Visual Communication

This article explores the role of design in Ladakh, a remote region in northwestern
India that was opened to tourism and trade only 35 years ago. The shift in the prevailing
socio-economic structure is manifested within the region’s forms of visual communication, spanning a continuum from photographic advertising to hand-painted wayfinding systems. One questions the cumulative effects these graphic artifacts have on local people’s perception of the region and their identities integrated with it. Workshops were conducted in which participants were introduced to the abstract visual
language of maps then sketched their home villages. Content analysis of these externalized cognitive maps reveals a consistency of visual representation strategies across all participants. References to natural and manmade features reflect reverence for the land and an understanding of agrarian systems. Currently graphic design in Ladakh is in service to profit outside interests. The author seeks a role for design that values the local constituency as well.

Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w zwięzły sposób przedstawia szereg zagadnień istotnych dla każdego historyka, socjologa czy badacza literatury. Na Model i metaforę składają się teoretyczne podstawy myślenia obrazem, zarys historycznych relacji słowa i obrazu w humanistyce, a także praktyczne wskazówki dla tych, którzy chcieliby korzystać z obrazów w trakcie planowania i pisania tekstów. Inni czytelnicy mogą traktować tę książkę jak przewodnik, ułatwiający poruszanie się w epoce obrazów.
Jak przystało na książkę o komunikacji wizualnej, Model i metafora jest połączeniem obrazu i tekstu na równych prawach – zawiera ponad 150 rysunków wyjaśniających kwestie, które byłyby trudne do omówienia przy pomocy tekstu.

This book chapter, published as part of the edited volume "Empirical Comics Research (Routledge, 2018), puts forward a quantitative approach to the study of comics by introducing a stylistic analysis of a corpus of around 240 graphic novels, graphic memoirs and other non-fiction.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

In modern media products interact essential design patterns that are dependent on the communicative goals and on the typology of the magazine, on the one hand, and - ensure unity of the elements and organic matter of the product. Here may be found to certain relations, formulated as the main compositional design principles, valid in publications of different types, covering all components of the graphics, among them: universality, visual access, aesthetics, usability, modular design, similarity, consistency, constancy, redundancy, economy, simplicity, nearness, visibility, symmetry and asymmetry, balance and rhythm, scale, contrast, hierarchy.

Typography performs a critical role integrating signs into contemporary culture yet typography’s role in the design and conceptualization of meaning has been underestimated and its position as a critical component in the discourse of visual culture has been neglected. The role of design is fundamental in maintaining social stability and cohesion and the manipulation of form, structure and behaviour of typography’s letterforms are instruments in this system. Typography operates as a linguistic and visual communication device and possesses the agency to be symbolically meaningful to individuals and groups and representative of social, cultural and economic concerns. Professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public domain. As such, little is known about the complex role typography performs in the social, economic or cultural realm of contemporary practice.
This research study aims to make visible the mechanisms through which social classes and social institutions are established and validated in contemporary culture offering critical insight into the investment toward expressing how particular facets of tastes are constructed to demarcate cultural distinctions.  Cultural festivals are a form of cultural capital in an objectified state and an increasingly important aspect of our contemporary experience. Branding is a vital part of this festival space presenting impressions of urban freedoms, rich histories, and cultured places, that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. There is prestige in holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding” and the “creative industries” in a competitive global context. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. The intention is to establish recognition suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artifacts of design but with the conceptualization of designed meaning in 21st century visual culture.

Greetings: The 7th edition of Visual Communication: Images with Messages is available at a drastically reduced price for students and others at $35: http://goo.gl/r53bFs with a color print version available for $100: http://goo.gl/Cqg3hr through Amazon. The fully updated edition includes 739 figures for photographs and illustrations along with weblinks to additional images and videos. If you plan to teach visual communication, visual literacy, and/or media and culture or if you are an interested student or professional, please consider taking advantage of this opportunity. Let me know if you have any questions. All best things, paul _________

This was the first book on the new PhDs in studio art that is addressed to the North American academic system (2009).

This is the opening to the original, first edition of this book. I am leaving it online, but it's out of date: please refer to the Second, definitive edition; nearly half of it is online (see the URL above).

