Abstract
We live in a digital culture and cyber era. Cyberculture is an extensive concept including information and communication technologies, media and new media, theories, ideas, literature, art, design, and cultural studies. On the other hand, Lev Manovich updates new media and it reflects the characteristics of new avant-garde because of new digital hardware and software technology. New media has a new aesthetic potential, so does cyberculture. The rise of cyber culture has made it necessary to underline the relationship between graphic design and cyber culture and made it necessary to show key design elements of cyber-aesthetics. In this context, by using descriptive method, the chapter focuses on some components of aesthetics and cyber-aesthetics in the frame of relationship between graphic design and cyber-culture. Now, there is a global pandemic (COVID-19). Some graphic design examples came out during this global pandemic. These examples will be evaluated in terms of cyber-graphic design, cyber-aesthetics, and cyber-culture.
Top2. Graphic Design And Aesthetic Issues
Graphic design has been always revolutionary field. There is no any art and design as communal as like graphic design and typography. Both are deeply embedded in the fabric of society in every era. The field has been always reflected and still reflects the time spirit. Technological advancements had considerably impacted the society and graphic design since 1900s. However, after 1920s, the field has been profoundly changed with digital technology. Interpreting and evaluating the myriad social and aesthetics implications of graphic design throughout its history helps us to understand todays aesthetics aspects and the Bauhaus is the first place to look at this aesthetics revolution.
Bauhaus has become a significant symbol for rethinking and reimagine around the forms, material and social ambitions to reflect the harmony of all the arts since its foundation. According to Walter Gropius, this vision is a union of art and design in the Manifesto of the Bauhaus (1919). The pioneers and fascinating leaders of Expressionism, Futurism, Dada, Constructivism, De Stijl and also many of the avant-garde’s most influential figures participated in Bauhaus as teachers, and provoked the press with their manifestos and lectures.
As myth, Bauhaus signifies a hunger for function and a will to liberate the world with a universal design language. Therefore, it has become the mythic origin of modernism, a site alternately revered and attacked by generations who have grown up in its shadow. Bauhaus was not a monolithic institution; like any school, it was a changing and often divisive coalition of students, faculty and administrators (Lupton & Miller, 2019: 7-8).
Key Terms in this Chapter
Real Virtuality: Is a form of culture based on digital, technology and computers, similar with the term of cyberculture used by Manual Castells.
Cyber Colors: are mostly neon bright and vibrant colors used to form a futuristic view.
Cyber City: Is a system. A city systematically integrated innovative, modern information technologies and organized systematically from transportation system to digital security is a cyber city.
Cyberspace: Is a cyber-environment used for the first time in the novel of Neuromancer (1984).
Cyber-Hole: Is a space that has completely a digital atmosphere.
Cyber-Graphic Design: Can be identified as all graphic design applications that enables to hypertext transmissions and includes almost the whole components of cyberculture and cyber-aesthetics with digital technology, cybernetics and hardware and software technology.
Cyber-Aesthetics: Is the whole reflections of aesthetics emerged from reflections of social and cultural effects of cybernetics and cyber culture on art.