It should be perfectly clear by now that final research projects are due on December 7. If any expectations or requirements are unclear, please refer to the posted Guidelines, or if you have any questions regarding topics and research please email me: email@example.com
As stated, there are 2 items to post before class on the 7th. They are as follows:
(1) a PDF of your presentation. This should be the same document that you will use for your presentation, exported from PowerPoint, InDesign, or whatever program you use to design it.
(2) your bibliography, also saved as a PDF. Remember, in addition to class readings, you must include 10 sources from library databases.
Both of these items can be uploaded to a single Post.
We should have some very interesting presentations in the next couple of weeks. Please be ready to get them rolling right at 11:30 on the 7th!
https://www-sciencedirect-com.citytech.ezproxy.cuny.edu/science/article/pii/S0363811119302590 (Poltical underground movement)
https://notesmatic.com/2019/10/nike-dream-crazier-advertisement-analysis/ (logos, pathos ethos)
http://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=9004856&fileOId=9004858 ( ungerdround plus poltical views on dream crazy campaign)
https://scholarworks.calstate.edu/concern/theses/3484zj482 ( sassuare signs and symbols + barthas rhetoric)
Barnhart, Brent. “How to Make Sure You’re Marketing to Gen Z the Right Way.” Sprout Social, 11 Nov. 2019, sproutsocial.com/insights/marketing-to-gen-z/.
Codella, Daniel. “The Winning Coca-Cola Formula for a Successful Campaign.” Wrike, Wrike, 6 Apr. 2018, www.wrike.com/blog/winning-coca-cola-formula-successful-campaign/.
Crawford, Elizabeth Crisp, and Jeremy Jackson. “Philanthropy in the Millennial Age: Trends toward Polycentric Personalized Philanthropy.” Independent Review, vol. 23, no. 4, 2019, p. 551+. Gale Academic OneFile, https://link.gale.com/apps/doc/A581175535/AONE?u=cuny_nytc&sid=AONE&xid=0dea4ab3. Accessed 23 Nov. 2020.
Heller, Steven. “The Underground Mainstream.” Graphic Design Theory: Readings from the Field, by Helen Armstrong, Princeton Architectural Press, 2012, pp. 98–101.
Henderson, Geraldine Rosa, and Jerome D. Williams. “From Exclusion to Inclusion: An Introduction to the Special Issue on Marketplace Diversity and Inclusion.” Journal of Public Policy & Marketing, vol. 32, 2013, pp. 1–5. JSTOR, www.jstor.org/stable/43305308. Accessed 23 Nov. 2020.
“How a Campaign Got Its Start Down Under – News & Articles.” The Coca-Cola Company: Refresh the World. Make a Difference, The Coca-Cola Company, 25 Sept. 2014, www.coca-colacompany.com/news/how-a-campaign-got-its-start-down-under.
Kozinets, Robert V., et al. “Networked Narratives: Understanding Word-of-Mouth Marketing in Online Communities.” Journal of Marketing, vol. 74, no. 2, 2010, pp. 71–89. JSTOR, www.jstor.org/stable/20619091. Accessed 23 Nov. 2020.
Kumar, V. “Evolution of Marketing as a Discipline: What Has Happened and What to Look Out For.” Journal of Marketing, vol. 79, no. 1, 2015, pp. 1–9. JSTOR, www.jstor.org/stable/43784378. Accessed 28 Nov. 2020.
Liu, Yizao, and Rigoberto A. Lopez. “The Impact of Social Media Conversations on Consumer Brand Choices.” Marketing Letters, vol. 27, no. 1, 2016, pp. 1–13. JSTOR, www.jstor.org/stable/26177931. Accessed 29 Nov. 2020.
O’Connor, Padraig. “What To Know When Marketing To Millennials.” Social Media Week, 28 July 2015, socialmediaweek.org/blog/2015/07/marketing-to-millennials/.
Sonesson, Göran. “Rhetoric of the Image.” Encyclopedia of Semiotics. : Oxford University Press, , 2007. Oxford Reference. Date Accessed 28 Nov. 2020 <https://www.oxfordreference.com/view/10.1093/acref/9780195120905.001.0001/acref-9780195120905-e-248>.
Tarver, Evan. “Why the ‘Share a Coke’ Campaign Is So Successful.” Investopedia, Investopedia, 28 Aug. 2020, www.investopedia.com/articles/markets/100715/what-makes-share-coke-campaign-so-successful.asp.
Whitler, Kimberly A. “Why Word Of Mouth Marketing Is The Most Important Social Media.” Forbes, Forbes Magazine, 9 Sept. 2019, www.forbes.com/sites/kimberlywhitler/2014/07/17/why-word-of-mouth-marketing-is-the-most-important-social-media/?sh=4b98dc9e54a8.