This article contributes both to the conversation about visual communication opened by Roland Barthes’ classic book, Camera Lucida: Reflections on Photography and current research in communicology (semiotic phenomenology). The article offers an interpretation (third step) to the reduction (second step) of the description (first step) of Barthes’ semiotic phenomenology of communication. Attention is paid to time consciousness, the concept of the punctum, and the interplay between presence and absence opened by it. The interpretation draws on Jean Luc Nancy’s philosophy of visual images in order to expand the discussion of three emergent themes in Camera Lucida: the unseen, exposure, and death. Discussion of these themes from a communicology perspective deepens our understanding of visual communication as a sign–body experience.

Substantial cognitive skills such reading, writing and learning are dismantled and deformed to suit the nonlinear experience of a digital text that is developed on and transmitted by singular medium — device’s screen. The textuality within digital media urges for new ways of information reproduction, dissemination and consumption. Methods that, simultaneously are dealing with the burden of information overload and the limitations inherited from previous typographic media.

The advent of new typographic standard — OpenType Font Variations appears as a necessary consequence and a natural drive towards a redefinition of digital typography.

The relevance of this study is to speculate about conceptual possibilities that arise, not realistic promises and the implicit theoretical understanding of the processes that are collaterally intertwined.

Creativity appears to result from unexpectedly combining two or more elements or angles into a novel phenomenon that is more than the sum of its parts. This idea, called “bisociation” by Koestler (1969), also underlies Fauconnier and Turner’s (2002) claim that Blending Theory provides a model of “emergent structure,” i.e., creativity. However, as Veale et al. (this volume) point out, Fauconnier and Turner’s approach is lacking in one crucial dimension: it retrospectively construes the two contributing elements from the creative result, instead of providing details on how to decide which new element is needed to enrich an already given element in such a way that the vaguely anticipated creative result is achieved. Using an adapted form of the Blending Theory model I will in this paper focus on the specific type of creativity involved in communicating narratively salient information in an unexpected visual manner in comics’ text balloons. The paper’s primary goal is to formulate patterns in creative balloon use, and thus to contribute to comics scholarship and visual studies. Its subsidiary goal is to reflect on Blending’s Theory’s potential to become a true theory of creativity.

This edited volume offers a theoretically driven, empirically grounded survey of the role visual communication plays in political culture, enabling a better understanding of the significance and impact visuals can have as tools of political communication. The advent of new media technologies have created new ways of producing, disseminating and consuming visual communication, the book hence explores the theoretical and methodological underpinnings of visual political communication in the digital age, and how visual communication is employed in a number of key settings. The book is intended as a specialist reading and teaching resource for courses on media, politics, citizenship, activism, social movements, public policy, and communication.

Gendered visual communication is a major part of contemporary, mediated discourse, yet these expressions are seldom reflected upon from a designers' perspective. Whose voices are empowered in tabloid newspapers and gendered magazines? In what ways can we express gender? In this visual essay, I provide an auto-ethnographic perspective, and use personal reflections and visualisations to show a process of deconstructing, shaping and encoding gendered expressions on mobile platforms from my point of view, as a designer and a woman. The essay contributes to research writing methodologies, by questioning conventional ways in which scholarly research is presented. I draw on concepts of feministic speculative designs and gender-flips to demonstrate how the designer can change the meaning of digital spaces. I show this with two examples; an online newspaper design and a student project of an online women’s magazine. I found that an awareness of such gendered expressions can challenge existing norms, enable creativity, innovative designs and shape new meanings in popular cultural expressions.

This paper outlines the applicative environment and sketches the technical details of an FM subcarrier technology called multipurpose radio communication channel (MPRC). This technology delivers data at maximum data rate of around 40 kbs using a proprietary codec algorithm, subsidiary communication channel (SCC). As a result it is possible to obtain video transmission in QCIF format at roughly 8/12 fps using 35 kHz of the 100 kHz available for a commercial FM radio station in Europe. In this way, it is possible to transmit video on FM radio together with the usual radio broadcasting. SCC is briefly described in its main characteristics

Pokémon Is one of worldwide famous franchise content from Nintendo which released as game in 1996. The game series of Pokémon later massively developed into various entertainment content and media with wide range of merchandising. The basic content of Pokémon is character exploration in a set of world with emphasizing the relationship between Pokémon and its trainers. There are more than 600 Pokémon characters introduced to the public until 2012. The wide numbers of characters are developed in order to embrace the wide variety of audience’s interests which are basically developed from imagination of animals and plants around the world. This study is developing understand on the real Pokémon character’s point of visual interest through visual structure analysis based on character design theory. The 5th generation of Pokémon characters is the study object. The result of this study shows that combination of forms and colors which emphasize cute features are the basic ingredients of Pokémon character design. Those are the key visual elements of Pokémon’s character design which gain audience’s interest.

