stimulates a conscious cognitive process in the viewer (Anke Coumans, 2007).
The Rhetorical Dimension of Images
The alienation creates a more appealing intention and triggers a process
Rhetoric can be used as an interpretive theory that frames a message as
in the viewer to understand the meaning of the message. The relation be-
the speakers’ attempt to influence an audience. The sender’s intention is
tween the alienation and the recognizable forms in combination with the text
understood to be manifest in the argument (an address or composition inten-
form the basis for the interpretation and judgment of the viewer. In terms of
ded to convince or persuade), the evidence, the order of argumentation and
the social psychology this confusion in vision and the resulting cognitive pro-
the style of delivery. The formal elements are chosen by the sender keeping
cessing would be favorable for the effect of such a message. If we are thinking
in mind his/her audience the message is communicated to. The sender there-
about the possible alienations of recognizable forms or images, thus thinking
fore crafts the message in anticipation of the audience’s probable response,
about something familiar in an unexpected way, we enter the field of rhetoric.
using shared knowledge of various vocabularies and conventions, as well as common experiences. The message will be evaluated and processed by the
Rhetoric is the art of persuasion and gives possibilities to the designer
receiver with help of the same body of cultural knowledge. Cultural knowledge
to construct appropriate messages. The purpose of rhetoric is the efficient use
thus provides the basis for normative interaction and persuasion (McQuarrie
of language in order to shape attitudes in others and influence their behavior.
& Mick, 1992). If we want to give constructed images a rhetorical dimension,
Rhetoric is concerned with the functional organization of verbal discourse
visuals must have certain characteristics and capabilities (Scott, 1994):
or messages. It operates on the basis of logical and esthetic modes to affect interaction in both a rational and an emotional way. According to Aristoteles,
1
Invention of an Argument Visual elements must be capable of representing
rhetoric is concerned with “discovering all the available means of persuasion
concepts, abstractions, actions, metaphors (Substitution based on underlying resem-
in any given situation” either to instruct an audience (logos rational appeal),
blance), and modifiers.
to please an audience and win it over (ethos ethical appeal), or to move it (pathos emotional appeal).
2
Arrangement of Argument In a visual arrangement there must be the possibility to guide the order of visual elements.
Choice is a key term in rhetoric as well as design, as both pertain to making appropriate selections of means to achieve a desired end. Design, as
3
Delivery of an Argument Visual elements must also carry meaningful variation
communication-orientated discipline, is governed by pragmatic motivations
in their manner of delivery, such that the selection of style or point of view shown can
and functional considerations. This gives design a rhetorical dimension. At the
suggest an intended evaluation.
point that a designer shapes information or makes it sensually perceptible, the process of rhetorical infiltration starts. Rhetorical figures can be viewed
The rhetorical intention behind a visual message would be communicated
as construction principles that can assist designers in their search for refining
by the selection of one perspective (close-up, aerial view, etc) over another,
their visual concepts. They do not represent specific recipes but should
a certain style of illustration versus another, this layout but not this layout.
be more considered as exploration tools that can spur lateral thinking,
All picturing is therefore rhetorical, mere copying of the natural/object never
giving the designers the awareness of possibilities to make the best choice.
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RHETORIC.
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THE ART OF PERSUASION