This paper is about theorization and analyses of digital text – through examples of digital texts such as film, television and Internet – with a special focus on constitutivity of features such as interactivity and hypertextuality and their relations. The aim of this paper is to point out place and function of these features and changing structure, which are resulted by media innovation, which is emergence of digital film and television. With its synchronic and diachronic introduction, this paper explains historical development of hypertextuality and interactivity, also with explanation of digital text’s expansion, which is adjusted by type of digital narrative with its comparative introduction on development of digital forms of specified media.

We need to understand, “advertising and marketing” –which are the most effective tools, applied by brand colonialism– through what kind of visual rhetoric tries to communicate with the masses using the truth, representation, intent and deception notions. Popular culture affects the preferences of the masses concerned with their lives; since we are not utopist anymore; we should think properly about the probability of impossibility... To be abstinent in a way, ontologically means to be absent; just because we lost the sense of awareness as a project of self construction. To be critical against aggressive advertising is obviously a political and ideological declaration. As a key-not speaker, I would like to draw your attention to the necessity of consciousness that is indispensable, nowadays to be guarded against a banal materialist consumption.

Design education, by broad definition, is the instruction of theory and application in the creation of products, services, and communications. More specific to Visual Communication Design, is the teaching of typography, composition, cultural awareness, and audience understanding. By taking students beyond the design studio, and into a formalized design research lab, we are providing them with a much richer educational experience, and in turn, making them more marketable to future employers. Realizing this knowledge is a valuable commodity in industry, the VCD program at Virginia Tech is recreating itself to include coursework and design research that moves out of the studio. A new lab- ETUT (Eye Tracking and Usability Testing Lab) has been established within the School of Visual Arts, to assist in this redefinition. Once students complete studio projects, they are then guided through a series of methodologies, which test the validity, and integrity of their designs using the equipment contained in the ETUT lab. Their design education is being augmented with hard science to create a truly unique designer.

Computational color methods are changing the way artists and designers work and interact with color. My main focus as a new media artist and scholar has been to explore aspects of creating expressions based on digital color processes, whether by manipulation of RGB (red-green-blue) values, projection, or the use of computer vision to generate visual patterns. In order to better understand the visual structure of the RGB system, I have also devised taxonomy and methods of mapping RGB color relationships, which I use to create both printed (in which colors are adapted into CMYK) and digital artworks. In this presentation I discuss theoretical, technical and symbolic aspects of my work and collaborations.