Visual Rhetoric and the Eloquence of Design


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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.



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Published 11 March 2011
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EAN13 9781602351936
Language English
Document size 10 MB

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He Visual Rhetoric series publishes work by scholars in a wide variety of disciplines, including art theory, anthropology, rhetoric, cultural studies, psychology, and media studies.
OTHER BOOKS IN THE SERIES Writing the Visual: A Practical Guide for Teachers of Composition and Communication, edited by Carol David and Anne R. Richards (2008) Ways of Seeing, Ways of Speaking: e Integration of Rhetoric and Vision in Constructing the Real, edited by Kristie S. leckenstein, Sue um, and Linda T. Calendrillo (2007) Parlor Press LLC, Anderson, South Carolina, USA
Parlor Press Anderson, South Carolina
© 2011 by Parlor Press All rights reserved. Printed in the United States of America
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Library of Congress Cataloging-in-Publication Data
Visual rhetoric and the eloquence of design / Leslie Atzmon, editor.  p. cm. -- (Visual rhetoric series) Includes bibliographical references and index. ISBN 978-1-60235-191-2 (pbk. : alk. paper) -- ISBN 978-1-60235-192-9 (hardcover : alk. paper) -- ISBN 978-1-60235-193-6 (Adobe ebook : alk. paper) -- ISBN 978-1-60235-161-5 (epub : alk. paper) 1. Design--Social aspects. 2. Visual communication in art. I. Atzmon, Leslie, 1954- II. Title. III. Series.
NK1520.V56 2011 745.4--dc22
Book Design Art Director, Leslie Atzmon Cover design, Ryan Molloy Cover font design, Ruth Bardenstien Book design, Nina Bianchi Printed on acid-free paper.
Parlor Press, LLC is an independent publisher of scholarly and trade titles in print and multimedia formats. His book is available in paper, cloth and Adobe eBook formats from Parlor Press on the World Wide Web at http:// or through online and brick-and-mortar bookstores. or submission information or to înd out about Parlor Press publications, write to Parlor Press, 3015 Brackenberry Drive, Anderson, South Carolina, 29621, or e-mail
INTRODUCTION: Visual Rhetoric and the Special Eloquence of Design Artifacts Leslie Atzmon xi
CHAPTER 1 Visual Style and Forms of Science in the Cold War Michael J. Golec 1
CHAPTER 2 Collapse: The Erasure of Time, History, and Memory in the Urban Landscape of Northern Ireland Kate Catterall 29
CHAPTER 3 Riot Grrrl Punk: A Case Study in the Personal Politics of British Riot Grrrl Fanzines Teal Triggs 63
CHAPTER 4 Architecture and the Politics of Reading: Nikola Dobrović and the GeneralštabBuilding in Belgrade Vladimir Kulić 99
CHAPTER 5 The Essential Outline: John Flaxman and Neoplatonism in Early Nineteenth-Century Manufactures Jane Webb 131
CHAPTER 6 Arms Akimbo: Kinesic Analysis in Visual and Verbal Art Guillemette Bolens 167
CHAPTER 7 Industrialization, Human Agency, and the Materiality of Illustration in the Victorian Press Gerry Beegan 205
CHAPTER 8 Dinosaur Design Barry Curtis 245
CHAPTER 9 Supernatural Selection: Sidney Sime’s Weird Science Leslie Atzmon 277
CHAPTER 10 Visual Design Narratives: Detection, Meaning, and Programming Jack Williamson 325
VISUAL ESSAYS Introduction: Types of Ornamental Eloquence Leslie Atzmon 369
CHAPTER 11 “Iced Up” and “Platinum Plus”: The Development of Hip-Hop Typographic Ornaments Ryan Molloy 373
CHAPTER 12 Regen(d)erating Decoration: Cultural Narratives in Ornamented FontsMagneto Motivity Lori Young 391
ACKNOWLEDGMENTS I would like to express my thanks to the many friends, colleagues, and family members who helped make this collection possible. I wish to îrst thank my former department head, Homas Venner, who is now the Dean of the College of Arts and Sciences at Eastern Michigan University (EMU). Tom encouraged my work on this collection and has supported this project in a number of signiîcant ways. Robert olkeboer, formerly an associate vice president at EMU, was also extremely supportive of this work. is input as a mentor and critical reader for my EMU grant proposals has been invaluable. I am extraordinarily grateful to Paul Morsink for his pointed and thought-provoking comments. I also value the enlightening discussions I had on various topics with Jack Williamson, who has produced some pioneering work in the area of visual analysis in design and cultural history. I want to thank all of my contributors for their hard work and for being patient through the rounds of changes. I’d also like to express my gratitude to my loving partner, Michael Schoenfeldt, for his unwavering support and guidance. Hank you to my cheerleading squad—my mother, sister, and brother, Sylvia, Adrien, and Michael Chandler, and my children, Amy and Ethan Atzmon. And înally, I would like to express my gratitude to the curators at the Sidney Sime archive in Worplesdon, Surrey in the UK. Hey helped make my time at the archive productive and pleasant.