Communications

DESIGN RATIONALE
Today many factors impact on visual communications in Australia, a land where independent small businesses formerly flourished. In this huge continent the logic of e-business is not yet accepted by most Australians. The design rationale of this presentation is to convey information that may be useful to the Australian small-business sector.

Connolly, Norman & West say: “in 2011… around 95 per cent of the 2 million actively trading businesses in Australia… were small businesses” (2011, p. 3). Liz Colley says “in ten years time, the workforce and working environment will look nothing like it does today” (cited by SGS Economics & Planning, December 2013, p. 6). The type of change Colley describes is already apparent as only around 40 per cent of small businesses operate online while 95 per cent of large Australian businesses do (digitalbusiness.gov.au, 2 July 2013).

Shaw says: “ the means of communication have been transformed… global communications systems… dominated like most other economic fields by Western corporations with global reach” (cited by Beynon & Dunkerley, 2000, p. 186). However, Cassells Duncan, Abello , D’Souza & Nepal, say “Australians [are] industrious… are a nation of inventors, born in part through our isolation from the rest of the world” (October, 2012, p. 3). So, the specific target audience for the presentation is Australians of any ethnic background, involved in any type of small business.

More than half of small businesses are sole operators (Connolly, Norman & West, 2011, p. 3, and personal family experience, 1954-2014). These are busy people, so the design decision was to use standard business communication in-print format. This is predominantly white space with sparse written text designed for a relaxed tone.

For legibility the font choice is fresh, clean sans serif Helvetica Neue, 35/17/14 point, ‘thin’ weight. To help retain key facts, occasional words or phrases are enlivened with Comic Sans MS, mostly 26 point, weight bold, in bright, quirky, ‘non-business’ colour combinations. For example, on page 3 the colours “red, orange and yellow… called by Kalmus the warm or advancing colours” are featured throughout the page, as they “call forth sensations of excitement, activity” (cited by Dalle Vacche & Price, 2006, p. 26).

Australia, possibly now the country with the greatest ethnic diversity (Our Country Our People, 2014) is today a puzzling place. Paul Maginn (27 January 2013), says Western Australians will soon… [be] increasingly diverse in terms of their cultural background”. Good visuals can slice “through the clutter” (Langton and Campbell, 2011, p. 16) and a big part of the design is in the choice of illustrations, especially the wry initial graphics on page 2, (Fig. 1) and page 3 (Fig. 2),

Langton and Campbell say In this melting-pot society “clever” and credible visual designs can masterfully exhibit many goods and services. Effective visuals can “establish a unique voice and brand” (2011, p. 16). Graphics like the artistic English-language vowel, ‘A’ on page 8 (Fig. 4) and the surreal orange/apple photograph (Fig. 6) on page 9, work in today’s complicated “language context“ Featherstone, 2006), where concreteness no longer exists.

In 2013 the internet was an accepted major communication mode with more than 80 per cent of Australian households (potential customers) connected to the internet (Dane, Mason and O’Brien-MacInally, 2013, p 9). Yet, while the internet is now the main communication channel, only about 37 per cent of Australians “used the internet on a monthly basis or more to… buy goods” (p. 17). Yet, as Derewianka (1946) says, humans “are constantly learning language, learning through language, and learning about language” (p.3).

Today many Australian small businesses have, as Connolly, Norman & West say, “a higher degree of volatility… [than medium and large] businesses with more diversified customer bases” (2011, p. 8). The design rationale is to return to what Trilling (2001) explains are two of the “seven pairs” of the “framework for … visual appreciation”. These, “determinacy versus indeterminacy” and “comprehensibility versus complexity”. These are necessarily dialectic, as they continue to rely on each other (p. 11). Today they provide background for the “unfamiliar style” (p. 11). of current, and dynamic local and global visual communciations. As Shaw says:

Although less easily summarized… [and] intermeshing
with economic and political globalization, people are
coming to see their lives in terms of common expectations,
values and goals. These cultural norms include ideas of
standard of living, lifestyle, entitlements to welfare,
citizenship rights, democracy, ethnic and linguistic rights,
nationhood, gender equality environmental quality, etc.
Many of them have originated in the West, but they are
increasingly , despite huge differences in their meanings in
different social contexts, parts of the ways of life and of
political discourse across the world. In this sense, we can
talk of the emergence of a global culture.
(cited by Beynon and Dunkerley, 2004, p. 186)

Imagery can assist. On page 3, this image is from the cover of a recent best-selling novel for Western readers by an ethnic Chinese writer. The picture shows a gentle, Western-user-friendly ‘bird in a tree’ (Fig. 2) The written text reminds about other invaluable visual tools – like cross-cultural dictionaries. On page 6 (Fig. 3) is chosen to demonstrate how California, USA, like Australia, is now a global, world society, which as ‘the West’ no longer exists needs to develop a “unity of working and learning” (McCullough, 1996, p. 9).

One visual communications tool in this difficult new world is photography. Sturken &
Carwright (2001), explain the subjective and objective combine in photography, whose
“details… can show off textures ” (Langton and Campbell, 2011,p. 8). For example, with
Australia’s extraordinary range of climate and terrain and associated lifestyles, photography can, when “ top-notch… [increase] the perception of a premium product” (p. 21) and elicit heightened audience response.

