Project. Ever since then, the American graphic designer committed himself to an artistic exercise, where he created a new digital illustration every day and posted it online without a single absence. 13-and-a-half years later, Beeple made all his individual creations into one digital collage named
. The digital work with a Non-fungible token was offered at Christie’s in an online auction and realized a total of over 69 million dollars. Composed of 5000 images, the work is one of the most recent artistic examples using the method of direct visualization.
, Lev Manovich introduced the idea of media visualization, a more recent method that “[created] new visual representations from the actual visual media objects or their parts. Rather than representing text, images, video or other media through new visual signs such as points or rectangles, media visualisations buil[t] new representations out of the original media.” (Manovich 41) Indeed, Beeple’s
The Digital Imperative: Connect Learning With The World
Is an honest digital mosaic, preserving every single illustration with original details. The large, square image file consists of 21, 069 x 21, 069 pixels, or 319, 168, 313 bytes, hence the viewer has the option to zoom in on any brick of the montage. Although each image varies in shape and size, Beeple has stitched the pieces together seamlessly, while maintaining a predominantly chronological order.
Is an exceptionally dense gathering of pixelated colors. Similar to Mapping Time by Jeremy Douglass and Lev Manovich, the collection of images show the “variation in the data over time.” (Manovich 45) The top right corner is a cluster that appears mainly white, because Beeple started the
Project by sketching and drawing on physical pieces of paper. The colorways then shifts to black and garish colors, as the artist began to explore rendering images on the computer. Shortly after, the psychedelic, fluorescent color palette may have suggested Beeple’s period of interest in the aesthetics of Techno-Japonisme. The wave-like patterns continue to develop, revealing an overview of the maturation of Beeple’s artistic practice over the progression of time. In
Disciplining The Digital: Virtual 3d Reproduction, Pilgrim Badges, And The Stuff Of Art History By Ann Marie Rasmussen
(2020), Maria Giulia Dondero elaborates on Moretti’s concept of “distant reading” through direct visualization, as “[s]uch visualizations would reveal a working program which may have been unconscious from the part of the designers and which may have gone unnoticed…[s]uch visualizations highlight the trends which may have not been intentional or premeditated by the designer.” (Dondero, 107)
Since media visualization is a method of visualization without reduction, it is worth considering that a closer examination of the object is also necessary when approaching a digital artwork. The mapping of 5000 digital images provides a comprehensive view of the 13-and-a-half-year project of Beeple’s, but without zooming in on the individual illustrations, the media visualization would find its limitations in telling a digital art piece’s significant narratives, which could easily cause neglects of important facts behind the creations.
, I went onto Beeple’s official website to navigate through the tiles of illustrations. With access to clear stock images and recorded dates and titles, a much more dimensional Beeple – one who has gone through several persona changes – emerges. For instance, since the end of 2019, the artist has become visibly enthusiastic in making satirical political illustrations, in which repeatedly depicted politicians like Donald Trump, Joe Biden, Hilary Clinton, and occasionally Kim Jong-un. It is also worth mentioning that Beeple has been constantly posting the EVERYDAY project on Instagram for the past 7-and-a-half years. With more than 2.2 million followers on Instagram and over 422 thousand followers on Twitter, Beeple is certainly considered an influencer. In other words, as Richard Rogers suggests, the artist now inevitably engages in the “visibility labor”. As a digital artist, Beeple’s main stage is the online world and his success depends on the online audience. The more associable his artwork is, the more likes he receives. When scrolling through Beeple’s Instagram account, it becomes evident that the political satires receive much more comments than his usual sci-fi-themed illustrations.
Zooming In On The Shapur Plate
A disconcerting persona also surfaces when taking a closer look at the artist’s early works. In 2007, when Beeple just started out the EVERYDAY project, he posted racially problematic illustrations like “it’s fun to draw black people!” and “a fat nerdy chinese kid and his imaginary friends” – both would have caused immense offense and outrage from his audience if exhibited individually on Christie’s sales page, but then conveniently concealed when shrunk into tiny tiles through media visualization.
