design merely requires a simple formula. Templatized solutions reinforce this idea, and their popularity makes it easy to overlook the complexity of the design process. Design undeniably relies on rules, but these rules should provide a framework for human creativity, and not a formula for computers. Quick design solutions produce a culture that has little understanding, respect, or appreciation for creation. We can help insure design’s vibrant future if we acknowledge the many nuances in the practice.
Flooding the world with immediate design will threaten to dilute its power, rendering it so scattered and incoherent that it escapes any definition. We are approaching a future where dispersed design threatens to become so abstract as to evade understanding, so it is important for us to train and strengthen the design thinking process in order to generate truly thoughtful solutions.
When this insensitive salesman commented on the oblivion of the design profession, he was exposing his limited understanding of what design actually is. He saw design as a system of colors, as a pretty typographic system or branding bible. It’s quite easy to equate a design with its product. Picture, text, timeline, comic strip, map, network grap, venn diagram, scatter plot, bubble chart, bar chart, pie chart, type, icons, gifs, emojis, etc. this list goes on…all design examples, yes?
This lazy comprehension emerges from an incredibly simplified recognition of design as merely a product. This denies the awareness of graphic design as a social practice. This type of reductive design understanding also creates a sort of race to the bottom in design production—who can be the most efficient and inexpensive. Design is not simply a product, but an activity, composed of various processes of research, ideation and prototyping. It is crucial to appreciate design as a process rich discipline capable to generating a meaning beyond the monetary worth of its products.
I would also like to recognize the power of honest and beautiful design in our distressing times. There should forever be a welcome space for charming and delightful design in our world. Although apolitical (autonomous) design is often viewed as disconnected within the context of our current political climate, there should still be a welcome space for simply pleasing design in our future. Diamonds that emerge from the political and social chaos of our times feel like a protest in their own way. The ability to breathe a little ease in our taxing reality is a currently undervalued element of design. Since It’s harder to feel defeated and powerless in the face of a little thoughtfully designed delight, seemingly apolitical work can illuminate a hopeful path forward. This requires a sensitivity that artificial intelligence could never possess. Wit and humor could never be replicated by a computer. The human brain’s unique ability to detect sarcasm and humor and delight are an example of it’s ability to interpret information beyond computerized processes.
To believe that designers will silently slip into irrelevance is to underestimate their ability to adapt to evolving environments. We must have faith in designer’s ability to demonstrate reflexivity and inventiveness beyond the inherent innovation required in the profession. This is already being seen with the rise in environmentally conscious design solutions and increased animation as designers anticipate the needs of a modern audience. I believe in the ability to transform and adapt pre-existing design systems for our future.
In fact, in the near future I believe that there will be an increase in popularity of design with an obvious human touch. As our world becomes increasingly pixelated and perfect, we will in turn began to crave more humanistic elements in our surroundings. The appeal of a bump, curve, or crease uniquely produced by a human touch will increase in value. The imminent novelty of human imperfection will lead us to crave it more.
I believe we will only be vulnerable to a similarly dark future if the maker easily follows rules, becomes safe and subdued, and fails to develop their unique ideas, values and imagination. The design process in turn will becomes rigid and mechanical. If we maintain this seeming objectivity in design practice, the resulting alienated human body will distance us from ourselves in a way that will allow for the easy automation of our work in the future.
Examining the persuasive technologies available in design with a harshly critical eye reveals it as the dominant language of propaganda, promoting fast cycles of consumption and aiding the goals of predatory political and economic mechanisms. Design already has the tendency to serve as the favorable tool to support the various forms of life commodification. The serviceable nature of visual communication on behalf of dominant power structures has a long tradition, but today it’s role is more disguised. Maintaining an awareness of design’s obedient tendency and recognizing it’s worst uses will help us to stress it’s tremendous potential to benefit society. A humancentric practice is a position that is most conductive to radical change.
Good design observes, great design interprets. We need to consider why we design and what are our motivations. A humancentric practice is a position that is most conductive to radical change. Our greatest hope for the future of design relies on recognizing design’s potential to educate people to care for peace, health, justice and community.
Autonomous design and personal practices in design are the medicine that will ensure the long-term health of this discipline. It is within these contexts that critical design can exist free from the compromising demands of a client and the diluting formalization required of design in the commercial market.
So yes, design might just be an easy hobby for an intern to pick up. And yes, by all means, I would encourage they do. There’s plenty of work to go around. But for the sake of our future, let’s make sure we are understanding design as a practice, not a product. A practice that can activate new forms of engagement that allow for deeper and more meaningful interactions. A practice used to facilitate interpersonal connections to increase awareness, conversation, and coordination in our politically turbulent times. A practice to help us build a better world.  
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nofomoartworld · 8 years ago
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Painting on and painting off ISIS propaganda
Navine G. Khan-Dossos, Expanding and Remaining
Very few of us would have heard of Dabiq, a town of over 3000 inhabitants in northern Syria, were it not for the magazine of the same name published by Islamic State (Isis) as part of its propaganda and recruitment arsenal. The town was symbolically crucial for Isis because of a prophecy that it would one day be scene of the final victory of Muslims over non-believers. Last year, ISIL was driven out of the town by the Turkish military and Syrian rebels. The online magazine is now called Rumiyah, the Arabic word for Rome and a reference to an Islamic prophecy about the conquest of Rome.