For small businesses like B&Bs, boutique hotels, farm and home-stays, camping grounds, trekking, restaurants, cafes, bars, etcetera, images like the two ‘Vintage Trailer’ photographs (Figs. 6 & 7), page 8 can, as Lilly Schonwald says, quickly “show how the building looks from daybreak to nightfall.” Schonwald explains as designs are “based on the light and the air…[they relate] back to nature and its surroundings and how it changes during different time periods throughout the day” (cited by Langton and Campbell, 2011, p. 12).

The presentation is designed to assist Australia’s small business sector to understand how visual communications in business in Australia today are affected by current major social changes The design rationale focussed on Australia’s now diverse, ‘world’ local community and engaging small-business operators in a dialogue about the internets’ ability to deliver visual communications locally and globally. Instead it became a personal learning experience. This allowed me to gain some understanding of how to use PowerPoint. While the initial design decision was to link engaging illustrations and small functional blocks of text to present these complicated, and possibly new ideas, I am unsatisfied with my result.
REFERENCES
Beynon J, Dunkerley D. (Eds.) (2000). Globalization. Hoboken: Taylor and Francis. From:
http://ecu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2BQSDMsjQxTO1MSlwTDVOt-
DRNSTQ2tTS2ANYlQJZJLnwhJmjlHK0dxNiYErNE2WQcXMNcfbQTU0ujYeOYcQnAWtZYxNg48JQjlEF2C901-WBQMDQGpr9ko8m0TjZwjNKCU1OcnEONnSMC01GQCYTiFd

Cassells R, Duncan A, Abello A, D’Souza G and Nepal B, (2012) Smart Australians: Education and Innovation in Australia, AMP.NATSEM Income and Wealth Report, Issue 32, October 2012, Melbourne, AMP. From:
http://www.natsem.canberra.edu.au/storage/AMP.NATSEM%2032%20Income%20and%20Wealth %20Report%20-%20Smart%20Australians.pdf
Connolly, E., Norman, D., & West, E. (2011). Small Business: An economic overview. From:
http://www.abs.gov.au/websitedbs/d3310114.nsf/4a256353001af3ed4b2562bb00121564/ d291d673c4c5aab4ca257a330014dda2/$FILE/RBA%20Small%20Business%20An%20economic %20Overview%202012.pdf
Dalle Vacche, A. and Price, B. (Eds,) (2006). Colour: The film reader. New York, NY: Routledge.

Dane, S. K., Mason, C. M., and O’Brien-McInally, B. A. (2013).Household internet use in Australia: A study in regional communities. CSIRO Report: EP1310907. From: http://www.csiro.au/content/ps6d0

Derewianka, B. (1946 & 2000). Exploring how texts work. Newtown, Australia: PETA

Digital Business Online. (2 July 2013). ABS statistics. From: http://www.digitalbusiness.gov.au/2013/07/02/lat est-abs-statistics-many-australian-businesses-still-not-engaging-online/

Featherstone, M. (2006). Genealogies of the Global. Theory Culture Society 2006 23; 387 doi: 10. 1177/0263276406062704

Geoscience Australia. (2014). Australia’s size compared. From:
http://www.ga.gov.au/scientific-topics/geo-graphic-information/dimensions/australias-size-compared

Langton, D., and Campbell, A. (2011). 99 proven ways for small businesses to market with images and
design. Hoboken, N.J: Wiley-Blackwell. From:
http://ecu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwY2BQMAZVEsBq2cwkJcXUMi01MR-
WYigxSkkzMUpKN0gxS4QsxQUPmSKW5mxADU2geKlOMm2uls4duanJpPHQMlz4PEDGypmJoZiD-
CzAfnGqBINCkkGacapRkpRmomFCBCes0i1NE9OM00BNpktlQzNjQGH2CCD

Maginn, P. (day/2014) Western Australia must embrace its new diversity. The Conversation. From:
http://theconversation.com/australian-census-booming-wiestern-australia-must-embrace-its-new-
diversity-7832
McCullouch, M. (1996). Abstracting Craft: The practiced digital hand. Cambridge, Massachusetts: The MIT Press.

Our Country Our People. (2014). From: http://australia.gov.au/about-australia/our-country/our-people.
SGS Economics & Planning. (December 2013). Valuing Australia’s Creative Industries. From:
http://www.creativeinnovation.net.au/ce_report/webapp/static/pdfs/CIIC-Valuing-Australias-Creative- Industries-2013.pdf
Sturken, M., and Cartwright, L. (2001). Practices of Looking: An introduction to visual culture. Oxford, England: Oxford University Press.
Trilling, J. (2001). The Language of Ornament. London, England: Thames & Hudson Ltd.

