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Visual Rhetoric and the Eloquence of Design
Edited by Leslie Atzmon
Visual Rhetoric Series
Edited by Marguerite Helmers
Other Formats Available: 978-1-60235-192-9 (hardcover, $80; £52; $80 CAD; €60; $82 AUS); 978-1-60235-193-6 (Adobe eBook on CD; $24)
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The essays in Visual Rhetoric and the Eloquence of Design foreground the rhetorical functions of design artifacts. Rhetoric, normally understood as verbal or visual messages that have a tactical persuasive objective—a speech that wants to convince us to vote for someone, or an ad that tries to persuade us to buy a particular product—becomes in Visual Rhetoric and the Eloquence of Design the persuasive use of a broad set of meta-beliefs. Designed objects are particularly effective at this second level of persuasion because they offer audiences communicative data that reflect, and also orchestrate, a potentially broad array of cultural concerns. Persuasion entails both the aesthetic form and material composition of any object.
Visual Rhetoric and the Eloquence of Design features ten scholarly essays steeped in rhetorical analysis of artifacts, as well as two visual essays on the topic of ornamental typography with accompanying verbal texts. The essays in this collection span a number of design disciplines, including manufacturing design, graphic design, architectural design, and monument design. Contributors include Leslie Atzmon, Gerry Beegan, Guillemette Bolens, Kate Catterall , Barry Curtis, Michael Golec, Vladimir Kulik, Ryan Molloy, Teal Triggs, Jane Webb, Jack Williamson, and Lori Young.
About the Editor
Leslie Atzmon is Professor of Graphic Design and Design History at Eastern Michigan University in Ypsilanti, Michigan. She earned her MFA in graphic design from Eastern Michigan University, and her PhD in Design History from Middlesex University in London, England. Atzmon’s work includes visual projects as well as design historical research. She has published articles in the journals Design Issues and Visual Communication, and has most recently published two articles in the online version of Eye: magazine. Atzmon has presented her work at the Design History Society conference, the Design Research Society conference, the AIGA Design Education conference, the Modern Language Association conference, and the International Conference of Design Studies and Design History. Her principle areas of research interest are late nineteenth-century fantasy imagery, book history, and the history of typography. Atzmon was awarded a Kress Foundation Pre-Dissertation Travel Fellowship in the History of Art for the 2003-2004 academic year. She is a member of the AIGA (American Institute of Graphic Artists) and the Design History Society.
Introduction: Visual Rhetoric and the Special Eloquence of Design Artifacts
1 Visual Style and Forms of Science in the Cold War
Michael J. Golec
2 Collapse: The Erasure of Time, History, and Memory in the Urban Landscape of Northern Ireland
3 Riot Grrrl Punk: A Case Study in the Personal Politics of British Riot Grrrl Fanzines
4 Architecture and the Politics of Reading: Nikola Dobrovic and the Generalštab Building in Belgrade
5 The Essential Outline: John Flaxman and Neoplatonism in Early Nineteenth-Century Manufactures
6 Arms Akimbo: Kinesic Analysis in Visual and Verbal Art
7 Industrialization, Human Agency, and the Materiality of Illustration in the Victorian Press
8 Dinosaur Design
9 Supernatural Selection: Sidney Sime’s Weird Science
10 Visual Design Narratives: Detection, Meaning, and Programming
Introduction: Types of Ornamental Eloquence
11 “Iced Up” and “Platinum Plus”: The
Development of Hip-Hop Typographic Ornaments
12 Regen(d)erating Decoration: Cultural Narratives in Ornamented Fonts Magneto Motivity
About the Editor