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Visual Ethics > Test #2 > Flashcards

Test #2 Flashcards

1
Q

Freelance / Contract

A

The designer has a lot of freedom but has to be responsible for tools, taxes ownership/authorship is determined case by case in a contract

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2
Q

Work for Hire

A

The designer has little freedom about work but does not have to deal with tools, and taxes. The employer is considered the owner/author and has the authority to allow for the designer to share the work in their own portfolios, or not

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3
Q

Fair Use - 4 Factor Test

A

Used as a guideline for determining if a use is permissible or not

Nature – fact v. fiction
Amount – Substantiality, how much
Effect – Impact on original work
Purpose – How it’s being used

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4
Q

Semiotics

A

The Study of Signs, Life, and Representation. (Study of signs and symbols and their use and interpretation)

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5
Q

Sign

A

A basic unit of representation, frequently arbitrary for the thing it stands for. The basis of language. (sign = signifier + signified)

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6
Q

Symbolic Sign

A

Relationship between signifier and signified is cultural (e.g., swastika)

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7
Q

Indexical Sign

A

Occurs when signifier results from signified (e.g., smoke —> fire)

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8
Q

Iconic Sign

A

Signifier looks like signified (e.g., apple —> apple)

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9
Q

Visceral

A

Appeals to emotion / feeling

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10
Q

Signified

A

Concept. Pertaining to the mental construct of the object or the connotations of what the signifier implies.

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11
Q

Signifier

A

Form. Related to the physical appearance of an object. Images words, materials, sounds, smells, tastes

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12
Q

Signification

A

The relationship between the 2 parts of a sign. Science for “sense-making”

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13
Q

Symbol

A

Might have no logical meaning easily removable from their context meaning is from learned associations or from environmental cues (e.g., religious symbols)

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14
Q

Index

A

Not arbitrary. Points to something else. It has distance and requires learned information.

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15
Q

Icon

A

A Sign that physically resembles the thing it stands for. Any image used to represent / stands for a person, place, or idea.

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16
Q

Syntax

A

The visual arrangement or ordering of elements within a representation, influences how we construct and interpret meaning Accuracy of intent logical + creative communication solutions

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17
Q

Denotative Concepts

A

Jargon “what we think it means”

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18
Q

Visual literacy

A

The ability to read, interpret and create visual messages of all kinds.

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19
Q

Connotation

A

Idea or inferred feeling

20
Q

Denotation

A

“Facts” about the image

21
Q

Benefits and problems of visual stereotypes particularly when using human models

A

Media rely heavily on genres, conventions, and stereotypes. As certain images and representations are repeated, they become familiar and natural. But are these representations really “natural”?
– Aspiration, or unrealistic expectations?

22
Q

Bias

A

prejudice in favor of or against one thing, person, or group compared with another, usually in a way considered to be unfair.

23
Q

Prejudice

A

Preconceived opinion that is not based on reason or actual experience.

24
Q

Participant

A

Any object in a composition

25
Q

Vector

A

Dynamic force or tension between participants implied line / alignment

26
Q

Intersectionality

A

How aspects of our identities intersect and can shape how we are treated how we look at the world How we interpret visual communication

27
Q

Shockvertising

A

The goal is to offend. Uses taboo subjects we typically ignore to intentionally attract widespread attention and trigger a reaction

28
Q

Affinity Bias

A

Choosing associations w. others like ourselves

29
Q

Conformity Bias

A

Taking cues from others and changing our actions to match, rather than acting independently

30
Q

Confirmation Bias

A

Focusing attention to information and experiences that support our viewpoint.

31
Q

Attribution Bias

A

Explaining behavior as a result of personality, not a situation

32
Q

Christoph Neimann’s reflection on his editorial illustrations (article)

A

Spoke about how the choices he makes in his illustrations form perceptions

If the participant in the piece is meant to represent “every person” and the participant is a woman or a black man, does the image still portray the same message – or does it shift to bias against the participant?

33
Q

Cameron Russell — comments about social biases, and privilege in images of white women

A
  • Became a model, because of winning the genetic lottery
  • Legacy of humankind being obsessed w. tall, thin, white women
  • Continuing low representation of modals – only 4% of non-white
  • Beautiful, but insecure
  • Beauty in magazines is a construct created by makeup artists, photographers, directors, and fashionistas.
  • The body is now the commodity
34
Q

Branding

A
  • Endowing products and services with the power of the brand.
  • Strategy to create the perceived image of the product you sell
35
Q

Brand Stretching

A

Using existing public trust and familiarity to launch a new product into a completely different and sometimes unrelated category.

**Could be used deceptively (e.g., Cigarette companies)

36
Q

Brand Extending

A

The launch of a new or modified product into the market category where the brand operates (e.g., Stella Cider)

Advantages
* Used to capitalize on brand recognition and consumer trust
* Can lower costs
* Accelerates speed to market
* Adds extra profit relatively fast while limiting financial risks
* Visual communication vocabulary can be adapted
* Visual consistency is apropos

Disadvantages:
* Dilute the value of core brand / consumer confusion
* Redirection of company resources
* Underfunding of the new offer
* Negative spillover
* Low success rate

37
Q

Brand Extendable Equity

A
  1. What is it about my brand that consumers recognize?
  2. What do consumers consider is the advantage of my brand over other brands?
38
Q

Social implication of branding in our culture Remarks in No Logo

A

the commodification of the self is now seen as the only route to any kind of economic security.

it hinders solidarity: “Brands don’t cooperate very well — they’re built to be selfish and proprietary.”

I think the next big battles will be over the information commons: the entire business model of these tech giants is an extractive model, based on people’s unpaid labor.

We’re more globally connected than ever before, ”Klein says, “and also less connected to who makes our clothes, who grows our food, and I think part of that is down to information overload

It’s not that people don’t care, it’s that they care for five seconds.

39
Q

Branding to obscure or deceive

A

misrepresentation /distraction

misusing the trust of vulnerable populations (e.g., kids)

Impact on the culture

using style/design tropes to deceive

adopting designs that are too similar to work associated with another organization

40
Q

Brand Efficacy

A

A measure of brand performance (how well it works)

Requires oversight — but can lead to annoying rigidity and ‘bad press’, alienating the pu

41
Q

Chart junk

A

Chart junk is in the way - Edward Tufte

It aids meaning and memory - Nigel Holmes

42
Q

Reasons to use information graphics rather than text

A

Show relationships of information data sets to each other change over time

Viewer engagement

Simplified presentation of complex information

43
Q

Types of Information Graphics

A

Pie charts —data compiled of subsets

Bar graph — relationships

Line graph — change over time

Quantagram — repeated symbols

Typography — for unique information

44
Q

Issues with Information Graphics

A

visualization cues — icon/symbol selection

type of visualization is driven by the message

  Comparisons 

  Change over time 

  Composition 

  Connections

Chart furniture, chart ‘junk’

Information Design involves:

  representation (creation of a visual language) 

  perspective (it tells a story) 

  deliberation (intentional. selective.)

Information = Power [maps, for example]

45
Q

Statistical Literacy

A

The ability to read and interpret summary statistics in the everyday media: in graphs, tables, statements, surveys, and studies.

Visual Ethics (2 decks)

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