Navine G. Khan-Dossos‘ painting series Expanding and Remaining is looking at the Dabiq magazine under a whole new perspective. Eschewing the indoctrinating articles and apocalyptic illustrations, the artist stripped back the pages of their content and laid bare the main graphic composition of its layout. The pages of the english-language PDF magazine are turned into a series of geometric panel paintings (and also turned back into a PDF format.) The colours are flat, the strokes of gouache are bold and the imprecise forms are miles away from the glossy pixelated images that characterize on-screen and printed material. All that survives from the textual content of the magazine are the titles of the paintings, each of them drawn from the magazine articles. Some innocuous, other more sinister: Demolishing The Grave of the Girl, Foreword, The Hadd of Stoning, Erasing The Legacy of a Ruined Nation II, The New Coins, etc.
Navine G. Khan-Dossos, series Expanding and Remaining, 2016
The effect of the transformation process is surprising: a sense of familiarity with the structure arises, you start seeing the edges, the imperfections and the human touch.
Several of Khan-Dossos‘s Expanding and Remaining paintings are currently on view at the Fridman gallery in New York as part of Evidentiary Realism, an exhibition that attempts to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems, with prioritizing formal aspects of visual language and mediums.
Navine G. Khan-Dossos, Strange Bedfellows, from the series Expanding and Remaining, 2016
Hi Navine!Could you take us through process of obfuscating the text and revealing the underlaying visual propaganda of a magazine page like Dabiq?
I spend some time with the magazine, leafing through the pages (digitally), trying to concentrate on the layouts, where the text columns lie, where the images are placed. I tend not to read the content if I can. I used to, but I found it clouded the process of analyzing the designs. I then pull the original PDF into Photoshop and create shapes of colour over the content, to preserve the composition but lose the details. It’s the first step in the process of abstraction of the subject and towards painting. As you say, there is a process of obfuscation involved but not of censorship. The blacking out isn’t a means of muting the voice of the author of Dabiq, but to raise the volume of the designer.
How do you chose the pages you are going to intervene on? How do you select the colours, etc?
The process is intuitive as well as informative. I tend to be drawn towards pages with strong visual elements, such as graphs, strange layouts, photos with strong graphic elements, or other pages that catch my eye because of a peculiar design. I also pay attention to the subject of the article, especially if it reflects a story well know to a western audience, such as the continuing capture of John Cantlie, or the last words to camera of James Foley. These subjects are given a lot of space in the publication as it is aimed at a western readership and will know their stories from media coverage.
I work with a strict colour palette of Cyan, Magenta, Yellow, Black, Re, Green and Blue. These are the colours of print and the screen. By combining them, I try to find that grey area of the publication that is designed to be printed but only ever appears as a digital file. I then pick the closest colour to that I find on the page from my refined palette. Sometimes the combinations can be surprising and strangely revealing too.
Navine G. Khan-Dossos, If I Were The US President Today (John Cantlie) I, 2016
Navine G. Khan-Dossos, If I Were The US President Today (John Cantlie) II, 2016
How much does the result of your intervention strictly reflect what is already there and how much do add maybe, or change?
The aim of the work is to try to stay as true to the original layouts as possible. It’s a documentation as well as a painting in its own right. If I make changes, it tends to be in the colour rather than the composition. I like the journey that it takes me on if I consistently follow the lines drawn by the designer. It is like copying someone else’s hand. It challenges my senses to inhabit the work of someone else and try to translate that. If my authorship lies anywhere, it is in the language of the brushstrokes.
Navine G. Khan-Dossos, Remaining and Expanding, 2016. View in the exhibition Command: Print at NOME in Berin
I was looking at Dabiq on google images and some of the images saddened me. How did you approach the kind of content, either purely visual or textual, of Dabiq without feeling drawn into the propaganda? Without letting your artistic process be too influenced by the kind of emotional reaction the text and images may trigger?
It is a very saddening experience and also a shocking one too. I have been working with this material for a couple of years now, and it has been an ongoing process of how to manage my own personal relationship with these images. I refuse to perpetuate the content by reproducing it, which is why I concentrate on the form rather than the content. I have ways of looking at the magazines that lessen my contact with disturbing content, such as reducing the scale the PDFs so I can only see the basic forms, scrolling quickly through the issues, even sometimes blurring my vision to be able to focus on the compositions. But it is inevitable that I will see things I would rather not. But it’s part of the work, and the emotional response, the whole spectrum of feelings I go through, are part of that process. I let myself cry if I need to, be angry, confused, shocked. But I also recognize how alluring this content can be for some people and recognize that pull too. I’m not here to pass judgement, I’m here to find some way of understanding for myself, a politics and culture of violence that has been present throughout my time working as an artist since 2001. It has always been my subject.
How important are the titles of each piece? Are they mere reference to texts found in the original page or are they meant to suggest other messages and interpretations?
Each painting title is taken directly from the article title or keys words on the page. The title acts as a key to the painting. It’s there as a link to the original content, but I never suggest that it is required to dig deeper than the surface of the painting to better understand it. Everything that is necessary is there already.
Navine G. Khan-Dossos, Top Ten Al Hayat Videos, 2016
The result of your intervention on the pages is quite abstract. Which kind of meaning can the viewer extract from these works when they leave the exhibition?
I think the key to this question is the word ‘abstract’. I tend not to think of my work within this context especially in western art history. The works are absolutely based on visual references in the real world: they do not diverge from their subject matter. It is clear that the painting shows information, but that it has been rendered into blocks that retain the design but not the content. The paintings are about the nature of information itself.
What I found fascinating about the Expanding and Remaining series is that it provides us (the Western audience) with a very different, less visceral perhaps and more reflective way of looking at Isis propaganda. But do you feel that some of us might also be tempted to interpret and maybe also reduce everything as being inherently ‘political’ because of the ISIS topic, for example? Is this something that preoccupies you when it comes to communicating your work?
