Papers by Peggy Bloomer
The international journal of arts theory and history, 2016
Traditionally design history has been presented to students by "the sage on the stage" ... more Traditionally design history has been presented to students by "the sage on the stage" (King "From Sage on the Stage to Guide on the Side"), allowing students to passively experience the history through reproduced images flashed upon a screen. Putting the discovery of concepts, history, participation and engagement into the hands of the class, small group projects complemented by visits to the Special Collections at the Yale School of Architect, enabled students to discover the similarities within periods and develop an understanding of the role of technology and social forms upon graphic design. Each student gains a look forward through “the rear-view mirror” of history, preparing them for the challenges of a career in a field that borrows theory from architecture and fine arts, but incorporates cultural aspects that range from “deconstruction, semiotics and gender studies” (Armstrong Graphic Design Theory). Reproducing period projects, the students appreciates the evolution of forms through technologies that foster the separation of content from presentation, incorporate user interaction and connect society through the metaphor of the global network.
Ubiquitous learning, 2016
The international journal of educational organization and leadership, 2016
The International Journal of Arts Theory and History, 2016
Traditionally design history has been presented to students by "the sage on the stage" ... more Traditionally design history has been presented to students by "the sage on the stage" (King "From Sage on the Stage to Guide on the Side"), allowing students to passively experience the history through reproduced images flashed upon a screen. Putting the discovery of concepts, history, participation and engagement into the hands of the class, small group projects complemented by visits to the Special Collections at the Yale School of Architect, enabled students to discover the similarities within periods and develop an understanding of the role of technology and social forms upon graphic design. Each student gains a look forward through “the rear-view mirror” of history, preparing them for the challenges of a career in a field that borrows theory from architecture and fine arts, but incorporates cultural aspects that range from “deconstruction, semiotics and gender studies” (Armstrong Graphic Design Theory). Reproducing period projects, the students appreciates the evolution of forms through technologies that foster the separation of content from presentation, incorporate user interaction and connect society through the metaphor of the global network.
Ubiquitous Learning: An International Journal, 2016
The International Journal of Educational Organization and Leadership, 2016
Dexter and his “dark passenger” reflect the search for newer moral codes within a Western society... more Dexter and his “dark passenger” reflect the search for newer moral codes within a Western society filled with injustice and ambiguity. Dexter’s world is set within simulations of the post-modern condition in the Baudrillardian spectacle of death and the hyper-reality of Miami. Playing with the conventions of the epic and the post-modern condition, the Dexter franchise engages audiences through a broad range of mediums that include print, news, gaming, social networks and television serial and creates a transmedial narrative about Dexter as a post-postmodern Nietzschean Hero.
The International Journal of the Image, 2014
The international journal of new media, technology and the arts, 2017
Since the dominance of Microsoft Word and until the introduction of the @font-face CSS style, typ... more Since the dominance of Microsoft Word and until the introduction of the @font-face CSS style, typography has been a reduction of layout to one typeface per layout, usually Arial. Increasingly the manufacturing of type has moved from the foundry to the software company. Foundries have remained the provenance of the designer, not the general public. However, that is changing with the introduction of new Font APIs (Application Programming Interface). Websites and layouts have rediscovered display fonts, serif fonts and specialty fonts once again. Will this spawn a new generation of ransom note typography, or is something else on the typographic horizon? Will there be a return to time-honored rule of three fonts for a layout that developed as the de facto rule of font restraint in traditional book publishing? Using the serif font for ease of readability saw a marked decline in the years of Web 1.0. Is that dominance over with Web2.0 use of CMSs (Content Management Systems) like Word Pre...
Traditionally design history has been presented to students by "the sage on the stage" , allowing... more Traditionally design history has been presented to students by "the sage on the stage" , allowing students to passively experience the history through reproduced images flashed upon a screen. Putting the discovery of concepts, history, participation and engagement into the hands of the class, small group projects complemented by visits to the Special Collections at the Yale School of Architect, enabled students to discover the similarities within periods and develop an understanding of the role of technology and social forms upon graphic design. Each student gains a look forward through "the rear-view mirror" of history, preparing them for the challenges of a career in a field that borrows theory from architecture and fine arts, but incorporates cultural aspects that range from "deconstruction, semiotics and gender studies" (Armstrong 2009). Reproducing period projects, the students appreciates the evolution of forms through technologies that foster the separation of content from presentation, incorporate user interaction and connect society through the metaphor of the global network.
Examination of epic mythologies in the post-modern world demonstrates that the epic as a mediatio... more Examination of epic mythologies in the post-modern world demonstrates that the epic as a mediation of traditional mythic meanings has failed to attach to traditional representations of some version of the real. Instead, contemporary use of the epic incorporate the postmodern condition of capitalism, consumerism, the location as spectacle, technology and global homogeneity as givens. Despite this, epic mythologies continued to survive as narratives that society still tells to children using new media as the means of storytelling through games, products, television, film, and printed forms that emphasized the image and the media over the text. Through the implosion of images, the development of new visual medias, the expansion of the hardware and software globally, and the promotion of a world of virtual-reality, a return to epic mythology as the subject of transmedial storytelling is occurring as a narrative rich in immersion, continuance, and expansion for many version in many different media of storytelling.
Please list the changes you have made to your paper as a result of reviewer comments and feedback... more Please list the changes you have made to your paper as a result of reviewer comments and feedback. In some circumstances we may return this change note to reviewers.
Dexter and his "dark passenger" reflect the search for newer moral codes within a Western society... more Dexter and his "dark passenger" reflect the search for newer moral codes within a Western society filled with injustice and ambiguity. Dexter's world is set within simulations of the post-modern condition in the Baudrillardian spectacle of death and the hyper-reality of Miami. Playing with the conventions of the epic and the post-modern condition, the Dexter franchise engages audiences through a broad range of mediums that include print, news, gaming, social networks and television serial and creates a transmedial narrative about Dexter as a post-postmodern Nietzschean Hero.
Since the dominance of Microsoft Word and until the introduction of the @font--face CSS style, ty... more Since the dominance of Microsoft Word and until the introduction of the @font--face CSS style, typography has been a reduction of layout to one typeface per layout, usually Arial. Increasingly the manufacturing of type has moved from the foundry to the software company. Foundries have remained the provenance of the designer, not the general public. However, that is changing with the introduction of new Font APIs (Application Programming Interface). Websites and layouts have rediscovered display fonts, serif fonts and specialty fonts once again. Will this spawn a new generation of ransom note typography, or is something else on the typographic horizon? Will there be a return to time--honored rule of three fonts for a layout that developed as the de facto rule of font restraint in traditional book publishing? Using the serif font for ease of readability saw a marked decline in the years of Web 1.0. Is that dominance over with Web2.0 use of CMSs (Content Management Systems) like Word Press? What is the impact of On--Demand Printing on typography where so much publishing is generated through Word, instead of Adobe InDesign or Quark Xpress? As the deployment of content becomes more global, what fonts support a wide variety of language glyphs? This paper will attempt to look at these issues and focus on the influence of websites and Web 2.0 themes. In addition, examples of these current usages and the impact of globalization in web and printing distribution and font usage will be examined with specific examples included to support the conclusions of this examination of the expanding use of font APIs and their impact on typographic usage.
Conference Presentations by Peggy Bloomer
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Papers by Peggy Bloomer
Conference Presentations by Peggy Bloomer