Manovich emphasized that media visualization is “particularly important for humanities, media studies and cultural institutions which now are just beginning to discover the use of visualization but which eventually mau adopt it as a basic tool for research, teaching and exhibition of cultural artefacts.” (Manovich 47)
Happens to be a digital artwork that is associated with the media visualization method, but not all digital art apply. Nevertheless, when approaching topics of art and culture, media visualization can be a powerful and flexible tool if utilized creatively, especially in the contemporary landscape.
Enriching Teaching Through Artefacts: An Early Childhood Mathematics Teacher Educator's Self Study Project
On the other hand, media visualization also adds an intriguing layer to the creation of digital art. When draughtsmanship and materiality of ownership is no longer essential, the ability to skillfully adopt media and advanced technologies become key in the digital art world.
Davis, Ben. “I Looked Through All 5, 000 Images in Beeple’s $69 Million Magnum Opus. What I Found Isn’t So Pretty.” artnet News. March 17, 2021. https://news.artnet.com/opinion/beeple-everydays-review-1951656.Children under five and digital technologies: implications for early years pedagogyFootnote † † This article is based on a research project that was carried out in four European countries during 2010–2012: England, Luxemburg, Greece and Malta.View all notes
This project aimed to investigate the types of digital technologies children under the age of five are using at home and assess the possible implications for early years pedagogy. The research, carried out between 2010 and 2012, was based in four European countries: England, Greece, Malta and Luxemburg. A mixed methods approach was employed to investigate what types of digital technologies were used by children under five years of age in their households and parental attitudes towards the use of these technologies. The project was developed into three stages. In the first instance data was collected from focus groups with the families to indicate what digital technologies are used in the households. In the second instance a questionnaire was designed for and completed by parents and children aged from birth to five years in order to reveal the extent to which children were making use of those technologies in the home. Subsequent to the analysis of the questionnaires, a further series of interviews were conducted with focus groups of parents and children to investigate their views in relation to the use of the digital technologies. Analysis of the data from the questionnaire revealed that children under five are heavy users of a number of digital technologies at home. Analysis of the qualitative data emerging from the interviews suggested that children are ‘digitally fluent from a very young age’. One of the key findings was that parents felt that their definition of an illiterate person no longer corresponded to the traditional view of someone who cannot read and write, but rather was considered as a person who cannot learn, unlearn, relearn and use digital technologies as part of their everyday lives. Firstly, this project concluded, therefore, that there should be a re-conceptualisation of young children's learning in early years pedagogy and early childhood settings as children under five are engaging with digital technologies in playing and learning at home and this cannot be overlooked by early years education. Secondly, it is suggested that in today's world of digital technologies early years educators should re-examine the way children learn and the way in which the early years workforce organise their learning environments.
Site Tpack Symposium
Cette étude porte sur les types de technologies numériques que les enfants de moins de cinq ans utilisent à la maison et leurs implications possibles pour la pédagogie de la petite enfance. Elle a été effectuée entre 2010 et 2012 dans quatre pays européens (Angleterre, Grèce, Malte et Luxembourg). Plusieurs méthodes ont été employées pour examiner les types de technologies numériques utilisés par ces enfants dans leurs foyers et les attitudes parentales quant à leur utilisation. L’étude a comporté trois étapes. Dans un premier temps les données ont été recueillies à l'aide d'entretiens collectifs avec les familles pour savoir quelles étaient les technologies numériques utilisées dans les familles. Ensuite, un questionnaire a été conçu pour et rempli par les parents et les enfants âgés de la naissance à 5 ans pour connaître l'étendue de l'usage de ces technologies. À la suite de l'analyse des questionnaires, une nouvelle série d'entretiens a été réalisée avec des groupes de parents et d'enfants pour étudier leurs points de vue quant à cet usage. L'analyse des données du questionnaire a révélé que les enfants moins de cinq ans sont de gros utilisateurs de certaines technologies numériques à la maison. L'analyse des données qualitatives issues des entretiens indique que les enfants sont « numériquement à l'aise très jeunes ». Une des principales conclusions est que les parents pensent que leur définition d'une
A disconcerting persona also surfaces when taking a closer look at the artist’s early works. In 2007, when Beeple just started out the EVERYDAY project, he posted racially problematic illustrations like “it’s fun to draw black people!” and “a fat nerdy chinese kid and his imaginary friends” – both would have caused immense offense and outrage from his audience if exhibited individually on Christie’s sales page, but then conveniently concealed when shrunk into tiny tiles through media visualization.