The work is inherently political, there is no way of side-stepping that and I wouldn’t want to. I think the issue is that painting isn’t often seen as a medium that can handle and communicate this kind of content and subject matter.
We are so used to digital content being the medium of this kind of research-based and investigative work. Painting is a tool that lets me take all of that research and transform it through an entirely different set of values; those of paint. It is not just a retelling or re-presenting of the material. It is a new form derived from that content, that exists independently of its origin.
It is less visceral, but that doesn’t make the experience of it necessarily less painful or uncomfortable. It’s just that it relies on the fact that the viewer knows what the content it already because they have been bombarded by it in the media. The politics of the work is already embedded in the mind of the viewer, with all its bias, fear and incomprehension. The paintings provide a space of recall, a place to realize how much we have already been exposed to.
Navine G. Khan-Dossos, Yilmaz, Where Is Aïcha? (from the series Studies for Sterlina), 2015
Navine G. Khan-Dossos, The Messenger and the Message (Recto), 2015
Any other upcoming work, field of research and concerns, or events you are currently working on?
As a follow-up to the work I am presenting as part of Evidentiary Realism, I will have a solo show at Fridman Gallery in April that will present the entire series of Expanding and Remaining, alongside a new series of twelve paintings called Infoesque. These new works are based on pages from Rumiyah magazine that has replaced Dabiq in recent months. The paintings focus more directly on the use of Islamic art motifs and data/statistical visualizations in the magazine, and seeing how these two forms fuse together to present an ‘authoritative’ visual language for the brand of ISIS at a time when it is undergoing heavy military losses.
I am also working on a large-scale wall painting project at the Van Abbemuseum in Eindhoven (NL) called Echo Chamber, that is based on Samantha Lewthwaite, the so-called White Widow currently in hiding in East Africa.
Thanks Navine!
Several of Navine G Khan-Dossos’s Expanding and Remaining paintings are included in Evidentiary Realism, a group show curated by Paolo Cirio and presented by NOME Gallery + Fridman Gallery. The show is at the Fridman Gallery until 31 March, 2017.
Also part of Evidentiary Realism: Proceed at Your Own Risk. Tales of dystopian food & health industries.
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deepbirdtriumph-blog · 8 years ago
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A Brief History of data Technology
YEAR      DESCRIPTION
1957       Planar transistor developed by Jean Hoerni
With this technology the integrated circuit became a reality. This process forces sure varieties of atoms to infuse into AN otherwise pure piece of chemical element. These impurities or dopants create the conducting and management structures of the transistors on the chip. With this technology, microscopic circuit boards could be arranged  out on the Si surface, thus permitting the compacting of these circuits onto integrated circuits.
1958       First integrated circuit
In 1957, a group of eight physics engineers and physicists shaped Fairchild Semiconductor. The next year, one of these men, Jack Kilby, produced the initial computer circuit for industrial use.
1960's    ARPANET developed by the U. S. Department of Defense
Originally intended as a network of government, university, research, and scientific computers, the Advanced Advanced Research comes Agency NETwork was designed to change researchers to share data. This government project eventually grew into the Internet as we all know it nowadays. The networking technology and topology was originally designed to survive nuclear attack. This was back during the Cold War era, when most scientists expected that the USA would be subject to a nuclear attack sometime. The design needed that the network would route traffic and information flow around any harm. This robustness enabled the web to grow at unbelievable speed, until nowadays it serves up any of billions of internet pages.
1962       The first recorded description of the social interactions that may be enabled through networking was a series of memos written by J.C.R. Licklider of MIT in August 1962 discussing his "Galactic Network" construct. He envisioned a globally interconnected set of computers through that everybody may quickly access information and programs from any website. In spirit, the concept was terribly abundant just like the web of nowadays. Licklider was the first head of the pc analysis program at Defense Advanced Research Projects Agency, starting in Oct 1962. While at Defense Advanced Research Projects Agency he convinced his successors at Defense Advanced Research Projects Agency, Ivan Sutherland, Bob Taylor, and MIT research worker Lawrence G. Roberts, of the importance of this networking concept.
1969       UNIX Operating System Developed
Developed at AT&T labs by engineers Ken Thompson and Dennis Ritchie, the UNIX software package was the primary operative system that ran on a digital computer and will handle multitasking and networking. It was also written within the C artificial language - then a high level language with power and suppleness. Other operative systems existed, but they were sometimes written in assembly language for speed and potency. C was a natural environment for writing AN operative system. Today, both C and UNIX system area unit out there for a wider selection of element platforms than the other artificial language or software package. This level of portability in laptop programming makes UNIX system in style even still.
1971       First microprocessor chip
Three inventors, Andrew Grove, Robert Noyce, and Gordon Moore founded Intel to manufacture store chips in 1968. In 1971, the 4004 microprocessor chip, designed by a team under the leadership of Federico Faggin, was introduced to replace the central processing units that so far had been created from separate parts. The microprocessor chip was born. Intel's later products, from 8080 through 8088 and currently Pentium IV were all descended from the 4004.
1972       Optical laserdisc
Back in 1972, music was sold on vinyl records. These records were large platters with spiral grooves cut in them. The music information was keep in the grooves by dominant the depth and direction of the cutting machine. However, the grooves eventually wore, resulting in cut fidelty. The laserdisc was created by Philips to correct this problem. Instead of grooves, pits were burned into the aluminum surface to represent the 1's and 0's of laptop technology. A laser beam either mirrored off the spot or was absorbed by perdition. The early laserdiscs were an equivalent size and shape as vinyl records, but they may hold each video and audio on their reflective plastic platter. The information had to be browse by a laserdisc player, which was at first costly. But in time this became a in style medium for home movies.
