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Visual verbal meaning collaboration:...

Carnegie Mellon University.

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Visual verbal meaning collaboration: A framework for the study of communication design.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Visual verbal meaning collaboration: A framework for the study of communication design./
作者:	Hagan, Susan.
面頁冊數:	232 p.
附註:	Chair: David S. Kaufer.
Contained By:	Dissertation Abstracts International65-12A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3159284
ISBN:	9780496924172

Visual verbal meaning collaboration: A framework for the study of communication design.
Hagan, Susan.

Visual verbal meaning collaboration: A framework for the study of communication design. - 232 p.

Chair: David S. Kaufer.

Thesis (Ph.D.)--Carnegie Mellon University, 2004.

Building a discipline for visual/verbal design has been problematic because the profession thus far rests on assumptions that, on one hand, recast visual elements as objects to be "read," or on the other, propose that verbal elements are background content or spatial texture for the visual design. These assumptions of reducibility ignore the status of visual and verbal elements as sui generis, making the interaction of these elements a matter of careful exploration rather than casual fact. Despite their inadequacies, describing visual/verbal collaboration based on these reducibility assumptions can nonetheless appear to handle a variety of visual/verbal interactions. This fact explains both the persistence and popularity of reducibility assumptions in light of their limitations.

ISBN: 9780496924172Subjects--Topical Terms:

1020245
Design and Decorative Arts.

Visual verbal meaning collaboration: A framework for the study of communication design.
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500 $a Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4547.
502 $a Thesis (Ph.D.)--Carnegie Mellon University, 2004.
520 $a Building a discipline for visual/verbal design has been problematic because the profession thus far rests on assumptions that, on one hand, recast visual elements as objects to be "read," or on the other, propose that verbal elements are background content or spatial texture for the visual design. These assumptions of reducibility ignore the status of visual and verbal elements as sui generis, making the interaction of these elements a matter of careful exploration rather than casual fact. Despite their inadequacies, describing visual/verbal collaboration based on these reducibility assumptions can nonetheless appear to handle a variety of visual/verbal interactions. This fact explains both the persistence and popularity of reducibility assumptions in light of their limitations.
520 $a What is needed is a framework that can account not only for cases where reducibility approaches seem to apply, but also can handle cases where such approaches fail. To that end, this work proposes a framework that attempts to more adequately describe visual/verbal collaborations; collaborations that encourage audiences to both look and read.
520 $a This dissertation identifies and names six fundamental kinds of visual/verbal collaboration, also known as types of play---a synonym for collaboration. These types are Identity Play, Parallel Play, Sequenced Play, Reflecting Interplay, Contradicting Interplay, and Redefining Interplay. Each type has compositional elements that are particular to its category. Each of these collaborative types is an inventional resource that serves specific rhetorical situations.
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