VISUAL RHETORICS

Visual Rhetorics

Visual Rhetorics

Introduction

Rhetoric as an instrument of persuasion written and visual language is able to use a set of powerful tools for the photographic medium. Photography as a quality explicit expression uses visual images that constitute visual signs, set from a semiotic framework for significant or plastic signs or iconic signs and meanings. The separation of this dichotomy may seem difficult to understand, but not intended to be detrimental to the creative process of photography.

Visual rhetoric is the fairly recent development of a theoretical framework describing how visual contact pictures, as opposed to auditory or verbal messages. The study of visual rhetoric is different from that of visual or graphic design, because it emphasizes images as expressions of cultural significance reasonable, as opposed to only aesthetic consideration (Frank, 2004, 633-658).

Visual rhetoric examines the relationship between images and text. Some examples of artefacts analyzed by visual rhetoricians are charts, paintings, sculpture, graphics, web pages, ads, movies, architecture, newspapers, photographs, etc. Visual rhetoric is closely related to the earlier study of semiotics. Semiotic theory seeks to describe the meaning rhetoric of sign-making (Gallagher, 2005, 175-200). Visual rhetoric is a broader study, covering all human visual ways of trying to communicate, maintain order outside university.

Discussion

If we take the example of the photographer Chema Madoz we can see that their work relates to a rhetoric based on the use of images as signs in plastic sense that is, as mere signifiers where meaning is not involved but the runner combination of two or more objects, seen as significant may proceed to create meaning new.

In the photo above, by Madoz, we see a pot with two stones simulate a plant (cactus). On the one hand, we have a visual sign that covers the whole image and which has a lifelike reference, although it is not properly in its denotative status, and which has a global meaning (anyone seen the effect of a plant or a simile plant). For photography, the author has had to respond to objects in the scene as significant one used in its real meaning, the pot as an instrument created by ceramic material capable of placing elements inside (plastic sign), and especially attributed to locate ground covers plants (visual signal), compared to other objects, stones, which will be used as signifiers in a pure state (materials and a certain hardness certain proportions) apparently do not have a statute of referential meaning, except that of his own material that means, but in its articulation (being together) will provide part of a meaning (metaphor of a cactus) and once placed inside the container the deeper meaning is going to be very straightforward, where the illusion becomes allusion optics. These materials now they form an iconic sign next to the pot will form a visual sign (Edwards, 1997, 289-310).

Overall, the rhetoric applied to photography, going to study, based on procedures keys linguistic denotation and connotation designation of messages through a series of enclaves in which involved a set of rhetorical ...