1974       Motorola microprocessor chip
Motorola's 6800 was the forerunner of the 68000. The 68K was used in the first Macintosh ADP system. It provided the computer power unit to run a graphical program, or GUI. Although the Intel micro chip line would return to dominate desktop computing, the current Apple computer merchandise still use Power laptop chips, which area unit the descendants of this powerful micro chip chip.
1975       Altair Microcomputer Kit
The Altair personal computer is the initial laptop computer out there to the final public. In fact, it made the cowl of physics Illustrated in 1975. The Altair was the initial laptop that was marketed to the house enthusiast. It came as a kit, so it was most fitted to individuals with engineering backgrounds. The front panel consisted of a series of small, red light emitting diodes and the user may list and run programs written in machine language. The program listing and the results of the program after it had run were browse off this show as a binary variety. It was up to the programmer to browse the results. The programmer may load the laptop with a brand new program by setting the switches for every machine language code and depositing the binary variety into memory at a given location. Needless to say, this was a time-consuming process; however it delineate the initial time that home enthusiasts may get their hands on real element.
1977       Radio Shack introduces the first pre-built laptop computer with integral keyboard and show
This was the first non-kit laptop computer to be marketed to the final public. In 1977, Brad Roberts bought one of these Tandy/Radio Shack computers, known as the trS-80. It came with a simple mag tape player for loading and saving programs. This allowed Brad to do data processing, using programs like CopyArt. It also created a revolution in thinking that step by step took hold and gained momentum throughout the next decade. No longer would the pc be seen as a rich mathematical tool of enormous scientific, military, and business institutions, but as a communication and data management tool accessible to everybody.
1977       Apple Computer begins delivery of the Apple II laptop The Apple II came totally assembled with a integral keyboard, monitor and operating system software system. The first Apple II's used a mag tape to store programs, but a floppy disk drive was shortly out there. With its ease in storing and running programs, the floppy disk made the Apple II laptop the primary laptop appropriate to be used in school school rooms.
1984       Apple Macintosh computer
The Macintosh was the first laptop to come back with a graphical program and a mouse inform device as customary instrumentation. With the coming of the macintosh, the personal microcomputer began to endure a significant revolution in its purpose and use. No longer a tool for just scientists, bankers, and engineers, the microcomputer became the tool of alternative for several graphic artists, teachers, instructional designers, librarians, and information managers. Its basic metaphor of a user desktop with its very little folders and paper documents hit home with these users, many of whom had ne'er seen a huge laptop mainframe. The Macintosh would eventually develop standardized symbols for use by humans in communicating with the machine and ultimately contribute to the planet Wide Web's trope of a virtual world. The Macintosh GUI conjointly paved the means for the development of transmission applications. The hardware obstacles that prevented hypermedia from turning into a reality were no additional.
Mid 1980's           Artificial intelligence develops as a separate discipline from data science.
Artificial Intelligence (AI) could be a somewhat broad field that covers many areas. With the development of computer programing involving ever increasing levels of complexity, inheritance, and code re-use culminating in object oriented programming, the software foundations for AI were arranged . Other developments in informatics, neural networks, and human psychology supplemental their contributions. Some practical however as of nonetheless imperfect implementations of AI embrace knowledgeable systems, management information systems, (MIS), information looking out victimisation fuzzy logic, and human speech recognition. Artificial Intelligence today is best outlined as a set of electronic science tools that may be applied during a myriad of innovative ways that to existing data technologies. Most scientists believe that a machine can ne'er be designed to replicate the human mind and emotions, but can be wont to do additional and additional of the tedious labor find and presenting the suitable data in humanity's Brobdingnagian, evergrowing collection of information.
1987       Hypercard developed
In August of 1987, Apple Computer introduced Hypercard to the public by bundling it with all new Macintosh computers. Hypermedia was a reality at last, with the hardware and software currently in place to bring it into being. Hypercard made machine-readable text document linking attainable for the average one that needed to make AN data network linking all of his or her electronic documents that might be entered or affixed into a Hypercard stack. Based on the trope of index cards during a direction box, it was easy enough for even young students to use. Yet it was powerful enough to become the software system tool wont to produce the traveler academic transmission titles. Hypercard also had provision for showing graphics ANd dominant an external device to display video, which would ideally be a laserdisc player.
1991       450 complete works of literature on one CD-ROM
In 1991, two major industrial events took place that place the facility of read-only memory storage technology and laptop based mostly search engines within the hands of standard individuals. World Library Incorporated produced a totally searchable read-only memory containing 450 (later distended to 953) classical works of literature and historic documents. This demonstrated the power of the read-only memory to require the text content of many bookshelves and concentrate it on one tiny piece of circular plastic. The other product was the electronic version of Grolier's reference that truly contained a number of photos additionally to text. Both merchandise were originally marketed through the Bureau of Electronic commercial enterprise, a distributor of CD-ROM merchandise. Many saw this as the final in personal information storage and retrieval. They didn't have to attend long for abundant bigger things within the world of transmission. Though each titles sold-out at first for many hundred greenbacks, by 1994 they could be found at electronic epizoon markets commerce for a greenback or 2 every. Technological advances had occurred so chop-chop in this space that each the transmission laptop customary and also the Macintosh multimedia extensions created these 2 merchandise obsolete during a few years.
1991       Power PC chip introduced
Working along, Motorola, Apple, and IBM developed the Power PC reduced instruction set computing processor to be utilized in Apple Computer's new Power Macintosh. The product line currently includes the 601, 603, and 604 microprocessors. These chips are designed around a reduced instruction set machine language, intended to manufacture additional compact, faster execution code. Devotees of the Intel CISC chip architecture warmly disagree with this assertion. The result is that the patron benefits from the extraordinary competition to develop an improved laptop chip.
