Shigetaka Kurita - emoji:
Created in 1998 by Shigetaka Kurita (born 1972), a young designer at the Japanese telecom company NTT DOCOMO, emoji act as the body language of online speech. Emoji taken from the Japanese e for picture and moji for character bring nuance to our online interactions and are a part of the long history...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Museum of Modern Art
[2023]
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| Schriftenreihe: | MoMA one on one series
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| Schlagworte: | |
| Zusammenfassung: | Created in 1998 by Shigetaka Kurita (born 1972), a young designer at the Japanese telecom company NTT DOCOMO, emoji act as the body language of online speech. Emoji taken from the Japanese e for picture and moji for character bring nuance to our online interactions and are a part of the long history of improvements to human communication, from the invention of writing to the arrival of the printing press and the advent of computers. In this volume of the MoMA One on One series, collection specialist Paul Galloway traces the development of emoji from the cell phone companies and youth culture of 1990s Japan to its current status as a global phenomenon "In 1999 the Japanese mobile phone company NTT DOCOMO released a set of 176 emoji for mobile phones and pagers. Designed on a twelve-by-twelve-pixel grid, the emoji--a portmanteau of the Japanese words e, or "picture," and moji, or "character"--enhanced the visual interface for NTT DOCOMO's devices and facilitated the nascent practice of text messaging and mobile email. Drawing on sources as varied as Japanese graphic novels, the typeface Zapf Dingbats, and common emoticons (simple faces that computer users made out of preexisting punctuation marks), Kurita, a designer at NTT DOCOMO, included illustrations of weather phenomena, pictograms like the heart symbol, and a range of facial expressions. The shift toward concise, telegraphic correspondence that began with the advent of email in the 1970s accelerated dramatically when messaging moved to mobile devices. People had even less space and time to get their point across, and the conveyance of tone and emotion became both more difficult and more urgent. Emoji, when combined with text, allow for more nuanced intonation. Filling in for body language, they reassert the human within the deeply impersonal, abstract space of electronic communication. Now, with more than 2,600 in use, emoji have evolved far beyond NTT DOCOMO's original set into an essential, global, and increasingly complex companion to written language. Nonetheless, the DNA for today's emoji is clearly present in Kurita's humble pixelated designs."-- Provided by publisher |
| Beschreibung: | 47 Seiten Illustrationen, Porträts (farbig) 22,8 x 18,5 cm |
| ISBN: | 9781633451490 1633451496 |
Internformat
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| 246 | 1 | 3 | |a Emoji - Shigetaka Kurita |
| 246 | 1 | 0 | |a Emoji |
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| 264 | 3 | |a New York, NY |b Distributed in the United States and Canada by ARTBOOK/D.A.P. |c [2023] | |
| 300 | |a 47 Seiten |b Illustrationen, Porträts (farbig) |c 22,8 x 18,5 cm | ||
| 336 | |b txt |2 rdacontent | ||
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| 520 | 3 | |a Created in 1998 by Shigetaka Kurita (born 1972), a young designer at the Japanese telecom company NTT DOCOMO, emoji act as the body language of online speech. Emoji taken from the Japanese e for picture and moji for character bring nuance to our online interactions and are a part of the long history of improvements to human communication, from the invention of writing to the arrival of the printing press and the advent of computers. In this volume of the MoMA One on One series, collection specialist Paul Galloway traces the development of emoji from the cell phone companies and youth culture of 1990s Japan to its current status as a global phenomenon | |
| 520 | 3 | |a "In 1999 the Japanese mobile phone company NTT DOCOMO released a set of 176 emoji for mobile phones and pagers. Designed on a twelve-by-twelve-pixel grid, the emoji--a portmanteau of the Japanese words e, or "picture," and moji, or "character"--enhanced the visual interface for NTT DOCOMO's devices and facilitated the nascent practice of text messaging and mobile email. Drawing on sources as varied as Japanese graphic novels, the typeface Zapf Dingbats, and common emoticons (simple faces that computer users made out of preexisting punctuation marks), Kurita, a designer at NTT DOCOMO, included illustrations of weather phenomena, pictograms like the heart symbol, and a range of facial expressions. The shift toward concise, telegraphic correspondence that began with the advent of email in the 1970s accelerated dramatically when messaging moved to mobile devices. People had even less space and time to get their point across, and the conveyance of tone and emotion became both more difficult and more urgent. Emoji, when combined with text, allow for more nuanced intonation. Filling in for body language, they reassert the human within the deeply impersonal, abstract space of electronic communication. Now, with more than 2,600 in use, emoji have evolved far beyond NTT DOCOMO's original set into an essential, global, and increasingly complex companion to written language. Nonetheless, the DNA for today's emoji is clearly present in Kurita's humble pixelated designs."-- Provided by publisher | |
| 600 | 1 | 7 | |a Kurita, Shigetaka |d 1972- |0 (DE-588)1314282883 |2 gnd |9 rswk-swf |
| 653 | 1 | |a Kurita, Shigetaka | |
| 653 | 0 | |a Emojis | |
| 653 | 0 | |a Visual communication / Digital techniques | |
| 653 | 0 | |a Symbolism in communication | |
| 653 | 0 | |a Communication / Technological innovations | |
| 653 | 0 | |a Interpersonal communication | |
| 653 | 0 | |a Signs and symbols | |
