Design

capabilities

and

potential

1

Index

First things first 2

After a fashion 4

Pose! That’s not me 6

THE AUTHOR 8

Typography and communication 10

Holding text 12

Language as material 14

Memory and line 16

Left brain, right brain, right shame 18

Bleached dreams 20

Bibliography 31

2

FIRST THINGS

FIRST

3

The debate discussing the so-cial role of graphic design, with its importance and implications, has been around almost as long as the discipline itself: the possibility of mass producing imagery rose alongside the Industrial Revolu-tion of the 19th century, and the chance of advertising and selling determined products thanks to the effectiveness of visual communi-cation was readily taken. This close correlation between design and corporate identity was immediate-ly opposed by the “Arts and Crafts movement”, brought forth by art-ists repelled by the “ignorance of that basic need in creating pat-terns, the integrity of the surface” and “vulgarity in detail”, which they found in many items displayed at the Great Exhibition of 1851 (Pevs-ner, 2005).

Overtime, these two opposing currents have grown apace with each other; one justifying the use of graphic design as a corporate medium of pragmatic product or service promotion, the other point-ing to how the designers’ might and powerful tools should be used for more enriching and socially just means. Pivotal to the latter cause was the 1964 “First Things First” manifesto, written by Kevin Gar-land and published with the sup-

port of over 400 signing designers; the ideology supporting the First Things First resolutions never died down, and in more recent years was again an inspirer for the “First Things First 2000” manifesto. The embodiment of this opposition spans from the mere conceptual discussion of what should be the priority of a designer, and how, more specifically, it shouldn’t be just to aid and contribute to insti-tute corporate power, to more ac-tive and engaging activities of de-tournement and culture jamming, targeting specific brands and their advertisement to show how their design would be just a vest mas-querading a heartless corporation so to mislead customers into buy-ing and following their product.

The power and efficiency of graphic design as a medium has surely been asserted, but the heat-ed debate on its ideology and moral obligations might accompa-ny it for its whole lifespan without a solution in sight.

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After a

Fashion

5

A remarkable example of pow-er exercised in cultural shaping by graphic designers through adver-tisement is found in fashion cat-alogues. The industry of mail or-dering started in 1861, when Pryce Pryce-Jones renovated his flan-nel business taking advantage of the undergoing expansions of the United States postal service and railway network (Pugh, 2015). The interpreneur inadvertently started the mail order catalogue industry, which is still a vibrant reality 150 years later, being worth approx-imately 100 billion dollars (Root, 2009), of which Kays is perhaps the main representer, having been active for most of its era.

The indispensable catalyst of this private and intimate market-ing system is the catalogue, usu-ally the fashion catalogue, mainly illustrating the available and se-lectable goods, but subtly dictating the trends and directing the buy-er to a determined item. The cus-tomer surely can’t be the primary selector of fashion, since he finds himself choosing from a limited selection of styles; who is setting the trend and the popular taste then? According to Gramsci, taste is hegemonic, dictated by the pre-dominant class and deferential-ly adopted by the lesser (Berger,

1980).

In an extensive study in fashion trends and aesthetic, John Berger pinpoints an almost eerie process through which hegemonic taste is willingly and subconsciously taken and made one’s own by the lower class: “Yet nobody forced peasants to buy suits, and [they] are clear-ly proud of them. They wear them with a kind of panache [...] Villag-ers – and, in a different way, city workers were persuaded to choose suits. By pictures. By the new mass media. By salesmen. By example”.

This is how the fashion catalogue can be a powerful and hegemon-ic mean capable of dictating and shaping the average person’s taste in vogue, through carefully crafted imagery, typography, photography.

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Pose! That’s

not me

7

As far as depiction goes, photog-raphy is perhaps the most faithful mean to represent a subject keep-ing its appearance and features as close to what they objectively are; so much, in fact, that photography is considered to be not only a form of art, but also a science and prac-tice (Spencer, 1973).

Nevertheless, images captured by photography have to pass through many more filters other than the camera’s: the subject’s pose, the portrayer’s intent, the viewer’s in-terpretation.