1991       The Internet is born
The World-Wide Web was introduced by Tim Berners-Lee, with assistance from Henry M. Robert Caillau (while each were operating at CERN). Tim saw the need for a typical connected system accessible across the vary of various computers in use. It had to be simple thus that it may work on each dumb terminals and high-end graphical X-Window platforms. He got some pages up and was able to access them together with his 'browser'.
1993       1993 Internet access and usage grow exponentially, as tools become more out there and easier to use. People begin referring to the web because the internet.
1995       Term Internet is formally outlined
On October twenty four, 1995, the FNC unanimously passed a resolution shaping the term web. This definition was developed in consultation with members of the internet and material possession rights communities. RESOLUTION: The Federal Networking Council (FNC) agrees that the following language reflects our definition of the term "Internet". "Internet" refers to the global system that -- (i) is logically connected along by a globally distinctive address house supported the web Protocol (IP) or its ensuant extensions/follow-ons; (ii) is ready to support communications victimisation the Transmission management Protocol/Internet Protocol (TCP/IP) suite or its ensuant extensions/follow-ons, and/or other IP-compatible protocols; and (iii) provides, uses or makes accessible, either publicly or in camera, high level services layered on the communications and connected infrastructure represented herein.
1995       CDROM Capacity increase A handful of read-only memory disks has the capability to store all the information and reminiscences of a median person's period of time.
1999       Y2K Bug Feared
When computers were initial designed, memory was a precious resource. To conserve memory, dates were stored in a compressed type, utilizing every bit (i.e. single binary digits containing 1 or 0). Not surprisingly, years were stored as 2 decimal digits, 00 through 99. As the end of the second millenium came, fears arose as to what would happen to computer systems once the new millenium started. Early tests showed that many computers improperly handled the transition from 1999 to the year 2000, so this became far-famed as the twelvemonth bug.
A massive effort was undertaken to avert this doomsday situation. People feared that planes would fall out of the sky. All computer supply code was reviewed, and fixes were designed for the problem areas. Some were band-aids, just compensative the date by, say, 50 years or thus. Others were massive rewrites of supply code that had been running with success for thirty years. Engineers were called out of retirement that had worked on the supply code within the Nineteen Sixties.
2000       On January one, 2000, everyone command their breath. Although there were some issues , the general population never saw them. The massive twelvemonth bug worst case situation had been averted.
2002       DVD introduced
The Compact Disc was by now in each home. But the CD suffered from the reality that it solely contained audio or musical data. A new medium, known as the Digital Versatile Disc, or DVD, came to the market. The DVD may store video or audio. It had capacity for gigabytes of data, where the CD was restricted to megabytes. This technological development made it attainable for shoppers to obtain home movies once more. The DVD worked like a laserdisc, reading the pits in the media via a laserbeam without creating physical contact. Hence, there is virtually no wear and tear on a DVD.
2003       Broadband takes off
Broadband is the name for top capacity interfaces between the house and also the public web. In 2003, this became readily out there in most metropolitan areas of the North American country. This made it attainable for laptop users to transfer files that were megabytes in size in simply a number of minutes, rather than taking hours over a modem association. This rapid increase in capability enabled all types of new applications, including musical file sharing.
2004       A/V CPU Chips Arrive
PCs have always depended on integration of circuits - i.e. the IC chip of 1958. New CPU chips mix the methodor with new capabilities to process audio and video. The result is a brand new set of computers with in-built support for top Definition (HDTV) and seven.1 surround sound. This will more cut back prices whereas providing even smaller packages.
2005       Blogs Take Off
Blogs are personal internet areas wherever people will share their own thoughts and ideas. Corporations began to incorporate blogs in their networks, allowing staff to use refined internet server technology to speak concerning their work. Unfortunately, sometimes this lead to issues, as employees shared additional than they were supposed to; however on the total, most employees found a new, creative outlet for style.
2006       HD DVD vs. Blu-Ray
Players and game consoled were introduced for both new high definition video formats. It reminds you of the war between VHS and Beta. But United Nations agency can win? solely time can tell. However, the winning format promises to capture the DVD market for years to come back. So billions area unit at stake. And the consumer wins within the long-standing time as DVD takes on further resolution and quality. The amazing factor is that a piece of media victimisation these formats will store a minimum of thirty GB! Still, we area unit a long means from having the ability to create laptop backups on these media.
2007       Blu-Ray Wins
Game consoles finally settled down with Blu-Ray winning the format war. Now game developers and players alike will concentrate on the new games that this format permits.
2008       Memory
Memory prices continue to return down, enabling smaller and smaller electronic gadgets. Where can it all end? perhaps a postage stamp sized memory circuit to carry all of the memory you may ever would like. In actuality, there are researchers at IBM operating on simply that. Stay tuned.
2009       Smart Phones
Smart Phones became additional and additional in style, as businesses like Apple and Google came on board. In one sense, these devices have become handheld computers, integrating Personal data Management applications. Besides business applications like eMail and instant messaging, these phones now offer amusement. As 3G technologies grow in popularity, data traffic conjointly will increase - to the purpose of being a tangle for the most network carriers. The cell phone has become the indispensable device that everybody has and uses everywhere.
2010       Social Networking
Social Networking sites really take off in quality. Who would assume that one thing as straightforward as uploading a image to an internet website may become thus popular? nonetheless, thousands, even millions are doing simply that on sites like Facebook. And others are self-tracking their each move thus their friends will notice them where they're on sites like Twitter.
