{"id":6390,"date":"2005-08-29T22:30:30","date_gmt":"2005-08-29T22:30:30","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/08\/29\/visual-shock\/"},"modified":"2005-08-29T22:30:30","modified_gmt":"2005-08-29T22:30:30","slug":"visual-shock","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/08\/29\/visual-shock\/","title":{"rendered":"Visual Shock"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>

Beginning with a brief entry from
\n
\nNixlog<\/a>, I clicked into a now month-old discussion of the visual shock
\nresulting from the overwhelming complexity of some information graphics. \n<\/p>\n

From
\n
\nBeyond Bullets<\/a>:<\/p>\n

\n Have you ever been so confused by the complexity of a map, chart or
\n diagram, that you didn’t know where to begin to make sense of it?\n<\/p><\/blockquote>\n

<\/p>\n

I’m interested in the correspondence between visual shock and a reader’s
\ntextual disorientation–the momentary (sometimes longer) freeze of confusion
\nthat comes with feeling lost<\/i>.  And I’m trying to think about this
\noccurrence–a gasp of dislocation–that marks the shock, its hold, its way of
\nkeeping us lost for a moment.  This can work in a couple of different ways,
\nbut the discussion at Beyond Bullets (which, in fairness, appears to be
\nconcerned with the creative limits of PowerPoint and the visual presentation of
\nsimple models and diagrams) suggests that the dislocation (lost-ness) results
\nfrom the labyrinthine quality of the map (an inherent, fixed quality, the
\nfailure of design).  I
\ngather this from the suggestion that someone can be a victim of the map and the
\nmap’s complexity.<\/p>\n


\n<\/a><\/p>\n

Brief though it is, this discussion–coupled with the WPA-l thread
\n
\n"visual model of complexity"<\/a>–has me wondering about two paths in
\nvisualization (infographics more than photography, although the move to
\ngeneralize just might hold up): one prefers for the visual object to do the work
\nof simplifying the complex, of reducing complexity to something much easier to
\nsee or take in; the other prefers for the visual object to complicate or exceed
\nthat which has already been depicted as simple but is not.  This second
\npath would have the visual object contend with commonplace orderings of activity
\n(such as writing in the WPA thread).  Here lies a pun in visual shock<\/i>. 
\nIn the first, the shock is felt by the reader\/observer whose method of reading
\nis reductive…the one who wants meaning and only meaning (and any meaning). 
\nThe second exacts a shock on the id(ol|le)s, repudiates them with a bolt of
\ncomplexity.  These two trajectories in the production of information
\ngraphics–one given to simplifying the complex, the other given to complicating
\nthe commonplaces or disturbing the perceived-to-be-simple–don’t quite exhaust
\nthe felt<\/i> of visual shock when we meet the visual (this might go to
\nreceivables, also).  If we fluff this out to a set of rhetorical terms,
\nit’s hard not to include attitude<\/i> or manner<\/i>.  I say this
\nbecause it should remain a possibility that we could fancy or enjoy the being
\nlost as an opening for imagination–dream\/wonder\/splits from a duty to one<\/i>
\nreality-scape in the map. Attitude<\/i> and manner<\/i> draw on
\nBurke (what’s more dramatic than shock?); I only want to mention it briefly
\nbecause I’d like to come back to some of these ideas, especially the rift between
\nsimple\/complex in infographics, the possibility of connecting these up with
\nreaderly\/writerly distinctions, and the impact of attitude or manner on
\nreceivables (esp. the visual).<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>Beginning with a brief entry from Nixlog, I clicked into a now month-old discussion of the visual shock resulting from the overwhelming complexity of some information graphics.  From Beyond Bullets: Have you ever been so confused by the complexity of a map, chart or diagram, that you didn’t know where to begin to make sense…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[16],"tags":[424,437,433],"class_list":["post-6390","post","type-post","status-publish","format-standard","hentry","category-distances","tag-design","tag-shock","tag-visuality"],"yoast_head":"\nVisual Shock - 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Flower. \"Uncovering Cognitive Processes in Writing: An Introduction to Protocol Analysis.\" Research On Writing: Principles and Methods. Peter Mosenthal, Lynne Tamor, and Sean A. Walmsley, eds. New York: Longman, 1983. 207-220. 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