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The present study explores how disagreement space is managed in a multiparty argumentative activity of debate talk show that focuses on the political situation in Belarus. The communicative activity under study is viewed as a type of difficult conversation that takes place between two groups that differ in their ideologies (Ellis 2020). In particular, drawing on the polylogical framework of argumentation (Lewiński and Aakhus 2023) and communication design approach (Aakhus 2007), the study investigates the communicative practice of framing that the moderators and the debaters use to shape disagreement space. The analysis shows that the activity is polylogical not just in a sense of positions, participants, and places (Lewiński and Aakhus 2023), but also in how argumentative activity is framed, which has consequences for how the interactivity is constructed and how disagreement space is managed in the course of interaction. It also shows how the interweaving of negative and positive features of communication add to the complexity of difficult interaction. [ABSTRACT FROM AUTHOR]

Given that the identity of a successful organization is similar to humans’, it needs to be interactive, dynamic, evolving, and adapting to global changes and trends. With the advent of the Internet, social media platforms have allowed organizations and their identities to change and evolve like living creatures. The challenge that faces organizations now is to create brands that keep up with the ongoing fast-paced changes around us. When “Dynamic Branding” emerged, it gave a way to organizations in general, and cultural institutions in specific, to cope with these changes. Dynamic visual identities have several types, one of the most unique ones is interactive dynamic identities, which are identities built on interactive logos. What makes interactive dynamic visual identities that special is the level of flexibility and interaction they allow. In creating an Interactive dynamic identity, designers and users alike participate in creating several variations of a logo, which has a constant visual aspect in all variations, but every user can have their flexible input and create a different individualized variation of his own. The process of engaging the users in creating an interactive logo creates a very personal experience for the user, one that he would probably never forget. In that way, the user feels engaged, seen, and connected, to the institute in a different way, as he poured some of himself into it, he becomes a part of the institute and the institute becomes a part of him. The cultural institutions in Egypt could benefit greatly from interactive dynamic visual Identity systems as they could create an unbreakable emotional bond between the users and the Egyptian cultural institutes. A bond that would surely increase the engagement of the youth in the Egyptian cultural scene.

This paper presents a reflective examination of challenges to design and communication from the current digital revolution, using the prism of a 1980s television advertisement for the Yellow Pages. Originating at the same time as the height of the desktop publishing revolution, the advert illuminates a transitional period in the evolution of digital technology and media communications, marked by changing user practices and experiences. The advert's storyline follows a young man's quest to convert an old cine film (of his father) to videotape for his mother's birthday, in the process showcasing the impending shift from analogue to digital technologies and encapsulating the multifaceted implications and transitional challenges of the period. The hybrid setting of technologies, alongside the tensions, confusion and ambiguities of different stakeholders metaphorically symbolises and can be contrasted alongside, the challenges impacting the design, media and communications industry of the period and can inform reflection on contemporary challenges. Engaging with the narrative, the Yellow Pages advert is used as a creative device which functions as a cultural, historical, narrative lens with which to contrast against contemporary (and future) transitional challenges within the digital revolution. [ABSTRACT FROM AUTHOR]

In simulation-based training, learners apply skills in an environment that approximates the real conditions of work. Trainers who design a simulation also employ assumptions about the design of communication, or how they believe learners should communicate. More specifically, simulation-based training events draw work groups' attention to communication expectations related to timing, timelines, and timeliness. Competing perspectives may produce temporality tensions. To better understand how temporality tensions affect work and workers, I conducted a qualitative case study of a large, multi-agency disaster-response exercise (the 'Tall Grass' exercise), which simulated a search-and-rescue operation. I identified competing design logics related to synching work streams, pacing activities, and providing feedback or input at the 'right' time, and I identified counterproductive effects of adopted communication designs. In response to the findings, I suggest alternative designs for communication that offer better function, fit, and attention to fragmented interests. [ABSTRACT FROM AUTHOR]

One of the most influential and proven vehicles for sustainable development is inclusive and quality education. This is why it is crucial to promote gender equality in higher education and research, for only in this way can we build a fairer world where everyone has equal opportunities to contribute, create, fulfil their dreams, use their talents, and above all, develop a more sustainable world in collaboration with other human beings. This contribution intends to approach the issue of the university’s role in closing the gender gap from the disciplinary perspective of Communication Design. The contribution therefore aims to fuel the reflection on the role and strategies that the educational path in design can experiment and equip itself with to promote a shift in perspective and contribute to a positive change. The presentation of the case study «A multidisciplinary awareness-raising campaign project against gender-based violence, from the university for the university» has the aim of supporting the argumentation. The case study constitutes a practical example of an inter-university multidisciplinary project, an awareness-raising campaign, in which the synergy and juxtaposition of different and complementary disciplines enable the activation of a virtuous circle of knowledge and awareness. The strategy implemented in this case involved the university on several intertwining levels: from the university, through the university, for the university. The actors engaged in the research and project were located at different levels of the academic pathway: Professors, researchers and students worked together and with different roles in the various stages of the project

