Dear Jan-Henning,

Thank you for writing, then sharing your piece. I am particularly interested in this kind of design critique—one engaging with designed problems and responses that are of active interest to the public; where the writer attempts to analyze to understand, with the (potential or assumed) goal of such design becoming “better” in some ways thanks to the analysis; and where the objects of critique are a category rather than singular attempts.

I have a few starting thoughts. I will focus on the first part of your piece—virus visualizations—so that I avoid “over staying my welcome”. I am more than happy to keep going, however, if you’re interrested in further thoughts.

You state that the visualization of the virus helps us experience it as a "cause for the new disease” and something  "that is identifiable, potentially controllable”. I disagree. The images you reference (and they do seem to be the ones dominating the virus visualization landscape) appear larger than life. Often, in fact, the virus is presented on big screens behind presenters and journalists, in essence making the virus a monstrosity, unlike some alien planet or spaceship. I would argue that the choice of scale—as larger than the human-body—communicates threat and, subsequently, our lack of control over it. It’s so large, it can hardly fit on our screens. The choices of abstract shapes and colours that appear to exist behind the virus, suggest a space we can not specifically identify. At times, it appears as some dark ocean, a cave, or lava, further reinforcing both its alienness and, by proxy, the virus as some alien invader. But unlike a spaceship, which appears enclosed / contained, the virus reaches out towards us with its many tentacles. There are numerous ways it can intercept us; its design appears singularly-focused on joining or bonding with another (through its suction arms). While the arms appear to communicate a desperate desire for contact, its lack of face suggests that it can not be reasoned with. We can not read its intent or emotion, or even whether its attention is directed towards us. We can’t negotiate.

I suggest that the items that have been introduced into the image geared at children, demonstrate our own desperate need to humanize the virus. It’s terrifying because it has no face, only need. So, when we want to reassure our young, those are the features we give it. We also give it emotional expression so we can know (in fact, determine) its intent.

Finally, I would be curious to review how often the virus appears by itself—a singular enemy--and how often as part of a “swarm”. When in a swarm, does one being larger than the others suggest a leader? 

Thanks again.

All the best,

m


Dr. Milena Radzikowska, MDes
Professor, Information Design
Faculty of Communication Studies
Mount Royal University

She/Her

mailto:[log in to unmask]
http://www.milenaradzikowska.com 

“The price of anything is the amount of life you exchange for it." ~Thoreau

I LIVE AND WORK on the ancestral and traditional Indigenous territories of the Blackfoot and the people of the Treaty 7 region in Southern Alberta, which includes the Siksika, the Piikani, the Kainai, the Tsuu T’ina and the Stoney Nakoda First Nations. The City of Calgary is also home to the Metis Nation of Alberta, Region III.



> On Apr 19, 2020, at 6:50 PM, Jan-Henning Raff <[log in to unmask]> wrote:
> 
> Hi all,
> I wrote a short piece on some visual aspects of corona communication:
> [log in to unmask]" target="_blank">https:[log in to unmask]
> 
> Happy to hear some feedback!
> 
> Best,
> Jan-Henning
> ___
> 
> Prof. Dr. Jan-Henning Raff
> Fachbereich Design
> Leitung
> 
> HMKW Hochschule für Medien, Kommunikation und Wirtschaft – University of Applied Sciences 
> Ackerstraße 76 – Raum 2.03
> 13355 Berlin
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> +49 176 - 23 111 233
> [log in to unmask] / www.hmkw.de
> 
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