2011       Tablets Take Off
The Apple iPad raises the bar for functionality and vogue in pill computers. These hand held devices, about the size of a book, can access the web, display the pages of thousands of books, play music, play videos. Apps become ubiquitos.
2012       Storage Explodes
Hard Disk storage finally exceeds Terabytes (TB) per drive unit. This drives the cost per GB below $1. Computers now appear to return with additional storage than anyone will use.
2013       Internet Of Things
The Physical and Digital Worlds fused along. Real time traffic reports started appearing, based on the present feed from cameras mounted on the road. Self-driving cars appeared on the highways in NV. Cutting-edge apps have raised the social flow of data for all.
2014       Internet Of Everything
The Internet is currently connecting everything from cars to edifice buildings. The challenges include however to extend this property in ways in which enable individuals in specific places to share data with their group. This information flow became immediate and drove social changes like the Hong Kong protests.
2015       Data As A Service
Big information can emerge as the price of storage within the cloud continues to drop. IT vendors will then provide information As A Service (DAAS) to industrial and public entities. Analytics for these huge information stores can enable fast analysis and management. Machine learning will continue to grow 
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A Brief History of data Technology
YEAR      DESCRIPTION
1957       Planar transistor developed by Jean Hoerni
With this technology the integrated circuit became a reality. This process forces sure varieties of atoms to infuse into AN otherwise pure piece of chemical element. These impurities or dopants create the conducting and management structures of the transistors on the chip. With this technology, microscopic circuit boards could be arranged  out on the Si surface, thus permitting the compacting of these circuits onto integrated circuits.
1958       First integrated circuit
In 1957, a group of eight physics engineers and physicists shaped Fairchild Semiconductor. The next year, one of these men, Jack Kilby, produced the initial computer circuit for industrial use.
1960's    ARPANET developed by the U. S. Department of Defense
Originally intended as a network of government, university, research, and scientific computers, the Advanced Advanced Research comes Agency NETwork was designed to change researchers to share data. This government project eventually grew into the Internet as we all know it nowadays. The networking technology and topology was originally designed to survive nuclear attack. This was back during the Cold War era, when most scientists expected that the USA would be subject to a nuclear attack sometime. The design needed that the network would route traffic and information flow around any harm. This robustness enabled the web to grow at unbelievable speed, until nowadays it serves up any of billions of internet pages.
1962       The first recorded description of the social interactions that may be enabled through networking was a series of memos written by J.C.R. Licklider of MIT in August 1962 discussing his "Galactic Network" construct. He envisioned a globally interconnected set of computers through that everybody may quickly access information and programs from any website. In spirit, the concept was terribly abundant just like the web of nowadays. Licklider was the first head of the pc analysis program at Defense Advanced Research Projects Agency, starting in Oct 1962. While at Defense Advanced Research Projects Agency he convinced his successors at Defense Advanced Research Projects Agency, Ivan Sutherland, Bob Taylor, and MIT research worker Lawrence G. Roberts, of the importance of this networking concept.
1969       UNIX Operating System Developed
Developed at AT&T labs by engineers Ken Thompson and Dennis Ritchie, the UNIX software package was the primary operative system that ran on a digital computer and will handle multitasking and networking. It was also written within the C artificial language - then a high level language with power and suppleness. Other operative systems existed, but they were sometimes written in assembly language for speed and potency. C was a natural environment for writing AN operative system. Today, both C and UNIX system area unit out there for a wider selection of element platforms than the other artificial language or software package. This level of portability in laptop programming makes UNIX system in style even still.
1971       First microprocessor chip
Three inventors, Andrew Grove, Robert Noyce, and Gordon Moore founded Intel to manufacture store chips in 1968. In 1971, the 4004 microprocessor chip, designed by a team under the leadership of Federico Faggin, was introduced to replace the central processing units that so far had been created from separate parts. The microprocessor chip was born. Intel's later products, from 8080 through 8088 and currently Pentium IV were all descended from the 4004.
1972       Optical laserdisc
Back in 1972, music was sold on vinyl records. These records were large platters with spiral grooves cut in them. The music information was keep in the grooves by dominant the depth and direction of the cutting machine. However, the grooves eventually wore, resulting in cut fidelty. The laserdisc was created by Philips to correct this problem. Instead of grooves, pits were burned into the aluminum surface to represent the 1's and 0's of laptop technology. A laser beam either mirrored off the spot or was absorbed by perdition. The early laserdiscs were an equivalent size and shape as vinyl records, but they may hold each video and audio on their reflective plastic platter. The information had to be browse by a laserdisc player, which was at first costly. But in time this became a in style medium for home movies.
1974       Motorola microprocessor chip
Motorola's 6800 was the forerunner of the 68000. The 68K was used in the first Macintosh ADP system. It provided the computer power unit to run a graphical program, or GUI. Although the Intel micro chip line would return to dominate desktop computing, the current Apple computer merchandise still use Power laptop chips, which area unit the descendants of this powerful micro chip chip.
1975       Altair Microcomputer Kit
The Altair personal computer is the initial laptop computer out there to the final public. In fact, it made the cowl of physics Illustrated in 1975. The Altair was the initial laptop that was marketed to the house enthusiast. It came as a kit, so it was most fitted to individuals with engineering backgrounds. The front panel consisted of a series of small, red light emitting diodes and the user may list and run programs written in machine language. The program listing and the results of the program after it had run were browse off this show as a binary variety. It was up to the programmer to browse the results. The programmer may load the laptop with a brand new program by setting the switches for every machine language code and depositing the binary variety into memory at a given location. Needless to say, this was a time-consuming process; however it delineate the initial time that home enthusiasts may get their hands on real element.
