an end to stagnation

(if I state it, it becomes fact, right? …)

too much stasis of thought. brain like pond (man made) in need of churning, of percolation, of thought bubbling to the surface even if they go “nowhere” but pop and recombine with molecules in the air. brain like pond scum. (speaking of scum, this coffee is quite bog-like. more scoops in a single pot doesn’t bring on more energy, but more acid reflux). a snippet of morning re-reading to vibrate and make vibrant matter (it’s spring: things are looking up, or rather, down with the help of theoria):

“Graphics reveal data.” The conviction that information exists outside of – or in advance of – the presentation of data in graphical form is problematic, even inaccurate, from both a theoretical and a practical point of view. On a mundane level, certainly we can understand that information designers see their task as the creation of clear, legible, unambiguous presentations of data. But every graphic representation is a rhetorical device. Every presentation structures arguments — it doesn’t “reveal” facts in all their purity through the fallible, flawed system of graphical expressions. The relations between what is communicated and how have to be acknowledged. (23)

Johanna Drucker, Graphesis: Visual Knowledge Production and Representation


Typographic Logo

[ENGL 527]

Discussion Question: Johanna Drucker’s Graphesis

While I think that using icon/pictorial graphics can work around this with more ease, how can bar or line graphs (or the other forms Drucker mentions) be designed to be both aesthetically pleasing/intriguing and rhetorically effective? Can the design impact not only what information is communicated, but how it is read? What I mean is, I think graphs are associated with certain disciplines/topic matters and communicate certain information in a certain way that is more expected/formed (trying to avoid adjectives like “dull”, or thoughts of “skip this chunk of the reading” here…).

For class this week, I designed a typographic logo for my webspace/scholarship that attempts to brand (maybe?) technical composition. While I have played with font before, I haven’t really experimented with downloading fonts (why?) or used a design platform outside of PowerPoint. So while it’s nothing fancy, it’s my first creation in Inkscape trying my hand at visual rhetoric without an image to drive/set the visual.


This logo was my first experiment with Inkscape. It started as a mass download of fonts. Deciding on what would be cast in this font was difficult; I wanted to create something that I could use. Given my present position in life/school, I thought creating something for my personal webspace I’m building would not only be useful, but cool. I chose “technical composition” from my current scholarship and MA project, and from how I’m being defined/imagined in the field as my work circulates in conferences, campus visits, and web exchanges. Technical composition writ large (started as):

techcomptextAfter choosing a font, I had the start of my design. What I found more generative though, was the material the concept afforded me semiotically – technical, as I am using the term, comes from the Greek  techne, or craft. Visually, I thought this blends of with the word “technical” and “techne” was not only more novel, but actually served as more of a heuristic device for imagining an understanding of the concept as I am terming/conceptualizing it. From my research, techne has a certain relationship to assemblage – a composing of heterogeneous materials to form a composition (a dynamic whole). I attempted to illustrate this by constructing a composite line that comes together at the end.