Digital Photography: Communication, Identity, Memory    

Taking photographs seems no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, cameraphones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how technical changes (digitization) combined with growing insights in cognitive science and socio-cultural transformations have affected personal photography. The increased manipulation of photographic images may suit the individual's need for continuous self-remodelling and instant communication and bonding. However, that same manipulability may also lessen our grip on our images' future repurposing and reframing. Memory is not eradicated from digital multipurpose tools. Instead, the function of memory reappears in the networked, distributed nature of digital photographs, as most images are sent over the internet and stored in virtual space.

van Dijck, Jose. Visual Communication (2008). Articles>Graphic Design>Photography>Visual Rhetoric

Do Groups Know What They Don't Know? Dealing With Missing Information in Decision-Making Groups    

Although scholars have examined how individuals deal with information that is unavailable on decision-making tasks, little research has explored how groups deal with missing information. The present study proposes two ways groups can address information that is unavailable: by employing a diminished information set or by inferring the value of missing information. Both of these approaches are tested using an information sharing task. Groups are compared with information unavailable to any member, available but unshared among group members (i.e., hidden profile), and available and shared among all group members. Evidence indicates that group members may utilize both strategies to deal with missing information.

Henningsen, David Dryden and Mary Lynn Miller Henningsen. Visual Communication (2007). Articles>Knowledge Management>Collaboration

'Faces of the Fallen' and the Dematerialization of US War Memorials    

The advent of internet technology has enabled the process of memorialization of those killed in US military conflicts to keep pace with the casualties themselves and, as such, has marked a shift in both the ideology of the war memorial as symbol and the ideology-driven media use of those symbols. This article argues that a process of increasing humanization and specificity enabled by the information architecture of the internet has led to a form of `war memorial', exemplified by www.facesofthefallen.org, that emphasizes decontexualized human loss at the expense of a coherent representation of a military nature for the loss itself.

Grider, Nicholas. Visual Communication (2007). Articles>Web Design>Visual Rhetoric>History

Frozen Memories: Unthawing Scott of the Antarctic in Cultural Memory    

This article explores the staging of memory and death and the connotative differences within still photographs and film. It examines the tenses that can be inferred in reading photographs and film through examples drawn from representations of the British Antarctic Expedition of 1910-13 and Captain Scott's journey to the South Pole taken by Herbert Ponting, and in the 1948 film _Scott of the Antarctic_.

Barwell, Claire. Visual Communication (2007). Articles>Multimedia>Visual Rhetoric

Is Copyright Blind to the Visual?

This article argues that, with respect to the copyright protection of works of visual art, the general uneasiness that has always pervaded the relationship between copyright law and concepts of creativity produces three anomalous results. One of these is that copyright lacks much in the way of a central concept of 'visual art' and, to the extent that it embraces any concept of the 'visual', it is rooted in the rhetorical discourse of the Renaissance. This means that copyright is poorly equipped to deal with modern developments in the visual arts. Secondly, the pervasive effect of rhetorical discourse appears to have made it particularly difficult for copyright law to strike a meaningful balance between protecting creativity and permitting its use in further creative works. Thirdly, just when rhetorical discourse might have been useful in identifying the significance and materiality of the unique one-off work of visual art, copyright law chooses to ignore its implications.

Macmillan, Fiona. Visual Communication (2008). Articles>Intellectual Property>Copyright>Visual Rhetoric

National Pride, Global Capital: A Social Semiotic Analysis of Transnational Visual Branding in the Airline Industry    

In this article we examine 561 different airline tailfin designs as a visual genre, revealing how the global-local binary may be managed and realized semiotically. Our analysis is organized into three strands: (a) a descriptive analysis identifies the strikingly restricted visual lexicon and dominant corporate aesthetic established by tailfin design; (b) an interpretive analysis considers the communicative strategies at play and the meaning potentials which underpin different visual resources; (c) a critical analysis links these decisions of design and branding to the political and cultural economies of globalism and the airline industry. Specifically, we show how airlines are able to service national identity concerns through the use of highly localized visual meanings while also appealing to the meaning systems of the international market in their pursuit of symbolic and economic capital. One key semiotic resource is the balancing of cultural symbolism and perceptual iconicity in the form of abstracted stylizations of kinetic effects. Although positioned unfairly in the global semioscape, airlines may resist straightforward cultural homogenization by strategically reworking existing design structures and exploiting possibly universal semiotic meaning potentials.

Thurlow, Crispin. Visual Communication (2007). Design>Graphic Design>Visual Rhetoric

Newspaper Design as Cultural Change    

his article describes the (re-)design of newspapers and magazines as a process of cultural change which goes beyond designing a publication's layout, typography and use of colour, and includes designing the processes and structures of its production.

de Vries, James. Visual Communication (2008). Articles>Graphic Design>Publishing>Visual Rhetoric

Opinions as Norms: Applying a Return Potential Model to the Study of Communication Behaviors    

This research investigates the impact of normative intensity (i.e., strength of feeling) and crystallization (i.e., level of agreement) regarding communication behaviors and perceptions of social sanctions. By adapting the return potential model originally set forth by Jay Jackson, the authors examine perceptions of communication behaviors as a normative opinion process. Telephone survey respondents were asked to offer their own personal opinions regarding several communicative behaviors. By calculating the normative power (NP = Normative Intensity × Crystallization) associated with each of these behaviors, predictions were made regarding the frequency of behavior. The authors also connect normative power with the social costs ascribed to acts falling outside the accepted realm of behavior. Results indicate that public opinion can be seen as a normative process in which the intensity and crystallization of the climate of opinion exert influence on behavior in various communication situations.

Glynn, Carroll J. and Michael E. Huge. Visual Communication (2007). Articles>Communication>Methods

An Unbearable Lightness?    

This article considers various notions of 'beauty' and how these have informed the creative and critical processes of graphic design, specifically typography. The author considers how the Renaissance revival of Greek mathematics to support a 'universal beauty' was gradually unpicked by Enlightenment thinkers such as Descartes, Kant and Hume, and how this process has subsequently shaped modernist and postmodernist attitudes towards 'beauty'. From our current vantage point it could be argued that 'beauty' should now be considered a redundant concept; however, design schools and studios continue to make value judgments dividing the 'beautiful' from the 'ugly'. On what basis are these judgements made and are they still valid in a pluralistic society? Is it possible that we now have a new sensibility, a different notion of beauty? Reflecting upon important questions raised by the American designer and writer Steven Heller in his controversial essay 'The Cult of the Ugly' in _Eye_ magazine in 1993, the author proposes that 14 years on from the article, we can indeed witness a new aesthetic sensibility, shared but not universal, rooted in loss yet also 'found'.

Rigley, Steve. Visual Communication (2007). Articles>Graphic Design>Typography>History