1977       Radio Shack introduces the first pre-built laptop computer with integral keyboard and show
This was the first non-kit laptop computer to be marketed to the final public. In 1977, Brad Roberts bought one of these Tandy/Radio Shack computers, known as the trS-80. It came with a simple mag tape player for loading and saving programs. This allowed Brad to do data processing, using programs like CopyArt. It also created a revolution in thinking that step by step took hold and gained momentum throughout the next decade. No longer would the pc be seen as a rich mathematical tool of enormous scientific, military, and business institutions, but as a communication and data management tool accessible to everybody.
1977       Apple Computer begins delivery of the Apple II laptop The Apple II came totally assembled with a integral keyboard, monitor and operating system software system. The first Apple II's used a mag tape to store programs, but a floppy disk drive was shortly out there. With its ease in storing and running programs, the floppy disk made the Apple II laptop the primary laptop appropriate to be used in school school rooms.
1984       Apple Macintosh computer
The Macintosh was the first laptop to come back with a graphical program and a mouse inform device as customary instrumentation. With the coming of the macintosh, the personal microcomputer began to endure a significant revolution in its purpose and use. No longer a tool for just scientists, bankers, and engineers, the microcomputer became the tool of alternative for several graphic artists, teachers, instructional designers, librarians, and information managers. Its basic metaphor of a user desktop with its very little folders and paper documents hit home with these users, many of whom had ne'er seen a huge laptop mainframe. The Macintosh would eventually develop standardized symbols for use by humans in communicating with the machine and ultimately contribute to the planet Wide Web's trope of a virtual world. The Macintosh GUI conjointly paved the means for the development of transmission applications. The hardware obstacles that prevented hypermedia from turning into a reality were no additional.
Mid 1980's           Artificial intelligence develops as a separate discipline from data science.
Artificial Intelligence (AI) could be a somewhat broad field that covers many areas. With the development of computer programing involving ever increasing levels of complexity, inheritance, and code re-use culminating in object oriented programming, the software foundations for AI were arranged . Other developments in informatics, neural networks, and human psychology supplemental their contributions. Some practical however as of nonetheless imperfect implementations of AI embrace knowledgeable systems, management information systems, (MIS), information looking out victimisation fuzzy logic, and human speech recognition. Artificial Intelligence today is best outlined as a set of electronic science tools that may be applied during a myriad of innovative ways that to existing data technologies. Most scientists believe that a machine can ne'er be designed to replicate the human mind and emotions, but can be wont to do additional and additional of the tedious labor find and presenting the suitable data in humanity's Brobdingnagian, evergrowing collection of information.
1987       Hypercard developed
In August of 1987, Apple Computer introduced Hypercard to the public by bundling it with all new Macintosh computers. Hypermedia was a reality at last, with the hardware and software currently in place to bring it into being. Hypercard made machine-readable text document linking attainable for the average one that needed to make AN data network linking all of his or her electronic documents that might be entered or affixed into a Hypercard stack. Based on the trope of index cards during a direction box, it was easy enough for even young students to use. Yet it was powerful enough to become the software system tool wont to produce the traveler academic transmission titles. Hypercard also had provision for showing graphics ANd dominant an external device to display video, which would ideally be a laserdisc player.
1991       450 complete works of literature on one CD-ROM
In 1991, two major industrial events took place that place the facility of read-only memory storage technology and laptop based mostly search engines within the hands of standard individuals. World Library Incorporated produced a totally searchable read-only memory containing 450 (later distended to 953) classical works of literature and historic documents. This demonstrated the power of the read-only memory to require the text content of many bookshelves and concentrate it on one tiny piece of circular plastic. The other product was the electronic version of Grolier's reference that truly contained a number of photos additionally to text. Both merchandise were originally marketed through the Bureau of Electronic commercial enterprise, a distributor of CD-ROM merchandise. Many saw this as the final in personal information storage and retrieval. They didn't have to attend long for abundant bigger things within the world of transmission. Though each titles sold-out at first for many hundred greenbacks, by 1994 they could be found at electronic epizoon markets commerce for a greenback or 2 every. Technological advances had occurred so chop-chop in this space that each the transmission laptop customary and also the Macintosh multimedia extensions created these 2 merchandise obsolete during a few years.
1991       Power PC chip introduced
Working along, Motorola, Apple, and IBM developed the Power PC reduced instruction set computing processor to be utilized in Apple Computer's new Power Macintosh. The product line currently includes the 601, 603, and 604 microprocessors. These chips are designed around a reduced instruction set machine language, intended to manufacture additional compact, faster execution code. Devotees of the Intel CISC chip architecture warmly disagree with this assertion. The result is that the patron benefits from the extraordinary competition to develop an improved laptop chip.
1991       The Internet is born
The World-Wide Web was introduced by Tim Berners-Lee, with assistance from Henry M. Robert Caillau (while each were operating at CERN). Tim saw the need for a typical connected system accessible across the vary of various computers in use. It had to be simple thus that it may work on each dumb terminals and high-end graphical X-Window platforms. He got some pages up and was able to access them together with his 'browser'.
1993       1993 Internet access and usage grow exponentially, as tools become more out there and easier to use. People begin referring to the web because the internet.
1995       Term Internet is formally outlined
On October twenty four, 1995, the FNC unanimously passed a resolution shaping the term web. This definition was developed in consultation with members of the internet and material possession rights communities. RESOLUTION: The Federal Networking Council (FNC) agrees that the following language reflects our definition of the term "Internet". "Internet" refers to the global system that -- (i) is logically connected along by a globally distinctive address house supported the web Protocol (IP) or its ensuant extensions/follow-ons; (ii) is ready to support communications victimisation the Transmission management Protocol/Internet Protocol (TCP/IP) suite or its ensuant extensions/follow-ons, and/or other IP-compatible protocols; and (iii) provides, uses or makes accessible, either publicly or in camera, high level services layered on the communications and connected infrastructure represented herein.