How informative can a still pic-ture be, without context? By just observing a photo, is usually not wise to draw conclusions on the happenings that might have led to that moment, nor what followed, not even what is actually going on, and a lack of description may leave free room for the viewer to guess, imagine, and deduce, possibly with fallacy.

The context could very well be intentionally put apart by the por-trayer himself, in order to convey his own interpretation of the scene, or to obtain a certain sought-after look and feel in his art, or, being cynical, to deceive and mislead his audience, without even the need

of actively manipulating the pic-ture.

Remarkable is also the influ-ence that the human subject has on the final photo. Can a con-scious subject be photographed in a completely natural and unaf-fected state? “Once I feel myself observed by the lens, everything changes” says Roland Barthes in “Camera Lucida” (1993). “I consti-tute myself in the process of ‘pos-ing’ “. This might be ascribable to a similar phenomenon known in physics as the “observer effect”, defined as the impossibility to ob-serve an event without, in some way, affecting it through the mere act of observation. The subject, now aware that he’s being por-trayed, immortalized, will actively try and affect this representation of him, injecting a filter of a deno-tation of his choice by posing.

Photography might then be not capable of delivering a factual and genuine representation of reali-ty, or at least be very further away from it then we might initially in-fer; then again, complete factual-ity was never supposed to be its intent.

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The Author

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The conception, creation, and participation of an artistic piece all come together to constitute its usual life cycle, which is usually handled by distinct people in each stage: author, crafter/designer, spectator. The novelist writes the book, the designer selects a type-face, arranges text, and draws the cover, and the reader enjoys the whole composition, interprets the story, absorbs its meaning.

However, author and designer must not necessarily be two sep-arated identities. Walter Benjamin (1934) observes that “new forms of communication are melting down traditional artistic genres”; the increased ease of accessibili-ty to new and plastic technologies makes possible for an ever large number of people to manage a growing amount of stages in the production of their work, making possible for a writer with a per-sonal computer to simultaneously be a typographer or, of course, vice versa. In almost a century since Franklin advocated designers as producers, technology has devel-oped beyond expectations and lines separating creative profes-sions have blurred and thinned.

There might be no real utility in assigning a label to creative in-

dividuals, other than the one of “maker”. “Definitions have nev-er done anything but constrain” (Jonathan Safran Foer, 2010). Is then a designer’s duty to master as many disciplines as he can to justi-fiably be called an author, produc-er, a maker of a Gesamtkunstwerk, total work of art (Trahndorff, 1827).

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Typographyand communication

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Text [is] vitally important, but never naked. When words and letters are printed, they have to wear the clothing of a typeface. (Stevens, 2013)

The history of typography is un-dergoing what can be considered a just as big revolution as it was when first born, when Johannes Gutenberg’s mechanical movable type popularized transcript pro-duction; never before the creation of text and its design has been so easily accessible as with the cre-ation and spread of personal com-puters and similar technologies, allowing almost anyone to, effec-tively, be a typographer. Letters, by themselves, don’t exist in a “pri-mary state” which is then optional-ly altered by the choice of a type-face; they always come “dressed”, ever since the very first printing of Gutenberg, which itself used the font “Textura”, whose intent was to imitate the calligraphy of scribes.

Surely, simply having an oppor-tunity to take a stab at typogra-phy doesn’t make the majority of people professional typographers; as Robert Bringhurst clearly eluci-dates in his “The Elements of Ty-pographic Style” (1996), “well-cho-sen words deserve well-chosen letters; these in their turn deserve

to be set with affection, intelli-gence, knowledge and skill”. The leading point of his essay is that the art of typography is principally aimed to honor its content; a type-face is not only selected according to the designer’s taste, or its fac-tual attributes, but is deeply stud-ied alongside the text that it has to “dress” and the message this text is bringing across, whom it is for, how it will be displayed, in or-der to achieve a synchrony of spirit and purpose. This process renders typography a form of art aimed at reflecting the spirit of the content more than the designer’s vision of it.

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Holding

Text

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Immature poets imitate; mature poets steal [...] The good poet welds his theft into a whole of feeling which is unique, utterly dif-ferent from that from which it was torn; the bad poet throws it into something which has no cohesion.