Manovich emphasized that media visualization is “particularly important for humanities, media studies and cultural institutions which now are just beginning to discover the use of visualization but which eventually mau adopt it as a basic tool for research, teaching and exhibition of cultural artefacts.” (Manovich 47)
Happens to be a digital artwork that is associated with the media visualization method, but not all digital art apply. Nevertheless, when approaching topics of art and culture, media visualization can be a powerful and flexible tool if utilized creatively, especially in the contemporary landscape.
Enriching Teaching Through Artefacts: An Early Childhood Mathematics Teacher Educator's Self Study Project
On the other hand, media visualization also adds an intriguing layer to the creation of digital art. When draughtsmanship and materiality of ownership is no longer essential, the ability to skillfully adopt media and advanced technologies become key in the digital art world.
Davis, Ben. “I Looked Through All 5, 000 Images in Beeple’s $69 Million Magnum Opus. What I Found Isn’t So Pretty.” artnet News. March 17, 2021. https://news.artnet.com/opinion/beeple-everydays-review-1951656.Children under five and digital technologies: implications for early years pedagogyFootnote † † This article is based on a research project that was carried out in four European countries during 2010–2012: England, Luxemburg, Greece and Malta.View all notes
This project aimed to investigate the types of digital technologies children under the age of five are using at home and assess the possible implications for early years pedagogy. The research, carried out between 2010 and 2012, was based in four European countries: England, Greece, Malta and Luxemburg. A mixed methods approach was employed to investigate what types of digital technologies were used by children under five years of age in their households and parental attitudes towards the use of these technologies. The project was developed into three stages. In the first instance data was collected from focus groups with the families to indicate what digital technologies are used in the households. In the second instance a questionnaire was designed for and completed by parents and children aged from birth to five years in order to reveal the extent to which children were making use of those technologies in the home. Subsequent to the analysis of the questionnaires, a further series of interviews were conducted with focus groups of parents and children to investigate their views in relation to the use of the digital technologies. Analysis of the data from the questionnaire revealed that children under five are heavy users of a number of digital technologies at home. Analysis of the qualitative data emerging from the interviews suggested that children are ‘digitally fluent from a very young age’. One of the key findings was that parents felt that their definition of an illiterate person no longer corresponded to the traditional view of someone who cannot read and write, but rather was considered as a person who cannot learn, unlearn, relearn and use digital technologies as part of their everyday lives. Firstly, this project concluded, therefore, that there should be a re-conceptualisation of young children's learning in early years pedagogy and early childhood settings as children under five are engaging with digital technologies in playing and learning at home and this cannot be overlooked by early years education. Secondly, it is suggested that in today's world of digital technologies early years educators should re-examine the way children learn and the way in which the early years workforce organise their learning environments.
Site Tpack Symposium
Cette étude porte sur les types de technologies numériques que les enfants de moins de cinq ans utilisent à la maison et leurs implications possibles pour la pédagogie de la petite enfance. Elle a été effectuée entre 2010 et 2012 dans quatre pays européens (Angleterre, Grèce, Malte et Luxembourg). Plusieurs méthodes ont été employées pour examiner les types de technologies numériques utilisés par ces enfants dans leurs foyers et les attitudes parentales quant à leur utilisation. L’étude a comporté trois étapes. Dans un premier temps les données ont été recueillies à l'aide d'entretiens collectifs avec les familles pour savoir quelles étaient les technologies numériques utilisées dans les familles. Ensuite, un questionnaire a été conçu pour et rempli par les parents et les enfants âgés de la naissance à 5 ans pour connaître l'étendue de l'usage de ces technologies. À la suite de l'analyse des questionnaires, une nouvelle série d'entretiens a été réalisée avec des groupes de parents et d'enfants pour étudier leurs points de vue quant à cet usage. L'analyse des données du questionnaire a révélé que les enfants moins de cinq ans sont de gros utilisateurs de certaines technologies numériques à la maison. L'analyse des données qualitatives issues des entretiens indique que les enfants sont « numériquement à l'aise très jeunes ». Une des principales conclusions est que les parents pensent que leur définition d'une
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