I have seen most of my digital product design work get tossed into the bit-garbage can. Or, as my college computer science teacher termed it, "The big bit bucket in the sky." I suspect this has to do with the nature of the digital, with a quick click, a project pivots. There is no real there, there, rather, just a group of pixels on their journey through the pixel lifecycle. However, occasionally, my professional work will launch to the public, get iterated upon, commercialized, commoditized, and eventually taken down to usher in the next business objective—a pixel's life cycle.

At the same time, beautiful walled garden groups and clubs focus on their own internal profit-generating "safe" communities. This lemon-grass-scented community is yours for annual contractual and monthly subscription fees. Remember to stop by the club store to purchase our logo to wear out in public and signal that you are in this community.   

Founded in 1919 by architect Walter Gropius in Weimar, Germany, the Bauhaus school remains one of the most influential Modernist movements in art, architecture, and design. The manifesto article and art school, founded in response to Europe's then-disconnected and traditionalist state of arts education, envisioned integrating art, craft, theatre, and technology to detract from pre-WWI-era art methodologies and create a community and a new aesthetic for the modern age. This paper will explore the Bauhaus movement, analyze its accomplishments, and assess its significance in contemporary art, arts education, architecture, and graphic design.

I contemplate whether it's not a lack of metaphysical aura that is destroyed in the relocation or replication of the art but rather the viewer's responsibility to come to the works with an open mind and, if possible, bring an understanding of the original intentions of the work. The work is not "there." There is "no self" to the replicated artwork any longer; instead, a new iteration emerges that can have an equal impact through a viewer's lens.

Do Monteiro and Mayakovsky's principles apply here? Should I reconsider my involvement in this line of work, even though I stumbled into this mentorship? Or are their writings aimed solely at designers from liberal arts backgrounds and vibe in Brooklyn, leaving those in the military-industrial complex out of the conversation?