I like the narrative process of this website. It starts small and grows as it slowly unveils and evolves from a box into a graphic, interactive page. Like my website, this site is narrative and simultaneously non-narrative. It is a narrative site in that it has a set sequence of images and pages, however it is non-narrative as it requires the user’s interaction – a click of the square – to proceed to the next page and grow into an exciting graphic page in terms of visual graphics and even audio and sound.
A narrative website has a storyline ie. a website based on an animation, whereas a non-narrative website allows the user to explore and navigate through the website themselves.
We had a look at some examples of narrative and non narrative websites and one of the more interesting ones
was http://www.requiemforadream.com/. To be honest, I still don’t know whether this website is narrative or non-narrative, as the page has a set journey, however the journey depends on the user’s decision to click ‘accept prize’, or ‘lose weight’ etc.
I like the satirical approach of this website. Simulating web advertisements, the website forces the user to click on the a ‘advertisement’, which leads you to yet another advertisement. The simulation of the web ad is so convincing, that I was initially hesitant to click on the pa
Whether this website is classified as a narrative or non-narrative website, I am going to take a similar approach to my web design, simulating a real internet website and forcing the user to click ‘log in’ or ‘search’ which will inevitably lead them to the next page. Thus, the website will be ‘narrative’ in that, it has a set sequence of pages. However, it is non-narrative because this ‘set sequence of pages’ can only be viewed by the user’s choice to click.
I came across this postcard advertisement today and thought it was just asking to be blogged. Can an advertisement relate to web design and art any more than this? While we’re supposed to choose either identity or security as our concept, this advertisement explores BOTH.
What I find interesting in this simple advertisement, is the way identity is represented. Ultimately, I think the advertisement reveals a corporate mindset where each individual is reduced to a mere number. In this add in particular, our identity is defined by a Tax File Number! Are we identified by businesses by how much money we have as customers?
Meanwhile, security does not refer to emotional stability or physical security. Rather, the term ‘security’ refers to the secrecy of our bank details!
Thus, what makes this add evocative is the bold use of the terms ‘identity’ and ‘security’: two broad terms that can be used in many different ways. Initially we are shocked by the rhetorical question, ‘Is your identity secure’, as we think the terms ‘identity’ and ‘security’ refer to our physical or emotional wellbeing. It is the simplicity of the graphics that caught my attention. From the entire shelf of postcards, I instantly focused on this postcard, as the white background allows the text to pop out of the page.
In her works shown above, Sarah Illenberger has cleverly assembled objects to look like a completely different object. Again, her work is evocative because of its simple and bold presentation. Thinking about my own website design, I aim to take a similar approach to my design. Perhaps I could simply re-arrange elements of well-known websites -such as Google, Facebook, Youtube – to compel the responder to question the fundamental purpose of the site…just another thought!
‘The Future of Art’ explores the use of technology to create art. Yet ironically the Romantics used art and literature to oppose technological development and industrialisation in the early 20th century. Thus, my mash up separates the terms ‘art’ and ‘technology’ to highlight the conflicts between industrialisation and Romanticism; technology and art.
The black and white frames of Frankenstein’s monster, the iconic Metropolis tower and the robotic Brigitte from ‘Metropolis’ symbolise early 20th century modernism and industrialisation, where technology was exploited for human benefits.
These monochromatic frames are juxtaposed with the vibrant Romantic paintings by Aivazovsky and Church, reflecting the conflict between technology and art in the early 20th century. The Romantics claimed that scientific endeavour transgressed natural boundaries and oppressed the individual.
The last frames of Franke’s ‘Spatial Sound Sculpture’ mirrors today’s fusion of technology and art, where technology encourages self expression and creativity.