This much had T. S. Eliot to say in his 1920 “The Sacred Wood: Es-says On Poetry and Criticism”. Af-ter all, the work of a poet, just as the work of any artist, can be even-tually reduced as a mere process of interpretation: a representation of reality filtered by the creator’s consciousness and spirit. Hence, art results to be not as much about its content as about the way it is presented, crafted, portrayed.

That’s how Kenneth Goldsmith’s ideas for “Uncreative writing” and “Wasting time on the internet” col-lege courses came to be: a work on which the content and the source material have no weight, where it’s all about the interpretation of the text and imagery found. As much as the intrinsic value of the final product might be debatable, the production of a poem, a nov-el, a posted, or a drawing derived by old news articles or the aimless browsing of the web and looking at useless cat pictures or reading re-hashed jokes, very well highlights

how much the artistic and creative process relies on the artist himself, and his ability to create something there where nothing valuable can be found.

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Language

as material

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Relieving the artistic piece from semantics and content, focusing only on the representation itself, its process and the artist’s perfor-mance of it, makes more room for the viewer’s interpretation. This last step becomes then a funda-mental part of the artistic process, with the viewer now involved in the very depiction of this art, having to interpret through his own spirit what the subject is and how it has been captured. The goal of this approach is, how Walter Benjamin put it in “The Author as Producer”, to turn readers or spectators into collaborators (Yale, 2013).

This view was not proprietary of Idealism, of which Franklin was part; instead, it was an ever ex-panding and overwhelming trend that had already characterized Da-daism and Modernism in the 1910s and that would have been passed on for decades through Lettrism and concrete poetry up until to-day’s Flarfism and Alt-lit.

The liberation from any con-tent allows then to create some-thing that anyone could compre-hend and experience in its purest form, without contamination by an pre-instilled morale or message other than what is already present in the viewer, and with no con-

cern about language and expres-sion barriers, communicating only through visual and spacial compo-sition; a style that would create a transnational, panlinguistic way of writing that anyone [...] could un-derstand (Goldsmith 2011:54).

Therefore, deprivation of any prearranged meaning makes texts nothing more than a material with which construct illustrations, something than can be arranged in shapes and lines like many other pictorial modes.

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Memory and

line

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Everything is a paramount of lines; so Tim Ingold says in his “Lines: A Brief History” (2007). The artistic and philosophical vision of the author maintains that any-thing in our reality and conscious-ness can be reduced to lines ass its lowest terms, similarly but not as deeply as some scientific disci-plines do, dividing things in plains, plains in lines, and further again, lines in dots.

The oldest attempt at visual re-cording made by humans dates back to 39,000 years ago (Chip, 2015), and can be considered nothing more than a collection of hand outlines. Writing, human-ity’s oldest form of accounting, is just a series of arranged lines, if not a continuous line itself for cursive. Lines are not necessarily tangible or visible; what is a path from point A to point B, if not a line, be it curved or straight?, and isn’t a state border only an arbi-trary and imaginary line? Even we as individuals can be considered just a line: a stream of conscious-ness, as debated by William James (1890:239), our own subjective life as a non-jointed, never interrupt-ed flow of thoughts; a concept in-dependently yet similarly present in the Buddhist culture under the name of vinnana-sota.

Is this how things are, different composition of lines, or is it just how our mind simplifies them to better comprehend and remember them? Either way, the line reveals itself to be a simple yet powerful tool to represent anything from gestures to sounds, walking and weaving, abstract or real.

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Left Brain,

Right Brain,

Right Shame

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In western culture, the right side usually identifies concepts of nor-mality and sanity, while the left is an icon of anomaly, almost evil-ness; this phenomenon is immedi-ately evident in the English usage for the word “right” to describe something “just”, and the adoption of the latin word for “left” to which it casted a meaning of harmful or malicious, “sinister”. This is easily explained by the right side of our body being the naturally predomi-nant one, with 90% of the popula-tion being dexter (Price, 2009) not because of some sort of ancient and arbitrary social construct, rath-er than innate reasons: right or left handedness is already determined in 10 weeks old fetuses (Fetal Be-haviour Research Centre, 2004).