| 653 | 0 | |a Design and technology | |
| 653 | 0 | |a Art / New York (State) / New York | |
| 653 | 2 | |a Museum of Modern Art (New York, N.Y.) | |
| 653 | 0 | |a Émojis | |
| 653 | 0 | |a Communication visuelle / Techniques numériques | |
| 653 | 0 | |a Signes et symboles | |
| 653 | 0 | |a Design et technologie | |
| 653 | 0 | |a Symbolisme dans la communication | |
| 653 | 0 | |a Technologies de l'information et de la communication | |
| 653 | 0 | |a Communication interpersonnelle | |
| 653 | 0 | |a Art / New York (État) / New York | |
| 653 | 0 | |a emoji | |
| 653 | 0 | |a symbols | |
| 689 | 0 | 0 | |a Kurita, Shigetaka |d 1972- |0 (DE-588)1314282883 |D p |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Kurita, Shigetaka |d 1972- |0 (DE-588)1314282883 |4 art | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-034948369 | ||
Datensatz im Suchindex
| _version_ | 1804186485899919360 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Galloway, Paul 1977- |
| author_GND | (DE-588)1325628263 (DE-588)1314282883 |
| author_facet | Galloway, Paul 1977- |
| author_role | aut |
| author_sort | Galloway, Paul 1977- |
| author_variant | p g pg |
| building | Verbundindex |
| bvnumber | BV049604000 |
| ctrlnum | (OCoLC)1390472286 (DE-599)BVBBV049604000 |
| format | Book |
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| id | DE-604.BV049604000 |
| illustrated | Illustrated |
| index_date | 2024-07-03T23:35:07Z |
| indexdate | 2024-07-10T10:11:53Z |
| institution | BVB |
| isbn | 9781633451490 1633451496 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034948369 |
| oclc_num | 1390472286 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 47 Seiten Illustrationen, Porträts (farbig) 22,8 x 18,5 cm |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Museum of Modern Art |
| record_format | marc |
| series2 | MoMA one on one series |
| spelling | Galloway, Paul 1977- Verfasser (DE-588)1325628263 aut Shigetaka Kurita - emoji Paul Galloway Emoji - Shigetaka Kurita Emoji New York, NY Museum of Modern Art [2023] New York, NY Distributed in the United States and Canada by ARTBOOK/D.A.P. [2023] 47 Seiten Illustrationen, Porträts (farbig) 22,8 x 18,5 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier MoMA one on one series Created in 1998 by Shigetaka Kurita (born 1972), a young designer at the Japanese telecom company NTT DOCOMO, emoji act as the body language of online speech. Emoji taken from the Japanese e for picture and moji for character bring nuance to our online interactions and are a part of the long history of improvements to human communication, from the invention of writing to the arrival of the printing press and the advent of computers. In this volume of the MoMA One on One series, collection specialist Paul Galloway traces the development of emoji from the cell phone companies and youth culture of 1990s Japan to its current status as a global phenomenon "In 1999 the Japanese mobile phone company NTT DOCOMO released a set of 176 emoji for mobile phones and pagers. Designed on a twelve-by-twelve-pixel grid, the emoji--a portmanteau of the Japanese words e, or "picture," and moji, or "character"--enhanced the visual interface for NTT DOCOMO's devices and facilitated the nascent practice of text messaging and mobile email. Drawing on sources as varied as Japanese graphic novels, the typeface Zapf Dingbats, and common emoticons (simple faces that computer users made out of preexisting punctuation marks), Kurita, a designer at NTT DOCOMO, included illustrations of weather phenomena, pictograms like the heart symbol, and a range of facial expressions. The shift toward concise, telegraphic correspondence that began with the advent of email in the 1970s accelerated dramatically when messaging moved to mobile devices. People had even less space and time to get their point across, and the conveyance of tone and emotion became both more difficult and more urgent. Emoji, when combined with text, allow for more nuanced intonation. Filling in for body language, they reassert the human within the deeply impersonal, abstract space of electronic communication. Now, with more than 2,600 in use, emoji have evolved far beyond NTT DOCOMO's original set into an essential, global, and increasingly complex companion to written language. Nonetheless, the DNA for today's emoji is clearly present in Kurita's humble pixelated designs."-- Provided by publisher Kurita, Shigetaka 1972- (DE-588)1314282883 gnd rswk-swf Kurita, Shigetaka Emojis Visual communication / Digital techniques Symbolism in communication Communication / Technological innovations Interpersonal communication Signs and symbols Design and technology Art / New York (State) / New York Museum of Modern Art (New York, N.Y.) Émojis Communication visuelle / Techniques numériques Signes et symboles Design et technologie Symbolisme dans la communication Technologies de l'information et de la communication Communication interpersonnelle Art / New York (État) / New York emoji symbols Kurita, Shigetaka 1972- (DE-588)1314282883 p DE-604 Kurita, Shigetaka 1972- (DE-588)1314282883 art |
| spellingShingle | Galloway, Paul 1977- Shigetaka Kurita - emoji Kurita, Shigetaka 1972- (DE-588)1314282883 gnd |
| subject_GND | (DE-588)1314282883 |
| title | Shigetaka Kurita - emoji |
| title_alt | Emoji - Shigetaka Kurita Emoji |
| title_auth | Shigetaka Kurita - emoji |
| title_exact_search | Shigetaka Kurita - emoji |
| title_exact_search_txtP | Shigetaka Kurita - emoji |
| title_full | Shigetaka Kurita - emoji Paul Galloway |
| title_fullStr | Shigetaka Kurita - emoji Paul Galloway |
| title_full_unstemmed | Shigetaka Kurita - emoji Paul Galloway |
| title_short | Shigetaka Kurita - emoji |
| title_sort | shigetaka kurita emoji |
| topic | Kurita, Shigetaka 1972- (DE-588)1314282883 gnd |
| topic_facet | Kurita, Shigetaka 1972- |
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