Locating the semiotic power of multimodality

This article reports research that attempts to characterize what is powerful about digital multimodal texts. Building from recent theoretical work on understanding the workings and implications of multimodal communication, the authors call for a continuing empirical investigation into the roles that digital multimodal texts play in real-world contexts, and they offer one example of how such investigations might be approached. Drawing on data from the practice of multimedia digital storytelling, specifically a piece titled “Lyfe-N-Rhyme,” created by Oakland, California, artist Randy Young (accessible at http://www.oaklanddusty.org/videos.php), the authors detail the method and results of a fine-grained multimodal analysis, revealing semiotic relationships between and among different, copresent modes. It is in these relationships, the authors argue, that the expressive power of multimodality resides.

Learning science through engaging with its epistemic representational practices

This group of papers explores the development of student understanding and application of the discursive tools of science to reason in this subject, as the basis for classroom practices that parallel scientists’ knowledge production practices. We explore how this account of the disciplinary literacies of science can be enabled through effective pedagogies. The papers draw on research from Australia and Sweden that have overlapping agendas and theoretical perspectives including pragmatism (Peirce 1931-58; Dewey 1938/1997), social semiotics (Kress et al. 2001) and socio-cultural perspectives on language and learning (Lemke, 2004). The papers examine the role of language/multimodal representations in generating knowledge claims in science classrooms, the classroom epistemologies that support learning, and assessment practices from this perspective. A large body of conceptual change research has identified trenchant problems in conceptual learning in science, spawning long-standing and ongoing programs to identify pedagogies to address this. By redefining the problem in terms of language and representation, we aim to offer a way forward to support student engagement and learning in science.

Semiotic, rhetoric and democracy

This paper unites Deely’s call for a better understanding of semiotics with Jaeger’s insight into the sophists and the cultural history of the Ancient Greeks. The two bodies of knowledge are brought together to try to better understand the importance of rhetorical processes to political forms such as democracy. Jaeger explains how cultural expression, particularly poetry, changed through the archaic and classical eras to deliver, or at least to be commensurate with contemporary politics and ideologies. He explains how Plato (429-347 BCE) struggled against certain poetry and prose manifestations in his ambition to create a ‘perfect man’ – a humanity which would think in a way which would enable the ideal Republic to flourish. Deely’s approach based on Poinsot and Peirce presents a theoretical framework by means of which we can think of the struggle to influence individual and communal conceptualisation as a struggle within semiotics. This is a struggle over the ways reality is signified by signs. Signs are physical and mental indications which, in the semiotic tradition, are taken to produce human subjectivity – human ‘being’. Deely’s extensive body of work is about how these signs are the building blocks of realist constructions of understanding. This paper is concerned with the deliberate use of oral and written signs in rhetorical activity which has been deliberately crafted to change subjectivity. We discuss: (1) what thought and culture is in terms of semiotics and (2) Jaeger’s depiction of Ancient Greece as an illustration of the conjunction between culture and subjectivity. These two fields are brought together in order to make the argument that rhetoric can be theorised as the deliberate harnessing of semiotic affects. The implication is that the same semiotic, subjectivity-changing potency holds for 21st century rhetoric. However fourth century BCE Athens is the best setting for a preliminary discussion of rhetoric as deliberate semiotic practice because this was when rhetoric was most clearly understood for what it is. By contrast a discussion concentrating on modern rhetoric: public relations; advertising; lobbying; and public affairs would open wider controversies requiring considerably more complex explanation.

Analysing the complex relationship between logo and brand

Logos are identified as a useful tool within the complex strategy of brand communication. However, the focus on logos has concerned some researchers who attest that a logo is only a minor consideration in place branding where a policy-based approach is required. This paper will argue that logos are critical in place branding in so much as they serve as a tool to help form the foundation of the visual strategy for a place branding campaign. The power of the visual cannot be underestimated and maximising the capacity of a logo through a flexible identity creates a visual repertoire to unite communication strategies and enhance branding. This paper highlights the need to move away from the discussion of the single logo entity and instead focus debate on the integration of the entire suite of visual structures used to create meaning.

Typography and the branding of culture: a methodological investigation into the way typography is used to brand cultural festivals in Australia

The observance of and participation in festivals and celebratory events is an increasingly significant aspect of the contemporary experience (Picard & Robinson, 2006). With the prestige that comes from holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding” and the “creative industries” in a competitive global context; significant government, community and private funding is allocated to such events. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. Cultural festivals possess the hallmarks of destination branding or place branding and inadvertently share some of the attributes that influence visitors’ decisions to visit such destinations (Blain, Levy, & Ritchie, 2005; Cooper, 2005; Esu & Arrey, 2009; Jayswal, 2008). Branding is a vital part of this festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. What this paper intends is to interrogate appropriate semiotic approaches in an effort to analysing the discursive practices of typography as it performs in service to branding cultural festivals in Australia. The intention is to establish a methodology suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artefacts of design but with the conceptualization of designed meaning in 21st century visual culture.