Design Art Papers 2025 | No. 13

REFERENCES 1. Adam and LiterallyAustin (2017), ‘Deep Fried Memes’, https://knowyourmeme.com/memes/ deep-fried-memes. Accessed 16 February 2025. 2. Adam and LiterallyAustin (2018a), ‘Lord Marquaad E’, https://knowyourmeme.com/memes/lord- marquaad-e. Accessed 25 April 2025. 3. Adam and LiterallyAustin (2018b), ‘Object Labeling’, https://knowyourmeme.com/memes/object- labeling. Accessed 24 January 2025. 4. Lave, Jean and Wenger, Etienne (1991), ‘Situated Learning: Legitimate Peripheral Participation’, Cambridge University Press, https://doi.org/10.1017/CBO9780511815355. Accessed 27 September 2025. 5. Situated learning: Legitimate peripheral participation. (n.d.), https://psycnet.apa.org/ record/1991-98963-000. Accessed 25 November 2025. 6. Adam and Rose Abrams (2021), ‘Bernie Sanders Wearing Mittens Sitting in a Chair’, https:// knowyourmeme.com/memes/bernie-sanders-wearing-mittens-sitting-in-a-chair. Accessed 20 January 2025. 7. Aidan Walker and LiterallyAustin (2024), ‘Facebook AI Posts Epidemic / Facebook AI Slop’, https:// knowyourmeme.com/memes/events/facebook-ai-posts-epidemic-facebook-ai-slop. Accessed 25 March 2025. 8. Aizin, Rebecca (n.d.), ‘What Does Gen Alpha Have Against Ohio? A Complete Guide to a New Generation of Slang, From “Skibidi Toilet” to “Rizz”’, https://people.com/all-about-gen-alpha- slang-8733165. Accessed 25 May 2025. 9. AI Cannot Understand Memes: Experiments with OCR and Facial Emotions (n.d.), https://www. techscience.com/cmc/v70n1/44391/html. Accessed 25 May 2025. 10. Anania, Billie (2022), ‘The Dada Movement’s Political Turn’, https://jacobin.com/2022/03/dada- movement-radical-weimar-republic-political-art. Accessed 25 March 2025. 11. Anderau, Glenn and Barbarrusa, Daniel (2024), ‘The Function of Memes in Political Discourse’, https://0610l959d-y-https-link-springer-com.z.e-nformation.ro/article/10.1007/s11245-024-10112- 0. Accessed 15 September 2025. 12. Benveniste, Alexis (2022), ‘The Meaning and History of Memes’, The New York Times, 26 January, https://www.nytimes.com/2022/01/26/crosswords/what-is-a-meme.html. Accessed 26 January 2025. 13. Boutin, Paul (2012), ‘Put Your Rage Into a Cartoon and Exit Laughing’, The New York Times, 9 May, https://www.nytimes.com/2012/05/10/technology/personaltech/rage-comics-turn-everyday- stress-into-laughs.html. Accessed 9 May 2025. 14. Broderick, Ryan (2025), ‘4chan Is Dead. Its Toxic Legacy Is Everywhere’, https://www.wired.com/ story/4chan-is-dead-its-toxic-legacy-is-everywhere/. Accessed 22 April 2025. 15. Brown, Helen (2022), ‘The surprising power of internet memes’, https://www.bbc.com/future/ article/20220928-the-surprising-power-of-internet-memes. Accessed 29 September 2025. 16. Canales, Katie (2022), ‘The rise and fall of once-$1 billion Tumblr, the early 2010s blogging site that defined a generation before fizzling out via a measly $3 million sale’, https://www. businessinsider.com/what-happened-to-tumblr-history-2014-girl-gen-z-millennials-2022-8. Accessed 10 August 2025. 17. CERN (n.d.), ‘A short history of the Web’, https://home.cern/science/computing/birth-web/ short-history-web. Accessed 25 May 2025. 18. Chloe, Bryan (2019), ‘Surreal memes deserve their own internet dimension’, https://web. Their evolution as multimodal constructs parallel the previously mentioned Dada/Neo-Dada art currents, through the surrealist and satirizing imagery they employ, the rebellious and increasingly political character they adopted, and the public methods of creation. They embody Dada’s capitalist critiques and rebellion by embedding subtext in their reappropriation of popular culture, Neo-Dada’s main subject. By embodying, and simultaneously subverting, the very culture they inhabit through communal authorship and unmarketable humour, they avoid commodification or politicisation, while directly engaging with it. Further so, their inherent participatory nature elicits and empowers users to actively participate in political discourse and facilitates their dissemination (Mihăilescu 2024; Huntington 2013). However, as Mihăilescu (2024) points out, memes often emerge as an “impulse for appropriating” any content, regardless of political character. Their propagation is also influenced by the emotion/information they portray, an aspect they’re incredibly efficient