We might then look for deeper implications in our psyche, or brain, which is known to be divided in two distinct hemispheres, each of them controlling the opposite side of the body. Therefore left hand-ed people appear to rely more on the right side of the brain, which is mainly responsible for visual mem-ory and abstraction, as opposed to the left hemisphere, which deals with precise language thinking.

In a society so dedicated to celebrating rational and practi-cal thinking such as the one that

shaped the 20th century, it might be the case of talking about “right shame” for especially creative and conceptual people, or more broad-ly for whomever strides from the norm under any aspect. Neverthe-less, it’s worth noting how the 21st century has brought an evident shift towards our “left side” of the brain; as David Crow advocates in his “Left to Right” (2006), the advent of an increasingly porta-ble range of digital technologies is progressively separating the ne-cessity of text in communication, making visual and image-based language a rising reality.

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BLEACHED

DREAMS

How does the

Simulated Space

alter our identity?

Our memory can give no guar-antees, but nevertheless we are compelled to credit its statements far more frequently than is objec-tively justifiable. (Freud, 1900)

Memories are one of our most valuable possessions - if in such class we can categorize them - if not the very onliest thing we have: they define our persona, they have been shaping us for the entirety of our life and continue to do so daily, they constitute our whole wealth of knowledge and consciousness. Yet, we cannot trust them.

Everything we know, thus sub-sequently remember, is gathered and registered through our sen-sorial receptors and processed and stored in our brain, hence very possibly being not real. The Ego-centric Predicament, outlined by Ralph Barton Perry in 1910 (Jour-nal of Philosophy) but a cumber-some presence as a concept since at least two centuries prior (Berke-ley, 1710), simply states that there is no way for an individual to ex-perience reality if not through his own perceptions. Therefore, we are precluded to ever be completely confident that such reality actually exists the way we perceive it, and does not deeply differ from our experience of it, or is not a total

fabrication of our senses.

Solipsism, the idea that our mind and our mind only is sure to exist, sets up ground for revaluation on how we experience our surround-ings, how they affect and form our memories, and raises a looming question: can media communicate newly and more effectively by cre-ating an alternative to what one sees as reality?

Graphic designers, as communi-cators, should strive for their end product to inform, [...] be appro-priate to the client and their audi-ence and [...], of course, look good. But there’s a fourth attribute worth aiming for: creating a lasting im-pression (Knight and Glaser, 2012). A visual composition whose aim is to carry a message or epitomize an entity is indisputably of no use if it is not remembered and lat-er recognized by its viewers. Per-haps this is the reasoning that has brought a steady and rigorous flux of corporate identity revisions and, more broadly, a spread adoption of a flatter look in the last lustrum’s design, characterized by less lines and colors, softened or discarded depth, and simpler shapes (Stam-pler, 2012, 2013; Taube, 2014), in what was named the “death of skeuomorphism” (Claire, 2013).

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Paradoxically then, designers are achieving more recognizable, approachable, and indelible piec-es by diverging from reality, from what we might consider a natu-ral and palpable look. This can be explained at a very technical level by the physical process our brain uses to store memories. Any event is recorded by our senses simulta-neously, creating a single canvas from multiple sources of sensation which reinforce and support one another through a series of mo-lecular (mainly enzymatic) trans-missions between synapses; a cascade which, the more often is stimulated, the more firmly set its memory in our mind (Society for Neuroscience, 2012).

The practical concept we infer from this study is that remem-brance is fired and sustained by multiple senses and input, and could not exist otherwise. A me-dium relying on sight alone - or little more - be it for reasons of conciseness, practicality, or form’s technical limits, must then rein-vent itself to be as simple as pos-sible in order to be memorable and needless of any additional support. This newly found trend of mini-malism might then be a clever and effective way of dealing with the current industry’s means of com-

munication made available to the designer; but does this imply that a more articulate system of trans-mission would be more effective?

One of the first functional ex-perimentations with a deeper and more immersive form of commu-nication was documented in 1963 by R.W. Stone, in preparation of the Apollo program. Planned by NASA and carried out by artists and technicians at the Langley Re-search Center, Project LOLA (Lu-nar Orbit and Landing Approach) was catalogued as an analog sim-ulation that was used as a training routine for the crew of the first moon landing (see picture).

