The introduction of computation in the design practice, and the art in general, has opened up a new environment for experimental development and research: the computer, as creative medium, has profoundly changed the output of the design process as well as the creative process itself. Designers are now embracing a creative practice where computation is not only a mere alternative to more traditional tools, rather a need to be able to interact with ever-changing tools and more hybrid creative profiles. “Rob Giampietro explained that designers have started to embrace what we might previously have considered an engineer’s role. Following his thought, what was once a collaboration between design and engineering may be evolving to an inborn integration of the two.” – Kyuha Shim. This work wants to analyzes how the relationship between the design practice and the software is always evolving: using the computation not only as a means to govern an algorithmic production, but also as a logical thinking process for design, the designers have not only released themselves from the limitations of existing tools, but also extended their roles from users to authors, fostering new methodologies and logics. The phenomenon is particularly relevant for the motiongraphic area of design. With a large community supporting and sharing tools to address issues about the use of the software, the motion design world is a special environment to study the cross between computation and practice. Through selected case studies we will explore how this duo of code and design is a necessary combination in complex communication systems, to both offer a new perspective on the design of the communication products and investigate how computation, not only affect the design process, but also became a part of the process itself, allowing to create new systems and rules at the core of the creative process.
Con l’introduzione dei computer nella disciplina del design e delle arti in generale, abbiamo assistito ad una sperimentazione sempre crescente: il medium ha cambiato non solo gli artefatti finali della progettazione, ma anche il processo creativo in sé. Il designer della comunicazione si trova ad operare in un contesto in cui l’introduzione della programmazione nella sua pratica professionale non è solo una scelta alternativa a mezzi più tradizionali, ma una necessità di interfacciarsi con strumenti sempre più evoluti e figure professionali più eterogenee. “Rob Giampietro explained that designers have started to embrace what we might previously have considered an engineer’s role. Following his thought, what was once a collaboration between design and engineering may be evolving to an inborn integration of the two.” – Kyuha Shim. Con questa tesi si vuole analizzare come il rapporto tra la pratica progettuale e il software sia in continua evoluzione, e anzi ormai come i limiti dello strumento non rappresentino più un vincolo, ma una possibilità di nuove metodologie, trasformando il designer in autore dei suoi stessi mezzi di espressione. In particolare verrà preso in esame questo fenomeno nell’ambito della motion graphic, contesto particolarmente favorevole, in cui si è sviluppata una community a supporto della creazione di tool e strumenti specifici per risolvere problematiche legate all’utilizzo del software. Tramite la presentazione di casi studio specifici vedremo come il binomio codice e progettazione siano necessariamente conviventi in sistemi di comunicazione complessi, con lo scopo di offrire una prospettiva nuova sulla progettazione degli oggetti di comunicazione e allo stesso tempo investigare come il codice, oltre ad influenzare il processo di design, rappresenti una parte del processo stesso e costituisca materiale per la creazione di sistemi e logiche alla base delle dinamiche progettuali creative.
Algo-rithm. Data driven automated video. Contesto, stato dell'arte, sviluppi
PALOPOLI, MIRIAM
2017/2018
Abstract
The introduction of computation in the design practice, and the art in general, has opened up a new environment for experimental development and research: the computer, as creative medium, has profoundly changed the output of the design process as well as the creative process itself. Designers are now embracing a creative practice where computation is not only a mere alternative to more traditional tools, rather a need to be able to interact with ever-changing tools and more hybrid creative profiles. “Rob Giampietro explained that designers have started to embrace what we might previously have considered an engineer’s role. Following his thought, what was once a collaboration between design and engineering may be evolving to an inborn integration of the two.” – Kyuha Shim. This work wants to analyzes how the relationship between the design practice and the software is always evolving: using the computation not only as a means to govern an algorithmic production, but also as a logical thinking process for design, the designers have not only released themselves from the limitations of existing tools, but also extended their roles from users to authors, fostering new methodologies and logics. The phenomenon is particularly relevant for the motiongraphic area of design. With a large community supporting and sharing tools to address issues about the use of the software, the motion design world is a special environment to study the cross between computation and practice. Through selected case studies we will explore how this duo of code and design is a necessary combination in complex communication systems, to both offer a new perspective on the design of the communication products and investigate how computation, not only affect the design process, but also became a part of the process itself, allowing to create new systems and rules at the core of the creative process.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/143711