at capturing, to signal in-group belonging (Brown 2022). It’s indicative of how communal art functions, except executed in a digital realm. It should be of no surprise then how memes, especially in the recent years, have started to seep into conventional life via younger users employing them as perspective to interpret the world (Owen 2025), as means of ideological proliferation (Stockwell 2024: n.pag), or simply as another element of pop-culture. Despite the aggressive mainstream push, the advent of artificial intelligence (AI) has not fundamentally altered the dynamics of meme production, in actuality the time required to generate an AI-assisted meme is often comparable to that of traditional meme- making processes. The principal constraint remains the sourcing of suitable imagery, a task that AI can assist in, particularly when highly specific or novel visual material is required but remain inadequate due to their inherent lack of context or source. Nonetheless, despite the increasing sophistication of AI tools, the process of meme creation remains inherently dependent upon human agency. Artificial intelligence, regardless of its technical capabilities, is incapable of originating the core idea or the nuanced humour that renders a meme culturally resonant, much less so to reference in-group belonging. The initial creative impulse, the selection of subject matter, and the articulation of contextually appropriate humour all require a communal, human intervention. In this respect, AI functions primarily asanauxiliary tool, facilitatingcertainaspectsofproduction but incapable of supplanting the fundamentally human elements of creativity and interpretation that memes require. Moreover, there is an inherent risk that the proliferation of AI-generatedmemescoulddilutethepersonal,experiential dimension that has historically defined meme culture, the sharing of individual perspectives or the intimacies of community through humour and satire. The potential for AI to generate content that superficially resembles but lacks a genuine cultural insight raises important questions regarding the future trajectory of meme culture. In conclusion, the integration of artificial intelligence into meme production exemplifies the broader tensions at play in contemporary digital culture: between automation and authorship, speed and substance, collective participation and individual expression. While AI undoubtedly introduces new possibilities for creative experimentation, it also foregrounds the enduring necessity of human input in the creation of culturally meaningful and contextually relevant memes. As technology continues to evolve, the relationship between humans, memes, and machines will remain a site of negotiation and contestation, the outcome of which cannot yet be fully anticipated. What remains clear, however, is that the relevance of meme culturewill continue to depend upon its capacity to reflect, critique, and adapt to the shifting contours of society and technology. archive.org/web/20190327090359/https :/ /mashable.com/article/surreal-memes/#shKT74iNfsqZ. Accessed 27 March 2025. 19. Constantino, Tor (2024), ‘Is AI quietly killing itself- and the Internet?’, Forbes Australia, 2 September, https://www.forbes.com.au/news/innovation/is-ai-quietly-killing-itself-and-the- internet/. Accessed 2 September 2024. 20. Dancygier, Barbara and Vandelanotte, Lieven (2017), ‘Internet memes as multimodal constructions’, Cognitive Linguistics, Special Issue: ‘Internet memes as multimodal constructions’, 28:3, pp. 565–598. 21. Davies, Pascale, ‘Clanker: The Star Wars reference fronting an anti-AI wave online’, http://www. euronews.com/next/2025/09/02/what-is-a-clanker-and-why-are-people-on-social-media-using-it- as-an-anti-ai-slang. Accessed 25 May 2025. 22. Dempsey, Amy (2002), Art in the Modern Era: A Guide to Styles, Schools & Movements, New York: Harry N. Abrams. 23. Dixon, Allan (2015), ‘How to Win The Internet. Inside 9GAG’s HQ’, Medium, 2 September, https://medium.com/ @daxon/how-to-win-the-internet-inside-9gag-s-hq-93fcf375581c. Accessed 25 May 2025. 24. Don Caldwell and LiterallyAustin (2011), ‘Advice Animals’, https://knowyourmeme.com/memes/ advice-animals. Accessed 25 May 2025. 25. Don Caldwell and LiterallyAustin (2013), ‘Thanks, Obama!’, https://knowyourmeme.com/ memes/thanks-obama. Accessed 25 May 2025. 