Staber, Margit. “Swiss Design Today.” Design Quarterly, no. 60, 1964, pp. 1–40. JSTOR, www.jstor.org/stable/4047306. Accessed 30 Nov. 2020.
Gaddy, James. “Altitude: Contemporary Swiss Graphic Design.” Print, vol. 61, no. 3, May 2007, p. 166. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=25070744&site=ehost-live&scope=site.
Mauderli, Laurence. “Positioning Swiss Design: The ‘Schweizerischer Werkbund’ and ‘L’Oeuvre’ at the Beginning of the Twentieth Century.” The Journal of the Decorative Arts Society 1850 – the Present, no. 25, 2001, pp. 25–37. JSTOR, www.jstor.org/stable/41809311. Accessed 30 Nov. 2020.
What is referred to as mainstream today was born from what was once considered underground. I believe this is a revolving cycle not just now in contemporary times but even in the past. Heller says that the mainstream takes the underground and call it cool. Which is to me a form of exploitation and in some case could be looked at as cultural appropriation. The merger between the two is a fine line, because sometimes it seems like the transition from underground to mainstreams feels seamless. The battle between the two can be very frustrating for creators themselves especially when business gets involved. As Heller said mass marketers steal ideals from visionaries and thens slightly change the idea or in some cases don’t change it at all, which is a very nasty practice but still occurs to this day.
Heller, Steven. “Street theater.” Print, vol. 50, no. 3, May-June 1996, p. 29+. Gale Academic OneFile, https://link.gale.com/apps/doc/A18614265/AONE?u=cuny_nytc&sid=AONE&xid=2bf5f143.
“Constructivism Movement Overview.” The Art Story, m.theartstory.org/movement/constructivism/.
Jodi. “What Is Constructivism.” Austin Artists Market, 12 Nov. 2018, www.austinartistsmarket.com/what-is-constructivism/.
“Paula Scher.” Pentagram, Pentagram, www.pentagram.com/about/paula-scher.
“The Public Theater – Story.” Pentagram, Pentagram, www.pentagram.com/work/the-public-theater/story.
The old and new art styles have always evolved and collided with each other. It has always influenced our designs in the present times. Steven Heller reveals to us in “The Underground Mainstream” that the term Underground is the name given to the different Avant-Garde movements and styles. This is the core foundation in design; while mainstream is the embracing of all things cool, stylish, edgy, hip, and new. In the article “The Underground Mainstream” the two correlate and work hand in hand with each other. Thus, playing a role in contemporary art and designs of today. The old have set the path and style we want to achieve, with the incorporation of something new and in time with today.
It makes it easier for our viewers to understand and relate to. Heller tells us that advertising campaigns borrow characteristics from Avant-garde European Modern art. This combination as Steven classifies it is known as “cultural jamming”. At this time he wrote “ Underground denizens attack the mainstream for one of two reasons: to alter or to join, although sometimes both.” Many choose to embrace it and join this on their own accord. Some classified it as a rebellious design in their eyes. Moreover, those who choose mainstream must be able to make an impact larger than their circumscribed circles.
Today, we can see many companies, advertising campaigns, and products take characteristics from the past styles and integrating them with new styles. Creating a combination that makes design transgress and go beyond its normal expectations. The BMW company is heavily influenced by Marinetti futurism movement. This movement has molded itself into our daily lives. Making accessible and as an extension of ourselves. Many artist seek to incorporate the acts of futuristic traits in their designs. I want to focus on the evolution of car designs throughout time. Looking at the styles back then and comparing it to now. BMW 2020 logo represents “Introduction to brand communication only” and the company slogan “Sheer Driving Pleasure”. Ties in this dichotomy as they seek to express these in their car design. The BMW i8 (I12) is an embodiment of the momentum of speed, mobility, and sound. Which is the backbone and base of futurism. The i8 (I12) set the framework of the endless possibilities a car can undergo. The butterfly doors can foreshadow or possibility that a flying car is in the making for the future.
Heller, Steven. “Underground Mainstream.” Design Observer, 10 Apr. 2008, designobserver.com/feature/underground-mainstream/6737.
Bragato, S. (2019). Futurism. Italian Studies, 74(1), 105–108. https://doi.org/10.1080/00751634.2019.1537111
Baranello, A. (2010). The Deus (ex) Macchina: the Legacy of the Futurist Obsession with Speed.
Dijk, Y. (2010). The emergence of hybrid-electric cars: Innovation path creation through co-evolution of supply and demand. Technological Forecasting & Social Change, 77(8), 1371–1390. https://doi.org/10.1016/j.techfore.2010.05.001
Lee, S. (2017). Research of Future Furniture Design: Exploring Trends and Aesthetics in Futurism (2017). ProQuest Dissertations Publishing.