33rd Annual DMI Conference Part 2 of 2: Art vs. Science

Twenty years ago, my college roommate majored in computer science while I worked on a fine arts degree. In contrast to our individual areas of study, our creative interests pulled us in other directions. We liked to joke that computer science people secretly desired to be artists, and artists secretly craved computer interaction. Today the line between computer science and fine art is blurrier than ever. This was evident in two notable talks from this year’s Design Management Institute (DMI) conference. Muriel Cooper prize recipient Ben Fry (no relation) and Jason Salavon each spoke to the continued merger of the science of computers with the art of design.

The Muriel Cooper Prize “recognizes outstanding achievement in advancing design, technology and communications in the digital environment”. Named for Muriel Cooper who cofounded and directed MIT’s Visible Language Workshop at the Media Laboratory, it honors uniquely talented individuals who demonstrate unconventional thinking. Fry and Casey Reas received this year’s award. From data visualization techniques to the invention of new graphic tools, Fry’s talk featured several software demos illustrating the potential of computers to express information in new ways. It was not a conventional DMI presentation. His use of homegrown illustration tools underscored the pitfalls of using off-the-shelf software to create visual design solutions.

American Varietal (diaspora), Jason Salavon, 2008

American Varietal (diaspora), Jason Salavon, 2008

Following Fry’s talk, Jason Salavon presented his own digitally-created pop-art. Jason’s work expresses pop culture with novel data visualization techniques. His work is a fascinating approach to illustrating trends and archetypes in data, from how homes look in different real estate markets to trends in adult magazine imagery. His work is often beautifully abstract: a formalist representation of data without real-world reference. He demonstrates how visually alluring data can be.

Both Fry and Salavon underscore an important lesson for design: Let your vision – not the tool – guide your innovation. In Fry’s case, he creates new tools that break the conventions of today’s graphics applications. I appreciated Salavon’s rant where he argued that Adobe Illustrator’s constraints as a tool are evident in the redesign of several NFL logos from the 1990s. Each team logo looks like it was drawn by the same hand using the same pen; technology overwhelming creativity.

The work of Fry and Salavon are a better marriage of engineering principles with art principles. Their work relies on computer-related technology as a catalyst for creativity and a medium for expression. Additionally, their work illustrates possibilities, provokes thought, engages emotionally, and asks for viewer participation. The same principles can be found in the best of design.