The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly
The current landscape of visual communication observes an increasing number of peculiar practices whose aesthetic orientation is based on imperfection as the essential element. In this context, the research seeks to reveal the presence of error in contemporary graphic design, specifically, through t...
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Universidad Diego Portales
2020
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| Online toegang: | https://www.revista180.udp.cl/index.php/revista180/article/view/802 |
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oai:ojs.revista180.cl:article-802 |
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ojs |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Suárez-Carballo, Fernando Martín-Sanromán, Juan-Ramón Galindo-Rubio, Fernando |
| spellingShingle |
Suárez-Carballo, Fernando Martín-Sanromán, Juan-Ramón Galindo-Rubio, Fernando The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| author_facet |
Suárez-Carballo, Fernando Martín-Sanromán, Juan-Ramón Galindo-Rubio, Fernando |
| author_sort |
Suárez-Carballo, Fernando |
| title |
The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| title_short |
The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| title_full |
The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| title_fullStr |
The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| title_full_unstemmed |
The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly |
| title_sort |
aesthetics of error in contemporary graphic design: connections between glitch, postdigital culture and new ugly |
| description |
The current landscape of visual communication observes an increasing number of peculiar practices whose aesthetic orientation is based on imperfection as the essential element. In this context, the research seeks to reveal the presence of error in contemporary graphic design, specifically, through the analysis of two main directions (whose relationship it tries to prove): on one hand, postdigital culture and two of its ramifications (the postinternet universe and the New Aesthetic), concepts that have been studied almost exclusively in the art field to describe the invasion of digital and technological elements, the fusion of the physical and virtual worlds or an environment defined by the progressive loss of seduction by Internet; and, on the other hand, the New Ugly, an eclectic graphic design movement based on the amateur simulation as its main differential feature. Through bibliographic review as the main method, supported by an intentional, non-probabilistic sampling of images belonging to graphic design projects to justify the relationship of the mentioned approaches, the conclusionsrefer to an important presence of digital error in the graphic design nowadays and the connection between New Ugly and postdigital culture through glitch as the aesthetic link. |
| publisher |
Universidad Diego Portales |
| publishDate |
2020 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/802 |
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oai:ojs.revista180.cl:article-8022020-12-29T11:36:23Z The aesthetics of error in contemporary graphic design: Connections between glitch, postdigital culture and New Ugly La estética del error en el diseño gráfico contemporáneo: conexiones entre el glitch, la cultura posdigital y el New Ugly Suárez-Carballo, Fernando Martín-Sanromán, Juan-Ramón Galindo-Rubio, Fernando aesthetics; glitch; graphic design; New Ugly; postdigital culture comunicación; diseño; diseño gráfico cultura posdigital; diseño gráfico; estética; glitch; New Ugly The current landscape of visual communication observes an increasing number of peculiar practices whose aesthetic orientation is based on imperfection as the essential element. In this context, the research seeks to reveal the presence of error in contemporary graphic design, specifically, through the analysis of two main directions (whose relationship it tries to prove): on one hand, postdigital culture and two of its ramifications (the postinternet universe and the New Aesthetic), concepts that have been studied almost exclusively in the art field to describe the invasion of digital and technological elements, the fusion of the physical and virtual worlds or an environment defined by the progressive loss of seduction by Internet; and, on the other hand, the New Ugly, an eclectic graphic design movement based on the amateur simulation as its main differential feature. Through bibliographic review as the main method, supported by an intentional, non-probabilistic sampling of images belonging to graphic design projects to justify the relationship of the mentioned approaches, the conclusionsrefer to an important presence of digital error in the graphic design nowadays and the connection between New Ugly and postdigital culture through glitch as the aesthetic link. En el marco de la comunicación visual actual, se observa una proliferación de singulares prácticas cuya orientación estética está basada en la imperfección como ingrediente fundamental. En este contexto, la investigación busca revelar la presencia del error digital en el diseño gráfico contemporáneo, concretamente, mediante el análisis de dos líneas principales (cuya relación se trata de demostrar): por una parte, la cultura posdigital y dos de sus ramificaciones (el universo posinternet y la Nueva Estética), conceptos que sido estudiados casi exclusivamente desde el arte para explicar la invasión de motivos digitales y tecnológicos, la fusión de los mundos físico y virtual o un escenario definido por la progresiva pérdida de seducción por parte del Internet; y, por otro lado, el New Ugly, una ecléctica corriente de diseño gráfico que encuentra en la simulación amateur su principal rasgo diferencial. Mediante la revisión bibliográfica como método principal, apoyada en una muestra intencional, no probabilística, de imágenes de proyectos de diseño gráfico que procuran justificar el vínculo entre los anteriores enfoques, las conclusiones apuntan a una importante presencia del error digital en el diseño gráfico actual y a la conexión entre el New Ugly y la cultura posdigital mediante el glitch como eslabón estético. Universidad Diego Portales 2020-12-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/802 10.32995/rev180.Num-46.(2020).art-802 Revista 180; Núm. 46 (2020) Revista 180; Núm. 46 (2020) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/802/450 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/1785 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/1786 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/1787 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/1788 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/1789 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/802/2192 Copyright (c) 2020 Revista 180 https://creativecommons.org/licenses/by/4.0 |