CMM3119. Case Studies in Communication. Body Culture. Semester 1, 2009. Dr Rod Giblett. ECU Mt. Lawley.
Journal

Week Four

Marion Cotillard’s Dior Ad

This ‘season’s contemporary fashion image (fashion by Dior, using famous tragic new, young artiste – played Edith Piaf), above, seems to me to recreate a situation; it is a metaphor; a direct, although warped, circumstance arising out of an historic basis, namely the famale part of the tradition of human roles of gatherer = female ( as versus hunter = male). In this image the female has her ‘dilly’ bag protecting her body (in particular the reproductive organs and the area where the ovaries are housed), she appears to be apprehensive, in danger in a precarious and dangerous situation (out on a limb), has put herself in danger while she is actively seeking ‘something’ …. ? – another ‘essential’ commodity by Dior, or running from the dinosaur/bird of prey – whilst stealing it’s eggs for her offspring?

The female historically identifies and scavenges all and any useful or edible matter they can find, often at great risk to themselves (this still happens when the need is great, – see refugee camps, overcrowded India, remote communities in New Guinea). In this process a huge (generally unwritten bank/store of knowledge is developed, and handed down, generation to generation – still).

This drive is primarily motivated by the wellbeing and safety of the family, especially the children – how to feed, clothe and shelter them – and herself – so that she can continue to maintain them. In affluent, modern societies this very strong drive, which was idling has been deliberately warped, and the media has the major part in this, into empty compulsive consumption patterns, particurlarly for ‘designer’ and ‘brand-name’ goods

This has been able to be effected, as in our time when there are few direct threats in the lives of middle-class and working –class western citiizens, the hunter/gatherer drive/s have not gone away – how can they – the major impetus of preotection of the young human being so closely linked to the primary drive of procreation. In addition, there is a great deal of leisure and very little danger, so there is constant needs to be met – recreation and stimulation

So in modern society, we see a situation today where the male = hunter drive is still primarily positive. The drive is now channelled into activities external to the male, outward-looking. The goals set are generally attainable with hard work , which the drive provides the impetus for. The re-directed drive allows the opportunity to develop a secure personal position, ensure an asset base to provide for his, and his partner’s old age, and thus maintain his self-esteem, and enhance his position within his community and society, no matter how old he gets.

In the female, however, there is a deliberate warping (via the media) and opposite occurs, a negative situation has developed. The female = gatherer drive is turned into a narsissistic, inward-looking, preoccupation with attempting an impossible goal, that of maintaining a depreciating asset, the woman’s youth and beauty.

Baudrillard explores the ‘silent’ protest of the masses to ‘culture’ and it seems to me possible that NOW – women are – albeit slowly – turning this empty use around, still locked into their conspicuous consumption, yet they now form a silent protest against the society and those that cause them to become these empty vessels .

Try to find the article on the current, (fairly young) woman feminist (not lesbian) who tries to find patterns in society that show these things – Canadian. The New Yorker magazine (month?) 2008

http://www.ecologypapers.com/list.html
Modern Society’s Contempt for the Natural World
[ send me this paper ]
This 5 page report discusses the ways in which contemporary society has evolved to have an attitude of contempt regarding the natural world. The writer argues that such an attitude is the basis for adverse conditions now faced by humanity. Bibliography lists 5 sources.
Filename: Conature.wps

Below are quotes from

Stuttles, G. D. (1968). The Social Order of the Slum: Ethnicity and territory in the inner
city. Chicago: University of Chicago Press

‘Implicit in this concept of natural man is the conviction that moral restraints and ideal standards of behavior have little real power in a situation in which they contradict man’s natural impulses’ (p. 104)

‘dwelling unit as a woman’s world’ (p. 76). ‘separation of male and female world’ (p. 76).
‘Males almost never take an opportunity to introduce into [a household] furnishings or upkeep any sign identifiable as their own’ (p. 76)

‘Clothing, grooming and personal display add another area in which [people of the slums] can look for and find ethnic differences’ (p. 67).

Giblett chapter 1 – ‘active and passive’ (also preface 2008) – female passively absorbs all the messages, addiction, the female actively acts out the necessary traditional ‘gatherer’ functions gone mad. In this way the masculine in our society disarms the feminine.
Baudrillard speculates this is positive in a way, and inevitable, age-old ritual. Gane, M. (1993). Baudrillard Live: Selected interviews. New York: Routledge

In today’s societies those families who form the ‘upper’ class, are invisible, the masses no longer ‘see’, there is no interface now to know how this most powerful part of the culture works and lives. Deliberately obscuring this, and superimposed onto the class system is the cult of fame, with individuals generally chosen from the working or middle class, who have been formed into today’s popular culture royalty, to distract the masses into falsely believing this group are the most powerful and influential group, when they are (unwitting – or complicit?) puppets of those above. (Berman?)

Gane interviewing Baudrillard ‘Fashion is a grand game, a beautiful game. But there is really no history of fashion, it is a recurrent circulation of forms.’ ‘Increasingly, art has become fashion in the profound sense of the term.’ ‘It is more a survival among the remnants than anything else’. (1993, p. 95)

Page 3 of 4 Susanne Harford student number 10043898. Baudrillard,, Gane, Berman,

susanneah

Studies

Small Business Online-nouse

Most of my CMM3119 unit work has been pilfered. Here’s a little. 2009

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