Visual Rhetoric, January 29, 2013Presentation Transcript
Today1) Icebreaker2) Finishing up what we had from last time– discussion3) A tragedy and a solution: defining visual rhetoric4) Applying that visual rhetoric definition and our accrued skills. AKA: deep analysis of images5) A look toward design6) Homework
Icebreaker1) Name2) If your friends were asked to describe you with a single song, what do you think they’d pick?
Quick visual digressionIf you’re in the other class, you’ll see even moreof these later, but I thought these twotypographical images were so interesting theywarranted a double-dip.
Wysocki“Children’s books often have very large faces, which are thenscaled down somewhat for young adult books, which are thenscaled down again for adult texts.”
Wysocki“Letters have shape because of their typefaces. Becausetypefaces are a major visual strategy for a text’s composers tosignal the genre into which the text is to fit, and because thechoice of different typefaces can signal argumentative movesin a text, it is worth giving typefaces—their categories andhistories—some attention”
Barthes"If our reading is satisfactory, the photograph analyzed offersus three message: a linguistic message, a coded iconicmessage, and non-coded iconic message.”The rhetoric of an image is specific to the extent that it issubject to the physical constraints of vision but general to theextent that "figures are never more than formal relations ofelements." ---the culture youre from affects how yousee/interpret an image
Barthes• Denoted (non-coded) is the actual meaning.• Connotated (coded) is what you perceive as the message• Linguistic message is the text. Without this, the image is open to too much interpretation. The viewer must be guided a little to the meaning they (the creator) want the viewer to see
Barthes• In every society various techniques are developed intended to fix the floating chain of signifieds in such a way as to counter the terror of uncertain signs• The psyche is its own language... Each person is going to interpret images differently regardless of the other meanings associated with it, because of personal experience and how the image speaks and appeals to them
BenjaminThe overall message of the piece is that he first introduced theconcept of aura. Within section VII, Benjamin introduces theidea that photographs and film are made to be reproduced, sothat we interpret and accept them differently than somethingsuch as a one-of-a-kind painting, which is much more unique.
BenjaminIn section VII Benjamin says, “The reactionary attitude towarda Picasso painting changes into the progressive reactiontoward a Chaplin movie.” By having the ability to bereproduced much easier, it changes the reaction that themasses have to it. The exposure that people have to paintingsand artwork that are not easily or able to be reproduced ismuch less than the exposure that people have to film andphotographs .
BenjaminBenjamin also says, “Painting simply is in no position topresent an object for simultaneous collective experience, as itwas possible for architecture at all times, for the epic poem inthe past, and for the movie today.”
BenjaminAn current example to help illustrate what Benjamin is saying iscomparing a high-end, sought after shoes, such as Christian Louboutin,to an easy to get a hold of brand, like Sketchers. In this example,Louboutins could represent a Picasso painting, while the Sketchers canrepresent the Chaplin movie.
Kress“The sign - a complex message of words, of letters, of colourand font-types with all their cultural resonances - reflects theinterests of its designer as much as the designer’s imaginedsense of those who will see and read the sign. The sign isbased on a specific rhetorical purpose, and intent to persuadewith all means possible those who pass by and notice it.”
KressDesigners intent is for the audience to automatically relate tothe images and formulate a specific intended meaning. WithMcDonald’s sign for instance, everyone knows that it will beWestern food that will be served.
Kress“In one sense, colours work similarly: I have encountered thecolour ‘red’ in many instances, as in “red light district”, as acolour of lipsticks…Words have their histories, but they alsorefer; they name things (as nouns) or actions (as verbs) orattributes (as adjectives) or as relations of location (asprepositions), and so on.”
KressThe same image or phases can have different meanings to thepeople of different cultures. The swastika symbolizes harmonyin many Indian religions. But in many other cultures, thissymbol is associated with the Nazis and intolerance.Dragons in the Chinese culture symbolizes against evil, but inChristianity it has long represented Satan.
The day we wrote up our collaborativedef……something ate my saved PPT, and so Microsoftrestored it to it’s pristine pre-edit form. Boo-hiss.But we can rebuild it. And we’re going to do that,based on what we’ve learned since.But this time, I want to form the definition a littledifferently. We’ve learned all these skills, so I want totake a sustained look at a few images, do someanalysis, and as we do so, take notes. At the end ,we’llwrite a new definition.
Things to think about…1) Which of those posters is the most interesting?2) Which makes the best argument for the show?3) Which does the best job to appeal to your personal interest?4) What strategies are employed, and to what ends?
Things to think about…1) Why the change? *note– it’s more dire here*2) What does each logo represent?3) What makes the second one a better fit?4) What is gained and what is lost in this change- over?
Visual rhetoric is……
For Thursday:Read for class: Kimball & Hawkins Chapter2, Golombisky & Hagen Chapters 1-3, andMissy is MissingAnd please do this much of Design Task 3: lookaround campus, or around town, and find a flieror poster you feel doesn’t work well. Take apicture of it, or take the flier itself, and bring it toclass.