On the design

Sadokierski, Z; Dean, K

On the design

Sadokierski, Z

Dean, K

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Publisher:: Taylor & Francis Group
Publication Type:: Chapter
Citation:: Natural Things in Early Modern Worlds, 2023
Issue Date:: 2023

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Field	Value	Language
dc.contributor.author	Sadokierski, Z https://orcid.org/0000-0002-9600-8538
dc.contributor.author	Dean, K
dc.contributor.editor	Cooley, M
dc.contributor.editor	Toledano, A
dc.contributor.editor	Yildirim, D
dc.date.accessioned	2023-05-22T04:38:09Z
dc.date.available	2023-05-22T04:38:09Z
dc.date.issued	2023
dc.identifier.citation	Natural Things in Early Modern Worlds, 2023
dc.identifier.isbn	1003351050
dc.identifier.isbn	9781003351054
dc.identifier.uri	http://hdl.handle.net/10453/170396
dc.description.abstract	Throughout the book, illustrated plates appear at the start of each chapter. These plates have been digitally collaged from archival material relevant to the chapter, supplied by authors and sourced by the editors and designers. Rather than providing visual evidence or visual summaries of a particular aspect of the written text, these images are visual provocations; they are deliberately complex, ambiguous, and often surprising, inviting readers to critique the way the archival material is visually represented in scholarly publishing, and the inherent bias embedded in the process of creating images. In this way, the plates function like editorial illustrations, inviting contemplation on a theme, problem, or object central to the written text rather than illustrating a specific point. Ideally, readers of this book who revisit an illustrated plate after reading the chapter may find, through reflection and deliberation, fresh interpretations of both the image and the written text. Readers must work through the assembled visual elements of the plate, in the same way that the authors (and editors, and designers) have worked through collections of material culture, to make sense of these complex phenomena. In this chapter, we frame collage as a critical image-making process and describe how our image-making practice for this book involved collaboration with the editors and authors to provide insight into how images are created with particular bias and intentions and to help guide curious readers toward thresholds of interpretation for the illustrated plates in this book.
dc.format.extent	16
dc.language	en
dc.publisher	Taylor & Francis Group
dc.relation.ispartof	Natural Things in Early Modern Worlds
dc.rights	info:eu-repo/semantics/embargoedAccess
dc.title	On the design
dc.type	Chapter
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	in_progress	*
pubs.consider-herdc	true
utslib.copyright.embargo	2024-11-09T00:00:00+1000Z
dc.date.updated	2023-05-22T04:38:05Z
pubs.place-of-publication	London
pubs.publication-status	Published
dc.location	London

Abstract:

Throughout the book, illustrated plates appear at the start of each chapter. These plates have been digitally collaged from archival material relevant to the chapter, supplied by authors and sourced by the editors and designers. Rather than providing visual evidence or visual summaries of a particular aspect of the written text, these images are visual provocations; they are deliberately complex, ambiguous, and often surprising, inviting readers to critique the way the archival material is visually represented in scholarly publishing, and the inherent bias embedded in the process of creating images. In this way, the plates function like editorial illustrations, inviting contemplation on a theme, problem, or object central to the written text rather than illustrating a specific point. Ideally, readers of this book who revisit an illustrated plate after reading the chapter may find, through reflection and deliberation, fresh interpretations of both the image and the written text. Readers must work through the assembled visual elements of the plate, in the same way that the authors (and editors, and designers) have worked through collections of material culture, to make sense of these complex phenomena. In this chapter, we frame collage as a critical image-making process and describe how our image-making practice for this book involved collaboration with the editors and authors to provide insight into how images are created with particular bias and intentions and to help guide curious readers toward thresholds of interpretation for the illustrated plates in this book.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/170396