1995       CDROM Capacity increase A handful of read-only memory disks has the capability to store all the information and reminiscences of a median person's period of time.
1999       Y2K Bug Feared
When computers were initial designed, memory was a precious resource. To conserve memory, dates were stored in a compressed type, utilizing every bit (i.e. single binary digits containing 1 or 0). Not surprisingly, years were stored as 2 decimal digits, 00 through 99. As the end of the second millenium came, fears arose as to what would happen to computer systems once the new millenium started. Early tests showed that many computers improperly handled the transition from 1999 to the year 2000, so this became far-famed as the twelvemonth bug.
A massive effort was undertaken to avert this doomsday situation. People feared that planes would fall out of the sky. All computer supply code was reviewed, and fixes were designed for the problem areas. Some were band-aids, just compensative the date by, say, 50 years or thus. Others were massive rewrites of supply code that had been running with success for thirty years. Engineers were called out of retirement that had worked on the supply code within the Nineteen Sixties.
2000       On January one, 2000, everyone command their breath. Although there were some issues , the general population never saw them. The massive twelvemonth bug worst case situation had been averted.
2002       DVD introduced
The Compact Disc was by now in each home. But the CD suffered from the reality that it solely contained audio or musical data. A new medium, known as the Digital Versatile Disc, or DVD, came to the market. The DVD may store video or audio. It had capacity for gigabytes of data, where the CD was restricted to megabytes. This technological development made it attainable for shoppers to obtain home movies once more. The DVD worked like a laserdisc, reading the pits in the media via a laserbeam without creating physical contact. Hence, there is virtually no wear and tear on a DVD.
2003       Broadband takes off
Broadband is the name for top capacity interfaces between the house and also the public web. In 2003, this became readily out there in most metropolitan areas of the North American country. This made it attainable for laptop users to transfer files that were megabytes in size in simply a number of minutes, rather than taking hours over a modem association. This rapid increase in capability enabled all types of new applications, including musical file sharing.
2004       A/V CPU Chips Arrive
PCs have always depended on integration of circuits - i.e. the IC chip of 1958. New CPU chips mix the methodor with new capabilities to process audio and video. The result is a brand new set of computers with in-built support for top Definition (HDTV) and seven.1 surround sound. This will more cut back prices whereas providing even smaller packages.
2005       Blogs Take Off
Blogs are personal internet areas wherever people will share their own thoughts and ideas. Corporations began to incorporate blogs in their networks, allowing staff to use refined internet server technology to speak concerning their work. Unfortunately, sometimes this lead to issues, as employees shared additional than they were supposed to; however on the total, most employees found a new, creative outlet for style.
2006       HD DVD vs. Blu-Ray
Players and game consoled were introduced for both new high definition video formats. It reminds you of the war between VHS and Beta. But United Nations agency can win? solely time can tell. However, the winning format promises to capture the DVD market for years to come back. So billions area unit at stake. And the consumer wins within the long-standing time as DVD takes on further resolution and quality. The amazing factor is that a piece of media victimisation these formats will store a minimum of thirty GB! Still, we area unit a long means from having the ability to create laptop backups on these media.
2007       Blu-Ray Wins
Game consoles finally settled down with Blu-Ray winning the format war. Now game developers and players alike will concentrate on the new games that this format permits.
2008       Memory
Memory prices continue to return down, enabling smaller and smaller electronic gadgets. Where can it all end? perhaps a postage stamp sized memory circuit to carry all of the memory you may ever would like. In actuality, there are researchers at IBM operating on simply that. Stay tuned.
2009       Smart Phones
Smart Phones became additional and additional in style, as businesses like Apple and Google came on board. In one sense, these devices have become handheld computers, integrating Personal data Management applications. Besides business applications like eMail and instant messaging, these phones now offer amusement. As 3G technologies grow in popularity, data traffic conjointly will increase - to the purpose of being a tangle for the most network carriers. The cell phone has become the indispensable device that everybody has and uses everywhere.
2010       Social Networking
Social Networking sites really take off in quality. Who would assume that one thing as straightforward as uploading a image to an internet website may become thus popular? nonetheless, thousands, even millions are doing simply that on sites like Facebook. And others are self-tracking their each move thus their friends will notice them where they're on sites like Twitter.
2011       Tablets Take Off
The Apple iPad raises the bar for functionality and vogue in pill computers. These hand held devices, about the size of a book, can access the web, display the pages of thousands of books, play music, play videos. Apps become ubiquitos.
2012       Storage Explodes
Hard Disk storage finally exceeds Terabytes (TB) per drive unit. This drives the cost per GB below $1. Computers now appear to return with additional storage than anyone will use.
2013       Internet Of Things
The Physical and Digital Worlds fused along. Real time traffic reports started appearing, based on the present feed from cameras mounted on the road. Self-driving cars appeared on the highways in NV. Cutting-edge apps have raised the social flow of data for all.
2014       Internet Of Everything
The Internet is currently connecting everything from cars to edifice buildings. The challenges include however to extend this property in ways in which enable individuals in specific places to share data with their group. This information flow became immediate and drove social changes like the Hong Kong protests.
2015       Data As A Service
Big information can emerge as the price of storage within the cloud continues to drop. IT vendors will then provide information As A Service (DAAS) to industrial and public entities. Analytics for these huge information stores can enable fast analysis and management. Machine learning will continue to grow.
0 notes