... of meanings between both worlds through visual properties that creates new sub-culture, which is Real life “virtual” sub-culture. ... [3] Hall, Stuart, 1997. ... Bahasa Rupa; Prasejarah, Newton sampai Einstein dan Relevansinya pada Kebudayaan Kontemporer, Bandung, Indonesia. ...

A B S T R A C T Visualisations can highly contribute to the importance and authority of new ideas, concepts, and knowledge claims. Among the many visualisations, few become well-known and influential in environmental governance. Whilst these have been objects of specific research, this study questions what constitutes and underpins their influence. For this, the paper codifies influential visualisations and defines criteria for studying their visual characteristics. The criteria are applied to two case studies, the " traffic light " and the " planetary boundaries " diagrams. To increase the validity of the findings, the study also introduces two " failure cases " as a plausibility check.

This article is primarily concerned with the question of understanding of notions and phenomena such are idolatry, iconolatry, and image in the framework of religious culture in European and Levant history from classic – antique age until late modern times.  Since the topic is broad, the article is composed as a short discussion about main ideas and problems connected to the understanding and the interpretations of the notion of idolatry and images that were and are presented in public and scholar discourse.  Theoretical basics for his article were taken from the work of several prominent post-modern scholars and researchers of scientific and academic fields of visual culture and art history such as Hans Belting, Michael Baxandall, David Freedberg, Peter Burke. In addition to this, the semiotic approach, as well as theory of media and communication was also engaged in the analysis conducted in the article.
Keywords:
Images, Christianity, cult, object, icons, visual

In argumentation theory pictures traditionally has been considered unable to function as argumentation. In this text Jens E. Kjeldsen analyses and critiques the assumption that argumentation is tied to explicit verbal communication, and that the semiotic character of pictures makes pictorial argumentation impossible. We should rather, he proposes, consider argumentation as performative communication acts; and because pictures can perform the role of enunciation and communicative action, they can also perform argumentation.

The value of images: using pictures and words to enhance intercultural and international communication Dr Alun Price, Associate Professor Stuart Medley As our institution expands its international offerings it is increasingly important to be able to communicate with intelligent and able people who have not had much exposure to learning in English. It has been difficult however to communicate verbally due to the low English proficiency of international clients and lack of language skills on the part of the Australian participants. This experience in international communication has highlighted the need for alternative methods of communicating information. In communicating with the students from a Japanese university I found that using diagrams and sketches worked well for example, in creating a cartoon of the process needed to carry out an assignment, such as research in books, asking questions and testing out designs on users. The students also produced visuals to describe their experiences and thinking. The approach has also been used with postgraduate local students and has developed further dimensions that are proving valuable. This paper explains some of the directions taken in introducing visual communication with international clients and explores the ways the approach accords with research into compensatory communication strategies, in particular, communicating with pictures. The value of visual communication in intercultural and international contexts is demonstrated.

To examine the effects of local versus global message framing concerning climate change, data were gathered from 114 undergraduate students at a Southern US coastal university. The experiment accounted for participants' perceived attachment to their environments (place attachment) to observe whether it related to increased engagement and risk perceptions. Messages were most effective in eliciting environmental action when local effects of climate change were emphasized. Those reporting more connection to their local environments perceived more risks and intended more mitigating actions. The results may assist practitioners, researchers, and decision makers in developing more effective approaches to climate change mitigation.

KEYWORDS: climate communication, message framing, place attachment, risk perceptions, visual communication

Video-Culturas Itinerantes: Visualidad y Performance en el Espacio Diaspórico Peruano [Itinerant Video-cultures: Visuality and Performance in the Peruvian Diaspora]. In Gisela Cánepa (ed.): Imaginación Visual y Cultura en el Perú, pp. 359-382. Lima: Fondo Editorial PUCP.

