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Grünewald Paradigm: Introduction |
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Introduction Matthias Grünewald (1475?–1528) introduced the modern theory and practice of graphic design as a communication art separate from fine art. Interestingly, the De Stijl (1917–1932) and Bauhaus (1919–1933) movements coincided with the renewed interest in Grünewald and contributed to the appreciation of his fine art/graphic design techniques. This dissertation relates specifically to technical and graphic communication. The explication compares and contrasts pictographic rhetorical transformations with the evolution of kinetography, and uses Grünewald’s Isenheim altarpiece as a paradigm. Grünewald used parallel verbal/visible communication techniques to communicate with the non-literate constituencies that existed at the time of the reformation in Germany. His technique and purpose remain relevant today and may increasingly become relevant in kinetography (a dynamic, secondary orality or technological form of rhetoric applicable to online, interactive, and broadcast media). Fine art and graphic design distinctly differ in communication purposes. Fine art provides a medium for personal expression; graphic design helps transfer information. Nevertheless, fine art has served as the principal referent for art and craft techniques over the centuries. Moreover, it still serves as the technological basis for twentieth-century graphic design. Grünewald, in common with his contemporaries, used the fine art medium for communication by combining personal expression with information transfer. This fine art/graphic design coalescence probably started a sixteenth-century transition toward technical and graphic communication as practiced today. Grünewald's Isenheim altarpiece, a revelatory paradigm for the study of fine art in a graphic design context incorporates a culturally integrated system of communication. This system requires interdependent investigation of architectural settings and definition of their role within a prescribed ritual practice. Grünewald’s patrons demanded more from their artists than that traditionally associated with fine art commissions. This encouraged them to move toward less personal expression and more information transfer. Their patrons also insisted upon direct visual analysis protocols (visible rhetoric) that insured comprehension by specific audiences. The definition of rhetoric and dialectic have, since the times of the Greek and Latin theorists, become extremely complex. Rhetoric, a body of traditional theory, too simply defined as the art of persuasion, has, over the centuries, lent itself to non-oral communication in a variety of media. Graphic design (visible language) rules parallel rhetorical (verbal language) rules and provide analogous structural algorithms. Both involve the organization and explication of information in disciplines that have no dedicated communication arts or communications systems of their own to support them. Both simplify the invention of compositional constructs and encourage comprehension of complex technical information through intuitive and cognitive processing. Therefore, complex technical and graphic information requires clearly delimited constructs expressed in parallel verbal and visible terms similar to those traditionally used for classification and division in classical rhetoric. Furthermore, studies in cognitive psychology suggest that similar rules apply to interpersonal communication. They affect other human factors that operate inherently within a team of technical communicators, whatever their verbal, visible, or technological orientation. The practices of the sophists, the writings of Isocrates and Cicero, and the paradigms of many twentieth-century critics relate to one classical method of rhetoric: an oral and written process. This process requires the speaker or writer to achieve an immediate goal and to influence an audience by persuading them to accept a particular point of view. This traditional notion of rhetoric becomes inadequate in modern technological environments and needs study and eventual change. Consequently, if contemporary rhetoric must experience change, then rhetorical paradigms also require change. Rhetoricians need to explore non-traditional communication processes concurrently with learning the techniques associated with the new computerized tools. They must invent new ways to improve comprehension in complex technological environments. These environments require them to widen the scope of rhetorical theory to adapt to both verbal and visible languages. The study of kinetography proposes the construction of new parallel verbal/visible language theories and uses a historical approach to incorporate existing empirical methods. This dissertation builds upon the history of communications and empirical models in human communication that also correlate in technological environments. Consequently, the theoretical plan consists of new ideas based on existing definitions and criteria known primarily to graphic design specialists. The theory predicates upon the extant relationships and underlying principles of kinetographic phenomena. Consequently, the hypothesis contains a modicum of speculative ideas and specific plans designed to create a basis for further investigation. The theory derives from the perspective of the writer, the graphic designer, the technologist, and their employers or patrons. It shows how parallel constructs relieve not only problems in the production of information collateral but also human factor conflicts inherent in the communication process. One basis for investigation relates to the study of interpersonal conflicts that usually originate in a lack of interactive education and training. The investigation also covers the individual cognitive or perceptual differences, inherent in writers and graphic designers, that become evident in their work and, consequently, affect audience comprehension. In summary, graphic design functions parallel rhetorical functions because visible language criteria parallel rhetorical criteria. Both disciplines contain similar infrastructures. Consequently, the rendering of complex technical and graphic information requires clearly delimited constructs. These require organization using parameters defined and expressed in distinct parallel, verbal, and visible terms. This organization assists comprehension of complex technical information through intuitive and cognitive processing. Interestingly, the Isenheim altarpiece has become a useful paradigm in the exploration of modern graphic design techniques because its composition follows a distinct rhetorical path. It also provides the transition, comparison, and contrast between communication techniques separated by four centuries. Fine art has always played its part as the principal referent for the art and craft techniques used in twentieth-century graphic design. However, fine art and graphic design distinctly differ in communication purposes. Unfortunately, viewing sixteenth-century painting as a history of individual artists and their painting has obscured the way that their work stands apart in quality and complexity. Moreover, the fantasies previously attached to Grünewald have precluded comprehensive consideration of his individual works. Now, the altarpiece has finally taken its place as an important resource for communication researchers. It serves profoundly to explain parallelism and its relationship to human understanding. It shows transcendental style and techniques related to kinetography, all resident in one visible rhetorical demonstration. Clearly, fine art and graphic design distinctly differ in communication purposes. Fine art exists as a medium of personal expression; graphic design exists as a medium for information transfer. Nevertheless, over the centuries, fine art has served as the principal referent for communication art and craft techniques and serves as such for twentieth century graphic design (visible language). During the time of Grünewald the demands of patronage greatly exceeded those of fine art and caused the medium of personal expression to become the medium for information transfer. These same principles apply to technical and graphic communication. Consequently, this study of verbal and visible language in a kinetographic context neither portends an art history perspective, nor employs historiographic techniques, theories, or principles. However, it has great relevance as a model for kinetographic constructs in computerized environments.
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Web Edition of a peer-reviewed doctoral dissertation |
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Associate Professor, Communication and Rhetoric (Retired) International Federation of Journalists, Brussels (International Press Card) |
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© Copyright 1992 by Paul Trummel |
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