There has been slow uptake and growth in the local postgraduate student numbers in design, especially at the doctoral level. The question must be asked why, especially when looking at the growth of design as a discipline and a widening domain resulting from technological and social development. This study aims to explore industry perceptions about postgraduate studies in design to see if that could be a reason for the slow growth. The study starts with the background of the development of the design discipline, design education, and design research. An analysis of postgraduate graduate numbers over the last decade and current providers provides a context and general landscape. The analysis is followed by a report where the perceptions and attitudes of industry practitioners about postgraduate studies in communication/graphic design were qualitatively explored. The fieldwork comprised in-depth interviews that were conducted with communication designers at various points along their career paths. Three elements were explored: identification of the type of advanced knowledge needs in industry; how design professionals see postgraduate studies, their career paths, and vision for the future; and if postgraduate studies feature in their vision for the future. Some of the participants had previously attempted postgraduate studies and were not successful; their experiences added to the rich data. The research contributes to a better understanding of the reasons for the low postgraduate numbers, and the gap between industry and academia at postgraduate levels is confirmed. The study insights provide the possibilities of increasing postgraduate capacity in design by reducing the gap when designing suitable curricula. [ABSTRACT FROM AUTHOR]

Design education in Australia is still largely dominated by Westphalian perspectives, values, histories and ways of learning. The focus on Euro‐western aesthetics, technologies, timelines and processes marginalises other identities, cultures and places. This signals to students that they should internalise, value and master dominant narratives, knowledges and ways of designing. Responding to this legacy, this article details the development of an intersectional and transformative framework to guide pedagogy for design education futures. Drawing from intersectional, student‐centred and transformative learning theories, we argue that students can develop self‐awareness and critical evaluation skills through understanding and designing within their own histories and cultures. In applying our framework, we reflect on how we developed a communication design history curriculum that centres on previously marginalised designers and prioritises pluralistic work that comes out of diverse cosmologies, perspectives and points of view. Early results demonstrate that offering spaces for students to connect design to their own intersectional identities increases self‐reflection and belonging, while engaging students to contribute new knowledges and perspectives to design history than we have had in the past. We hope this framework contributes to design education moving towards and respecting expanded ways of thinking, seeing and teaching design. [ABSTRACT FROM AUTHOR]

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Communication has great potential: it connects people and ideas, inspires action and influences thinking. However, its potential also depends on its quality and its ability to be accurate, truthful and inclusive. Communication Design takes up the ethical responsibility of this potential, systemizing the knowledge and the skills of the discipline, transforming them into methodologies and techniques for constructing a message through the code of visual language. In this contribution, through a matrix analysis of case studies, useful communication strategies will be identified and described as powerful tools to raise awareness towards the achievement of some of the SDGs. After outlining the status of the literature on the ethical dimension that has characterised communication design as a lever for sustainable development, the research provides a systematic review of selected case studies relating to the discipline, which experience and bear witness to the systemic transition for sustainable development, encouraging social inclusion, awareness, and environmental sustainability. [ABSTRACT FROM AUTHOR]

L'articolo si focalizza sulla trasformazione che la comunicazione sociale in Italia ha subito dagli anni ‘90 ad oggi grazie alla spinta delle tecnologie e delle strategie mediali, e all’innovazione dei linguaggi visivi. Dopo una rapida panoramica sulle origini della cosiddetta grafica di pubblica utilità, l’articolo esplora i concetti di crossmedialità e transmedialità analizzandone le ricadute progettuali e di consumo mediatico in relazione ad un tema di forte risonanza sociale: la lotta all’AIDS. L’analisi si concentra su tre campagne ministeriali, mettendo in evidenza il passaggio graduale da approcci monocanale indirizzati ad un target generalista a strategie transmediali e scelte grafiche specifiche rivolte a pubblici diversificati.

The article focuses on designing and testing infographics to enhance desirable food behaviors by manipulating disgust levels associated with the consumption of mushrooms, cheese, and meat. Topics include the identification of aspect categories (sensory, health, environment, moral), the evaluation of emotional responses, familiarity, credibility, relevance, and the impact on purchase intention and behavioral tendencies for the targeted food products.

At the beginning of the fourth wave of memory studies, the relationship with design appears poorly explored, although the memory project is fundamental for the contemporary and interdisciplinary past reframing. From this perspective, the article proposes an intrinsic but not yet evident link between memory studies and communication design for the territory, a young discipline that has taken up the "stratified place" as its own specific dimension, focusing on its valorization and visual translation. This novel connection is highlighted by the mnemotopic approach in which place and memory coexist in a unique meaning formation, supporting the remembrance of the territorial experience. Through a lexical transfer of the term mnemotope, generally used in other fields of knowledge (e.g. cultural anthropology), to design, it becomes a performative concept integrated into processes and artifacts as an active part of project development. The mnemotope as a plural object of territorial interpretation, sailing from Nora's lieux de memoire, passing through Assmann's cultural memory reflections, and landing in communication design, can be adopted as an alternative interpretative criterion that not only proposes a resematization of the memory of places but can be considered as a real medium for exploring the past that can also operate on a didactic level by being included in experimental design courses. In this context, the article will show how the mnemotopic approach has been developed during my personal doctoral journey and pedagogically implemented by the DCxT research group of the Design Department of Politecnico di Milano. [ABSTRACT FROM AUTHOR]

Drawing on fieldwork conducted with the designers of and participants in a new fellowship program to connect globally distributed grassroots leaders, this article defines a core set of communication-design practices that support emerging collectives and projects. The three practices detailed – creating a script, building a platform, and inventing protocols to document activity – can be understood as part of an "art of assembly" that is yet to be fully and systematically articulated. [ABSTRACT FROM AUTHOR]

This paper reports on the findings of a visual text analysis of selected infographics and data visualisations used in news websites during the COVID‐19 pandemic in Sydney, Australia. Infographics and data visualisations used in news website articles disseminated and communicated local and national information to the public about the COVID‐19 pandemic and related social implications. For the first time live data, animation and interaction were used in reporting health and societal information to a general news readership, contributing to the knowledge base and visual literacy of the public. The information presented was not only clear but also aesthetically appealing. This paper examines the styles of news digital infographics and data visualisation of three longitudinal studies using lessons learned from Grainger et al. (2016), Dick (2020) and Tufte (2001) and contextualises the context, narrative, aesthetics, communication, data, functionality and examines the collaboration between communication designers, journalists and the development team. The implications for communication design education are explored in the context of skills, tools and teamwork needed for future communication design students. [ABSTRACT FROM AUTHOR]

Today, the digitization of memory is a crucial issue. As institutional mnestic repositories, archives are deeply involved in digitalization processes and must reconfigure their theoretical paradigms to keep memory active. They must find new horizons of meaning in technology and design practices. In these processes, the resource problem is evident: only in a few cases can a complete digitization of preserved documents be carried out. GLAMs are limited to partial virtual migration to allow read-only and remote access. Considering the impossibility of a full analog-to-digital conversion, it is necessary to reflect on the fact that it is not enough to think about the proliferation of information but about the quality of the translation strategies. In this context, invented digital archives emerge, where documents are thematically juxtaposed to generate new interpretative discourses. In between, digital design practices can extrovert territory by recognizing the archive of mnemotopes: a dense network of spatialized memories and cultural objects of territorial interpretation. The paper presents two case studies in which design, especially communication design, leads to a digital mnemotopic representation that aims to stabilize these compound realities on the territory. Through a conscious reappropriation of personal memory and its territorial context, individual mnemotopes enter digitally into processes of collectivization, not as sites of mummification but of idea generation.

Since the beginning of the millennium, the internet has undeniably influenced everyday life as well as the creative fields, in countless ways that have already been exhaustively discussed. In this paper, we discuss the term postdigital, which is relevant to anchoring the perception of digital design. Numerous theoretical works are dealing with the terminology of postdigital, with conceptualisations differing from one another. Postdigitality offers a set of speculative strategies with the intention of building a complex architecture for thinking and creating under contemporary conditions: how to critically consider, contextualize, and shift the perception of new technologies as part of the existing culture. Digital design has become an integral part of everyday reality: websites, mobile devices, tablets, but also products and services that use digital interfaces as interactive communication channels between a human and a machine. These interfaces require a specific approach to design. The term digital design covers the design of the entire range of digital products and services and is understood as a complex set of many disciplines: user interface, interaction design, information architecture, user experience design, visual design, web design, app design, or game design. The boundaries between the different areas of design are blurred and permeable, and although their mutual interaction can be beneficial, it is necessary to clearly differentiate between graphic and digital design. Digital design grows out of the principles of graphic (visual) design and introduces additional knowledge and very specific principles based on the nature of the digital medium and the transdisciplinary field of cognitive ergonomics.