This simulator was designed to provide a pilot with a detailed visual encounter with the lunar surface; the machine consisted primarily of a cockpit, a closed-cir-cuit TV system, and four large murals or scale models represent-ing portions of the lunar surface as seen from various altitudes. The pilot in the cockpit moved along a track past these murals which would accustom him to the visual cues for controlling a spacecraft in the vicinity of the moon. (Hansen, 2010, p. 379)

Not relying exclusively on train-

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ing manuals and spoken instruc-tions for such a delicate enterprise, NASA opted to simulate the vi-sual and spatial experience of the moon landing in a controlled en-vironment in order to accustom the cosmonauts to certain views and routines, so that when they would undertake the actual task they could be already used to it, more confident and familiar. They were essentially immersing their minds in a fictional space enough for them to act as it was real so to create substantial memories of it.

In an age of unstoppable techno-logical progress, digital simulations shortly followed, firstly experi-mented and accomplished by Ivan Sutherland with his Sword of Da-mocles (Sutherland, 1968), simul-taneously the first Virtual Reality and Augmented Reality (VR and AR) Head Mounted Display system (HMD) in history. Tracking the us-er’s head movements and subse-quently streaming visual feedback through optic displays fitted on both eyes (see picture), this ma-chine was the stepping stone for all future applications of a simulat-ed reality that would synchronize a three-dimensional image with human sensorial input and output, even though it had no practical purpose other than academical.

Digital simulation was progres-sively adopted in many technical fields as an effective tool to save financial and physical resources during human training, as well as to eradicate any risk implied by a novice utilizing professional ma-chinery, especially in flight - Air Force and NASA again.

Simulation technologies used in the professional training of pilots have since developed and spread to public access; an example of professional VR system repurposed to leisure device is iPilot, a digital simulator of a Boeing 737 cock-pit, available for access at White City’s Westfield in London. Offer-ing a physical prop reproduction of a Boeing cabin which replaces the windows with monitors, this sys-tem is even used to treat individu-als with aerophobia and help them overcome their fear by simulating flight in a controlled environment. “After this I’ve managed to actual-ly step on a real plane”, says Joey, 27, user of the ‘Fear of Flying Pro-gramme’. “It’s like, I still felt kin-da scared, but then I thought ‘well, you already flew once and nothing bad happened, you’re safe’, even though I was thinking just of the simulation”. The company manag-ing iPilot also started selling their system to privates, but they are

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not the first pioneers of home VR media entertainment.

The first use of Virtual Reali-ty in digital entertainment was brought forth by SEGA and Virtu-ality Group almost concurrently in 1991, with the installation of SEGA VR and Virtuality in Japanese and North American arcades. SEGA’s parallel project for an affordable home VR entertainment system were reportedly stopped by ac-counts of too realistic effects doc-umented by Research and Devel-opment, leading to testers to move and injure themselves in the real world while wearing the headset (Horowitz, 2004).

Such a simple and technologi-cally primitive system was already able to fully immerse the user, at times to such a degree that his mind would be tricked into acting as if the simulated space were the actual space in which he was liv-ing in, and seldom causing even detrimental side effects such as stress, addiction, isolation and mood changes (Costello, 1997). This premature botched attempts at personal VR systems came to a definite halt after 1995 Ninten-do’s tentative with the Virtual Boy (see picture), but the video game industry hasn’t failed since then to

achieve progressively higher levels of “immersion” through the use of traditional media (television dis-plays, button based inputs). This brings this concept to what should be the designer’s main point of interest: what is “immersion” and how is it achieved?

The psychological concept of “presence” is what is translated in popular talk as “immersion”, and is observed when media contents are perceived as ‘real’ in the sense that media users experience a sensation of being spatially locat-ed in the mediated environment rather than what we define as the real space (Wissmath et al., 2009). According to a 2007 study led by Werner Wirth, such an illusion is obtained through both media and user factors, and has to follow two steps before reaching such spatial presence: mental representation of the fictional world in the user, fol-lowed by said user temporarily fa-voring this virtual space as his pri-mary frame of reference. The first requirement for the fabricated re-ality to be recognized and adopted in the viewer’s mind is credibility, or “completeness of sensory in-formation”; the less gaps our brain has to fill, the more responsive it is to said environment. The user’s attention has also to be grasped

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by more traditional means of en-tertainment, such as an engrossing plot.