26. Don Caldwell and LiterallyAustin (2014), ‘Dank Memes’, https://knowyourmeme.com/memes/ dank-memes. Accessed 25 May 2025. 27. Don Caldwell and LiterallyAustin (2020), ‘X Musk / X Æ A-12’, https://knowyourmeme.com/ memes/people/x-musk-x-ae-a-12. Accessed 25 May 2025. 28. Douglas, Nick (2014), ‘It’s Supposed to Look Like Shit: The Internet Ugly Aesthetic’, https://061029591-y-https-journals-sagepub-com.z.e-nformation.ro/ doi/10.1177/1470412914544516. Accessed 25 May 2025. 29. fuck2016 (2016), ‘You Know I Had to Do It to Em’, https://knowyourmeme.com/memes/you- know-i-had-to-do-it-to-em. Accessed 25 May 2025. 30. g19ol and LiterallyAustin (2012), ‘Image Macros’, https://knowyourmeme.com/memes/image- macros. Accessed 25 May 2025. 31. Gale, Ren (2019), ‘Attention Spans and Memes: Why the change?’, Medium, 18 January, https:// medium.com/ @rengaled/attention-spans-and-memes-why-the-change-dce1bc84227d. Accessed 25 May 2025. 32. Gallagher, Rob and Topinka, Robert (2023), ‘The politics of the NPC meme: Reactionary subcultural practice and vernacular theory’, Big Data & Society, Special Issue: ‘The politics of the NPC meme: Reactionary subcultural practice and vernacular theory’, 10:1. 33. Gardner, Helen (2015), Gardner’s Art through the Ages: A Global History, Boston, MA : Cengage Learning. 34. gi97ol (2012), ‘Metal Gear Solid Enemy Alert’, https://knowyourmeme.com/memes/metal-gear- solid-enemy-alert. Accessed 25 May 2025. 35. Greene, Jacqueline Hirsh and Schmid, Hans-Jörg (2024), ‘POV: me, an empath, sensing the linguistic urge . . . to study the forms and functions of text-memes’, English Today, Special Issue: ‘POV: me, an empath, sensing the linguistic urge . . . to study the forms and functions of text-memes’, 40:2, pp. 97–104. 36. Hathaway, Jay (2019), ‘The Deep-Fried E Meme Shows Just How Weird Memes Can Get’, https:// web.archive.org/web/20190326134655/https: / /www.dailydot.com/unclick/lord-farquaad-e-meme/. Accessed 25 May 2025. 37. History Makes Memes. Memes Make History (n.d.), https://www.degruyterbrill.com/document/ doi/10.1515/9783111311371-004/html. Accessed 25 May 2025. 38. Hofmann, Irene E. (2001), ‘Documents of Dada and Surrealism: Dada and Surrealist Journals in theMary Reynolds Collection’, https://archive.artic.edu/reynolds/essays/hofmann.php. Accessed 25May 2025. 39. I Awesome and LiterallyAustin (2009), ‘Dancing Baby’, https://knowyourmeme.com/memes/ dancing-baby. Accessed 25 May 2025. 40. itsleeford and LiterallyAustin (2009), ‘YouTube Poop / YTP’, https://knowyourmeme.com/sensitive/ memes/youtube-poop-ytp. Accessed 25 May 2025. 41. James Blunt and LiterallyAustin (2015), ‘Ironic Memes’, https://knowyourmeme.com/memes/ ironic-memes. Accessed 25 May 2025. 42. Jamies Dubs and LiterallyAustin (2008), ‘All Your Base Are Belong to Us’, https://knowyourmeme. com/memes/all-your-base-are-belong-to-us. Accessed 25 May 2025. 43. Jostin Asuncion and LiterallyAustin (2010), ‘Reaction Images’, https://knowyourmeme.com/ memes/reaction-images. Accessed 25 May 2025. 44. JustOrdinaryMan (2020), ‘Dame Da Ne / Baka Mitai’, https://knowyourmeme.com/memes/dame- da-ne-baka-mitai. Accessed 25 May 2025. 45. Kenneth and LiterallyAustin (2009), ‘It’s A Trap!’, https://knowyourmeme.com/memes/its-a-trap. Accessed 25 May 2025. 46. Knowledge at Wharton Staff (2019), ‘Is Reddit the Most Influential Site on the Internet?’, Knowledge at Wharton, 7 February, https://knowledge.wharton.upenn.edu/podcast/knowledge-at- wharton-podcast/history-of-reddit/. Accessed 25 May 2025. 47. Komaiko, Eli (2023), ‘An Extremely Detailed Article on the Evolution of Internet Memes & Trends’, The Charger Account, 6 September, https://chargeraccount.org/3912/for-fun/an-extremely-detailed- article-on-the-evolution-of-internet-memes-trends/. Accessed 6 September 2025. 48. Kristen and LiterallyAustin (2009), ‘Badger Badger Badger’, https://knowyourmeme.com/memes/ badger-badger-badger. Accessed 20 June 2025. 49. 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Thaler (eds), Cultures and Traditions of Wordplay and Wordplay Research, De Gruyter, pp. 167–94. 261 260 / / / / Caiete de Arte și Design / nr. 13 / 2025 / / / / Publicație a Centrului de Cercetare și Creație în Artele Decorative și Design / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /