Campaign: Motoral Windy Day Film
Agency: Motorola ATAP
Motorola hoping to position itself as an experience deliverer created the Windy Day interactive film intending to target those who value experience and new technological developments as well as products. The connection between the target and the message is that Motorola is here to deliver products that will fulfill the new generations desire to have the latest and greatest of technologies. The SMIT being communicated is that Motorola is now a player in the advertising technology innovation game, hoping to follow int he foot steps of Google and MIT Media Lab. The visuals of the application strengthen Motorals stance to position itself as an ad tech powerhouse, there are not necessarily accompanying copy, but rather the reactions of Windy Day users. The context of the application shows the burgeoning of Motorola’s ad tech innovation hopes and dedicated teams.
Bjork has teamed up with 10 developers at MIT to create a series of ten apps to accompany ten of her songs to be used as interactive learning tools. Highlighting the further blurring line between art and technology.
The most powerful portion of the article highlighting this tool found on Wired, reads “The whole theme was about connecting the dots, building bridges between things that didn’t have a bridge before — nature and technology, atoms and the galaxy. It is so overreaching in unifying everything in the Universe.” The reason I was drawn to these lines is because of the way I make sense of things, by observing patterns and cyclical relationships and by connecting dots. This way of thinking is evident in my personal art works, in my taste in design and in the career I aspire to be a part of.
I’m really glad that Bjork has embraced the merger of art and technology as well, two seemingly distant fields that in reality are closely linked. Art furthering technology and technology doing the same for the art field.
FELD & ATMO Studios collaborated on the generative identity tool to create an identity system for Pigmentpol, a digital printing company.
As a staunch advocate of generative design with a large interest in the practice and advancement of the field, it was really exciting to see a tool made to aid in the process for the non-technical designer looking to get their feet wet.
I’m especially keen on this project because not only am I a big fan of generative design, but my personal design aesthetic and taste leans toward the geometric side of things. The reason I like generative identity systems is because I feel that the brands they represent are dynamic and that a static image or system is not truly representative of a dynamic brand, however when you introduce a dynamic framework with styled rules the nature of the identity system can change right alongside the brand it represents.
Campaign: Art is Motion
Product: Lexus IS300h hybrid car
Agency: Belgian Communication agency Happiness Brussels contracted Generative Artist Sergio Albiac
The Lexus IS300h is being advertised to portray how a person’s actions define them and how by driving this particular Lexus you can create a self identity you feel more affinity for. The intended target of this campaign is environmentally conscious drivers who have a sense of how they became the people they are. A positive self identity and a defined sense of self connects the Lexus IS300h and the intended target. The SMIT is that your actions define who you are. The generative visuals of this campaign reinforce the SMIT by showing how your driving habits can alter the presented self portrait, it attempts to make minute actions tangible. The copy of the promotional video and on the promotional site reinforces the fact that humans are a result of their genes and their choices and that although they cannot affect their genetic structure they do hold power over their decisions and in turn, their decisions define them more-so than their genes. The campaign context supports the SMIT by providing a tangible representation of a drivers actions in real time, so that the experience is had in real time as you interact with the product.
Generative Design is no new concept in the world of digital media design, however when applied to Identity System Design, the adoption of generative design practices and principles is a relatively new concept. An example of an aesthetically appealing Generative Identity System that I came across not too long ago that I particularly liked was designed by London-based interaction design studio okdeluxe using the COP15 generative identity software; a Processing application created for the United Nations Climate Change Conference held in Copenhagen in 2009.
The way that generative software works is through creation of a dynamic frameworks that can be affected by predetermined variables that alter the aesthetic of the logo. These affective variables can include motion data, social media content, wind flow measurement, dynamic water levels, etc.
What was particularly enticing about this Identity System is that it incorporates another relatively new entrant to the software world, which is the creative coding Integrated Development Environment Processing, developed in 2001 by Casey Reas and Ben Fry at MIT Media Lab. Casey has gone on to work as a generative artist, which I hope to do as well in the near future.
What is unique about Processing is that it’s a visual programming language designed for visual persons to learn and utilize object oriented programming; the language family used to design for hardware and software interactions among other uses.