This does not imply that the cre-ated virtual reality has to closely follow our world to be believable; as long as the new reality is con-sistent within itself, the user who has chosen to dwell in it will start accepting elements that would not be plausible in the original world, entering what is called “suspen-sion of disbelief”.

Introducing foreign components and concepts is not exclusive to digital three dimensional environ-ments; as defined by Wissmath, any media can accomplish spatial presence even if to varying extent, meaning that in the wait for sys-tems capable to influence a wider range of human senses, less com-plex tools can obtain the same outcome of creating an alternate, virtual reality in which the specta-tor can be shaped by new trans-mitted messages, ideas, experienc-es.

“Immersive design” is a con-cept outlined by Alex McDowell in 2007 describing the use of digital tools to design immersively in vir-tual space (Desowitz, 2008). This discipline has been brought forth

as a design philosophy theory only in recent years thanks to the increased opportunities offered by technology in narrative-driv-en media, but as a practice it is arguably been an established and deep-seated methodology of de-sign and mass media alike for a long time. Embedded market-ing, commonly known as “product placement”, has been around since at least 1873, when Jules Verne “Around the World in Eighty Days” (see picture) brought mentions of existing transport and shipping companies in its story; and since this very first instance of commu-nication through memories in an “alternate presence”, it has been debated wether to consider it a form of advertisement or still a realistic element subtly utilized to make the simulated space more believable (Butcher, 1995).

This is what, I conclude, makes a good and effective designed cre-ation; one that is able to create memories, to affect one’s per-ception of reality, thus altering one’s identity, without being loud and flagrant in its deed. The next year will see a new opening in the market, with the release of both the HTC Vive and Oculus Rift for home distribution, the two most immersive VR HMD in history. The

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designers of the following de-cades will have to consider the potential of such a medium, and the new paths it will open to their audience’s memories and identity.

This is a harmonious yet pow-erful construction, a might de-vice in the hands of a savvy designer, of which the fairness in use can be debated as its channels become increasingly more engulfing and effective in a deeper fashion, but of which the potential, influence, and ca-pability is undisputed.

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Bibliography

References

This catalogue is an intertwined collection of texts, thus many authors and works are cited multiple times. They will be listed only once in order of appearance.

First Things First

Pevsner, Nikolaus (2005). Pioneers of Modern Design. Yale University Press, 2005

After a Fashion

Pugh, David (2015). A Brief History of Newtown. http://www.newtown.org.uk/pages/a-brief-history-of-newtown-2

Root, Damon (2009). Marketplace of Ideas. Academic Search Complete, EBSCOhost, p.1.

Pose! That’s Not Me

Barthes, Roland (1993). Camera Lucida: Reflections on Photography. Vintage Classics 1993

Spencer, D. A. (1973). The Focal Dictionary of Photographic Technologies. Focal Press. p. 454

The Author

Benjamin, Walter (2013) The Author as Producer. Yale http://yaleunion.org/wp-content/uploads/2013/12/Walter_Benjamin_-_The_Author_as_Producer.pdf

Trahndorff, K. F. E. (1827). Ästhetik oder Lehre von Weltanschauung und Kunst 2 Bde. Berlin

Typography and

Communication

Bringhurst, Robert (1996). The Elements of Typographic Style. Hartley & Marks Inc., U.S.

