VISUAL RHETORIC AND DESIGN: Tyler discussion

September 12, 2003

Tyler discussion

One of the adds mentioned in the Tyler article is for Benetton. The Myers article we've read also talks about these adds, and neither article comes to a strong conclusion about what the images mean. I find it interesting that neither article mentions the full name of the company, which is printed in the adds: United Colors of Benetton. I think the word "United" might add something to these adds.

Traditionally, I think the word "United" signifies an organization committed to some larger societal cause (especially combined with the word "colors"- could be a reference not only to clothing but to skin tone). So does the use of the word "united" put the images into the context of a value system- ie, for or against the cause that might be depicted? (It's hard to determine what exactly is depicted in the Tyler article- a baby being born could stand for any number of issues/ideas)... does the word reveal what Benetton (if anything) might want to persuade us about?

Another thought I had was that Benetton might be trying to take the easy way out by not contextualizing their message: it allows the visual text to be approached from any number of manners, and thus could appeal to a wider audience (beyond just those who are for a certain cause). The image of the baby could, for example, be interpreted as a pro-life image & also as an image decrying overpopulation (that might be stretching it a bit, but the image has a tone of distress, and overpopulation is the first birth-related distressing subject that comes to mind).

Posted by ksmith at September 12, 2003 12:13 AM | TrackBack

Comments

Firstly, I agree that Benetton is "taking the easy way out." I don't believe that their advertisements adhere to the principles of rhetorical analysis of design. The latter principles are guided by the audience being dynamic. If the audience is dynamic, their interpretation will follow suite and if Benetton's ads are vaguely presented, there is really no argument being established. In short, it could be interpretted in various ways, many of which could degrate the objectives of the Benetton ads.

I also agree that the term "United" would be beneficial if included in the ad. "United" is a positive word, condoning cooperation, togetherness, and applies to modern human goals, i.e. peace, universal prosperity, etc. To include this would immediately appeal to most audiences. But then again, what about those who feel peace and unity are not achieved by the traditional docile means?

I am starting to think that communication should be closely linked to statistics. There should be a formula in place in the communications field. I am continuously seeing communication as more of a probability than anything else. This may seem obvious, but the message will never be universally recieved. You can only calculate your probabilities.

Perhaps no one has the goal of universal communication.

Posted by: jbachmeier at September 14, 2003 05:04 PM

I would say that Benneton's route isn't as easy as it may seem. After establishing their reputation, they have an image to live up to that should be taken very seriously. For the ads to work, they must maintain the image of a company that breaks limits, that is issue aware, that is always ready to be the Hot New Thing. If you ask around Wall Street (or 5th Ave. for that matter) you'll find out that nine times out of ten, the HNT's of the world cool off in a hurry.

By using strong images with little explanation, Benneton is denying the argument that they're not anything in specific because they don't argue that they are. But not just any strong image will do. It has to be something issue conscious, and if it offends, it can't offend any basic moral belief - Death by sickness is okay, but a mid-street execution won't do.

Is there anywhere else that heartstrings are tugged for reasons other than charity?

Posted by: Adam at September 14, 2003 06:54 PM

I also find Benetton's message confusing because I can find no "entry" into their message. I simply don't get it. I interpret the ad as an exercise in name recognition. The drama of the image shown (and that which my imagination grants will be present in an image of a dying AIDS sufferer or a ship overflowing with refugees) is bound to attract attention and stop the eye of an observer. At least long enough to resolve what the image we're seeing is (or might be, given our individual experiential interpretation). After that, there is nothing left with which to engage on deeper levels.

Of the article itself, I am fascinated by the discussion regarding interactive audiences--from the back side, so to speak. I never really thought about myself as either a "spectator" or a "passive" receiver of a designer's intent. But I begin to infer, now, in the images I encounter a discernable purpose for each design to function as persuasion, education, or exhibition. --Viqui

Posted by: Viqui at September 14, 2003 07:00 PM

I wanted to comment on what 2 different people have said. I think Adam makes a great point when he asks "Is there anywhere else that heartstrings are tugged for reasons other than charity?"- I think the ads certainly do tug on the heart strings in one way or another, which could be the "entry into the message" that Viqui's looking for. I also agree with Viqui that the ads do ask the audience to stop for a moment- Benetton uses images that can't be overlooked (at least I tend to take pause when presented with such dramatic images)- so perhaps they're trying to take advantage of society's rubbernecking tendencies- ie, get people to stop & look long enough to pick up on the name, and then when they pass by a store they'll have that name recognition.

Posted by: KSmith at September 14, 2003 10:20 PM

I agree with Viqui in that I can find "no entry" into the Benetton ads, either. I do appreciate the point that KSmith makes in that the tug of the heart strings may be the entry, but this entry point does nothing to assuage my wonder as to what the message is. Tyler writes that "the audience becomes uncomfortably aware of its role as an active participant in the argument," but call me dumb, I don't get the argument in the first place-- much less have an awareness of my role in it.
I found her point that "a designer does not have a choice in referencing beliefs or not referencing beliefs; the choice lies in what beliefs are referenced" to be profound, if not obvious. This seems to apply to communication as a whole, and an awareness of what is being referenced must be maintained-- I am reminded of intercultural differences in the meanings of gestures.

Posted by: Eli at September 14, 2003 10:42 PM

It strikes me that the United Colors of Benetton ad is hugely more subtle than I had thought it at first glance. One the one hand we are presented with a quite "univeral" image--the scene of birth (and it is, I'd argue, a "scene," not a baby because of the cord--extending to some place/person/context out of our line of vision--and the hand, which seems to pull or invite gaze in another direction equally inacessible. So we are invited to supply the context by way of the cord and hand. I remain rather suspended between the particular and the universal (or nonparticular-which is not the same thing). In other words, I am NOT for some reason inclined to think of my own birthing experiences, and this lack of inclination surprises me utterly. There's something about the ad that urges me to create an alternative context or even sets of birthing contexts--so might this urge to create multiple sets of birthing scenes be a universalizing gesture on my part. That is, the ad forces my own participation in constructing a version of the "universal." I do agree that the most salient entry point is, as Adam puts it, the heartstring.

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