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The protocol of display: Graphic des...

Ommen, Brett Richard.

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The protocol of display: Graphic design and public imagination.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The protocol of display: Graphic design and public imagination./
作者:	Ommen, Brett Richard.
面頁冊數:	337 p.
附註:	Adviser: Dilip P. Gaonkar.
Contained By:	Dissertation Abstracts International68-09A.
標題:	Business Administration, Marketing. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3283469
ISBN:	9780549248682

The protocol of display: Graphic design and public imagination.
Ommen, Brett Richard.

The protocol of display: Graphic design and public imagination. - 337 p.

Adviser: Dilip P. Gaonkar.

Thesis (Ph.D.)--Northwestern University, 2007.

This project examines the relationship between graphic design and public life in an effort to understand how graphic design functions as a mode of communication, how visual images present interpretive problems for communication scholarship, and how the increasing presence of visual images in public space inform and are informed by a particular understanding of modern publicity. It begins with an account of the field and profession of graphic design in relationship to the visual images produced by graphic designers. With an understanding of graphic design as a communicative practice, the project then moves on to an examination of the interpretive constraints that face the notion of visual communication and develops an alternative reading strategy---a protocol of display---for the objects produced by graphic design. This reading strategy is then applied to a series of contemporary art and advertising projects in an effort to discover the implications of thinking about graphic design as a form of public communication for contemporary mass-audiences.

ISBN: 9780549248682Subjects--Topical Terms:

1017573
Business Administration, Marketing.

The protocol of display: Graphic design and public imagination.
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520 $a This project examines the relationship between graphic design and public life in an effort to understand how graphic design functions as a mode of communication, how visual images present interpretive problems for communication scholarship, and how the increasing presence of visual images in public space inform and are informed by a particular understanding of modern publicity. It begins with an account of the field and profession of graphic design in relationship to the visual images produced by graphic designers. With an understanding of graphic design as a communicative practice, the project then moves on to an examination of the interpretive constraints that face the notion of visual communication and develops an alternative reading strategy---a protocol of display---for the objects produced by graphic design. This reading strategy is then applied to a series of contemporary art and advertising projects in an effort to discover the implications of thinking about graphic design as a form of public communication for contemporary mass-audiences.
520 $a The project develops this protocol of display based on a distinction between visual images and their surfaces of display, and it offers an alternative account of graphic design as a field concerned with surfaces of display as much as if not more than visual composition. This turn to surface allows for a dexterous account of visual communication because it considers the very contingent and situated moment when an audience encounters an image, the moment of visual address. In the case of graphic design, those images are invested with a tension between visual and public experiences. The project argues that an appropriate understanding of the two types of experiences can best be critically interrogated at the moment of an audience's experience of a visual surface---as a precondition of an experience of visual content. The project concludes by arguing that graphic design serves as a useful type of public address for modern publics since the tension between the experience of visual content and visual surface allows for a more significant negotiation between notions of private and public identity that become increasingly complicated under the conditions of liberalism and consumer-capitalism.
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