Stevens, Michael (2013). A Defense of Comic Sans. Vsauce [video]. https://www.youtube.com/v/GUCcObwIsOs

Holding Text

Eliot, T. S. (2011). The Sacred Wood. Waking Lion Press

Memory and Line

Chip, Walter (2015) First Artists. National Geographic. http://ngm.nationalgeographic.com/2015/01/first-artists/walter-text

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Ingold, Tim (2007) Lines: A Brief History. Routledge

Left Brain, Right

Brain, Right Shame

Crow, David (2006). Left to Right: The Cultural Shift from Words to Pictures. AVA Publishing

Fetal Behavior Research Center (2004). http://www.sciencedirect.com/science/article/pii/S0028393297001565

Bleached Dreams

Price, Michael (2009). The left brain knows what the right hand is doing. American Psychological Association http://www.apa.org/monitor/2009/01/brain.aspx

Berger, John (1980). Uses of Photography. About Looking. New York: Pantheon Books. pp. 27-63

Berkeley, George (1710). A Treatise Concerning the Principles of Human Knowledge. Hackett Publishing, 1982

Butcher, William (1995). Around the World in Eighty Days. Oxford Worlds Classics, Introduction

Costello, P. J. (1997). Health and Safety Issues associated with Virtual Reality - A Review of Current Literature. Loughborough University

Desowitz, Bill (2008). Alex McDowell Talks 5D Conference and Immersive Design. Animation Wolrd Network,

http://www.awn.com/vfxworld/alex-mcdowell-talks-5d-conference-and-immersive-design

Evans, Claire (2013). A Eulogy for Skeuomorphism. Motherboard, 2013-06-11

Freud, Sigmund (1900). Die Traumdeutung. Franz Deuticke, Leipzig & Vienna

Hansen, James (2010). Spaceflight Revolution: NASA Langley Research Center From Sputnik to Apollo. Nabu Press

Horowitz, Ken (2004). Sega VR: Great Idea or Wishful Thinking?. Accessed through http://web.archive.org/web/20100114191355/http://sega-16.com/feature_page.php?id=5&title=Sega%20VR:%20Great%20Idea%20or%20Wishful%20Thinking?

Knight, C. and Glaser, J. (2012). Creating a Lasting Impression. Smashing Magazine http://www.smashingmagazine.com/2012/08/14/creating-lasting-impression/

NASA Technical Reports Server, not dated. http://ntrs.nasa.gov/search.jsp?R=19710064823

NASA, (2013). Project LOLA. http://www.nasa.gov/centers/langley/multimedia/project-lola.html

Society for Neuroscience (2012). Storing memories. http://www.brainfacts.org/sensing-thinking-behaving/learning-and-memory/articles/2012/storing-

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memories/

Stampler, Luara (2012). Did You Notice The Big Changes In These Famous Logos In 2012?. Business Insider

Stampler, Laura (2013). Did You Notice These 22 Companies Changed Their Logos In 2013?. Business Insider

Sutherland, I. E. (1968). A head-mounted three dimensional display. Proceedings of AFIPS 68, pp. 757-764

Taube, Aaron (2014). Did You Notice These 15 Companies Changed Their Logos This Year?. Business Insider

Wirth, W., Hartmann, T., Bocking, S., Vorderer, P., Klimmt, C., Holger, S., Saari, T., Laarni, J., Ravaja, N., Gouveia, F., Biocca, F., Sacau, A. Jancke, L., Baumgartner, T., & Jancke, P. (2007). A Process Model for the Formation of Spatial Presence Experiences. Media Psychology, 9, 493-525

Wissmath, B, Weibel, D., & Groner, R. (2009). Dubbing or Subtitling? Effects on Spatial Presence, Transportation, Flow, and Enjoyment. Journal of Media Psychology 21 (3), 114-125

PHOTOS

All linear illustrations are original artwork by the author of this catalogue.

All pictures have been edited to fit the graphic style of this catalogue.

Page 22: NASA/Langley Research Center (2013) Project LOLA - Lunar Orbit and Landing Approach. Available at: http://www.nasa.gov/sites/default/files/images/226874main_worlds_full.jpg

Page 24: Sutherlands, Ivan (1968) Sword of Damocles. Available at: http://labusch.de/vortraege/vr/index.html

Page 26: Amos, Evan (2011) Virtual-Boy-Set. Available at: http://en.wikipedia.org/wiki/Virtual_Boy#/media/File:Virtual-Boy-Set.png

Page 28: Penguin Books Australia (2008) Around the World in Eighty Days. Available at: http://www.penguin.com.au/products/9780141035871/around-world-eighty-days-pocket-penguin-classics

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A catalogue of past and future of design through time and media bySimon Di Fresco