Computational Literacy for Graphic Design

Late years have seen growing the discussion about artificial intelligence. Such a spread is related to the positive results in applying AI, for example in areas such as face and voice recognition. This second generation of AI was affected by three factors that played together and important role: 1) the availability of large amounts of data, 2) the increase of computational power, and 3) new statistical algorithms. Although what we call artificial intelligence seems to be an autonomous entity, we often forget that behind the curtain of machines there is always a human presence. It’s up to humans to shape artificial intelligence, even if such intelligence is hidden in a black box. The point of such a proposal is that AI, and more generally computation, doesn’t have to be unrelated to design. My definition of design is not formally restricted to graphic design only, especially today that the boundaries of disciplines are blurred more and more. Graphic design is a form of design and cannot be isolated avoiding synergies with other disciplines. Many graphic designers — or simply designers — have learned to draw with computers over the last few decades and some of them make the most of computer programming as a way to being creative. As the new generations are invited to study computer programming from a young age, some disciplines such as the digital humanities support scholars in developing technical skills to change their daily practice. My argument is that today designers are mature to learn computer programming at school, and that would benefit them greatly in terms of creativity and quality. Artificial intelligence, of course, can be one of the skills that a designer/coder can use by studying computer science. This concept was developed at the beginning of this century by John Maeda, who supported Ben Fry and Casey Reas to develop Processing, a library for computational graphic design. If the MIT Medialab is famous to anticipate new tendencies, twenty years after Processing is central for many designers. The distance that each one of us can feel in front of artificial intelligence can be seen as a lack of knowledge. But such a distance can be filled up by studying computer programming and practicing it. The question is not about discussing what artificial intelligence is, but rather practicing with it by writing code; this is the only way to learn and understand. This contribution is about demystifying that everyone is a stranger to programming. In particular, designers are not and they would enormously benefit from such a skill to reestablish control over the technology and employs new tools in their daily work