Papers by McLaughlin Conor
How Gaspar Noé's Enter the Void (2009) assaults our conventional viewing experiences through the ... more How Gaspar Noé's Enter the Void (2009) assaults our conventional viewing experiences through the use of vanguard camera movement and continuous shot techniques. Classical Hollywood Cinema or Narrative Cinema defined a particular mode of looking and film form in the 20 th Century. Through its various conventions, it has configured what we as cinemagoers have come to expect. We are accustomed to a structure whereby an equilibrium is upset, a conflict is tackled and we are brought to some resolution. It is as Edward Braningan's definition suggests: " a way of organizing spatial and temporal data into a cause and effect chain of events with a beginning, middle and end that embodies a judgement about the nature of events ". We assume a role as passive spectator as we view the characters and diegesis safely form our positions. Photography generally abides the 180-degree rule. The use of master and wide-angle shots establish the scene while eye – line matching and shot – reverse shot patterns build relationships between characters in plot-driven outputs. It is not to say that these conventions have not been challenged after all: " Video art is defined in part by an artists' resistance to the limits put on the medium by television, with its narrative and content driven requirements of legibility " (Marks, 1998). Jean-Luc Godard's use of montage in Breathless (1960) used jumpcuts extensively and heralded a new form of modernist montage, and Andrei Tarkovsky's use of non-linear editing and extensive tracking shots in Mirror (1975) was a fine example of disrupting spatio-temporal expectations to arrive at what Gilles Deleuze calls the crystal image of time. Controversial French director Gaspar Noé has consistently endeavoured to deviate from the classical conventions of western cinema. Noé, now infamous for the brutal violence and harrowing intimacy of Irreversible (2002) and the eagerly anticipated Love (2015) has
User interface design is now at an inflection point, beginning to penetrate fields beyond what pr... more User interface design is now at an inflection point, beginning to penetrate fields beyond what previously has ever been anticipated. We are entering a phase where we struggle to distinguish what is important or real as we continue to equip ourselves, connecting the physical and digital worlds in a harmonious way, anticipating our environment and needs.
This research paper investigates how skeuomorphism presents a sense of familiarity in user interf... more This research paper investigates how skeuomorphism presents a sense of familiarity in user interfaces, while simultaneously failing to embrace digital experiences. The eschewing of skeuomorphism has given way to an interface design which offers users a sophisticated versatility in which design complements functionality where it once incorporated ornamentation.
This paper will find how flat design in user interfaces – within the restraints of minimalism – can handle increased complexity while embracing the real limitations of the digital experience, thus eradicating the imposed limitations of skeuomorphism. This paper also seeks to expose how, by presenting a clear and engaging design rather than disguising and warping that interface to mimic something nostalgic, flat design imposes a ubiquitous augmentation which yields a greater user experience and passivity.
Uploads
Papers by McLaughlin Conor
This paper will find how flat design in user interfaces – within the restraints of minimalism – can handle increased complexity while embracing the real limitations of the digital experience, thus eradicating the imposed limitations of skeuomorphism. This paper also seeks to expose how, by presenting a clear and engaging design rather than disguising and warping that interface to mimic something nostalgic, flat design imposes a ubiquitous augmentation which yields a greater user experience and passivity.
This paper will find how flat design in user interfaces – within the restraints of minimalism – can handle increased complexity while embracing the real limitations of the digital experience, thus eradicating the imposed limitations of skeuomorphism. This paper also seeks to expose how, by presenting a clear and engaging design rather than disguising and warping that interface to mimic something nostalgic, flat design imposes a ubiquitous augmentation which yields a greater user experience and passivity.