Issues of belonging, exclusion and the creation and maintenance of boundaries have surfaced in recent considerations of the production of space, yet the relevance of boundaries and belonging for understanding the construction of landscape has remained largely implicit. In this paper, I wish to explore more explicitly the connection of boundaries, belonging and landscapes by thinking about how landscapes become spatially bounded scenes that visually communicate what belongs and what does not. My focus is on understanding how landscapes are, in part, constructed through a territorialized politics of belonging-the discourses and practices that establish and maintain discursive and material boundaries that correspond to the imagined geographies of a polity and to the spaces that normatively embody the polity. To explore this relationship, I consider a controversy surrounding the operation of a slaughterhouse in Hugo, Minnesota, which was used extensively for Ua Dab-a Hmong tradition of ...

The inclusion of health warning on cigarette packages in Indonesia has changed several times. The Government’s message is delivered using both verbal and non verbal language. The Ministry of health require the inclusion of health warning in the form of pictures and writing on the packaging of tobacco products. This study examines the health warning on cigarette packs. Research using qualitative approach through visual analysis. Performed also the dissemination of a questionnaire and interviews to find out the public perception over the health warning. The results of this research are expected to be input in desingning the horror-themed messages on verbal communication (visual) and as additional material how to “read” the images.

Mark Roxburgh’s research over the past decade has focused on the evolving conceptualization, discourse and development of research methodologies for design. This has lead him to question the historical pattern of design whereby the methods and epistemologies of other disciplines are used without addressing the differences between them and design. Design is a complex activity enmeshed in many aspects of our lives. In his article in Design Issues (1992), ‘Prometheus of the Everyday: The Ecology of the Artificial and the Designer’s Responsibility’, Manzini foregrounds the relational nature of this complexity by conceiving design (the artificial) as having an ecology. Roxburgh has written about these matters but his critique has conformed to the conventions of academic publishing and he has found articulating aspects of such complexity constrained by the limits of written language. Increasingly, in design, visualization is used to map complex relationships between things, ideas and actions. In this essentially visual essay, Roxburgh is attempting to graphically identify and explore the relationships of some of these concepts in a manner that echoes these trends and his own research practice. He is aware that sketches of complex phenomena, through a process of interpretation and abstraction, become somewhat reductive. The moments he draws on in crafting the depictions of his views are presented episodically rather than chronologically.
Roxburgh sketches out three key historical conceptions of design and the ramifications they have had on our perceptions and practice of it. He depicts these conceptions as being drawn from traditions outside of design and suggests that an alternative strategy may lie within design itself. This strategy calls for an engagement with what he calls the aesthetics of research. He suggests that it is imperative that design encompasses an aesthetic engagement with the world at all levels, and most importantly at the point of design research and conception, for our experience of design is fundamentally aesthetic. He is aware that there is an apparent irony in his use of non design theories to frame aspects of his view but this is a necessary strategy to critique the ontological assumptions inherent within the conceptions of design that he characterizes (one could even say ‘caricatures’). Roxburgh takes the position that there is nothing essentially given about design consciousness. Rather, the characterizations of design consciousness that he outlines all carry (usually implicit) ontological assumptions that may be inappropriate and/or limit design practice. The depiction of design that he offers is based instead on an alternative ontology. While this cannot be empirically verified (no ontology can), he proposes it as a way of extending and critiquing usual conceptions of design practice. No doubt this in turn will be found to have shortcomings of its own.

This paper reports on a series of research projects undertaken over several years by groups of visual communication design students with the Customer Experience (CX) team at Westpac Bank, Australia's second largest bank by market capitalisation. The premise for running these projects was simple "what value could the visualisation and research skills of visual communication designers bring to the CX design process?" In reporting on these projects the authors argue that the problem solving model of design is increasingly redundant in service economies although note it is a pragmatic way of describing the complexity of design scenarios. More significantly the authors argue that with the growing trend in the use of visualisation techniques, for research and communication in service enterprises, that visual communication design is now the meta design discipline.

Shifting from representationally-oriented analysis of images to analysis of practices—the production, circulation and consumption of tourists’ images, and from photos created by tourists to photos staged, produced and displayed by the industry, this article offers a qualitative, ethnographic study of tourism’s visual culture.
Through observations conducted on a cruise ship, the author offers up-close depiction of photo-taking routines, and of the public display of multiple images of vacationing tourists. The article critically accounts for tourists’ desire to be photographed and portrayed by the industry in terms of visual surveillance (Foucault) under contemporary neoliberal visual regime. It is further argued that public displays of tourists’ images create, through collective  ediation/mediatization, a commercially assembled touristic collective or public.