Communication Design Quarterly
255 articlesSeptember 2012
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Abstract
The hype machine---media, corporate communications, and futurist prognosticators---are hard at work promoting Big Data. There are computing and storage resources that, like the "dark fiber" installed at the turn of the millennium that now carries streaming video, are looking for huge data sets that require the powerful processing and tremendous storage capacity of the new infrastructure. And there is no better confluence than that provided by the impetus to rearticulate Communication Design Quarterly in an age of Big Data. The New York Times has been running articles about Big Data for some time: "Big data is all about exploration without preconceived notions."
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Abstract
There is much discussion and debate about what exactly falls within the bounds of what is termed, "design of communication."
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Abstract
What is communication design? The term may represent, along with technical communication, information design, and content development, the latest permutation of how the work once known as technical writing has been re-named and re-professionalized. This is a reductive answer, of course, since the terms emphasize different qualities of that work and all are pinchy and baggy as generic descriptors. A different answer is that the term communication design captures an awareness that our field lacks a center. It has its genres and its processes, but as Johnson-Eilola and Selber (in press) argue, it is the focus on defining and solving problems in novel ways and in response to the exigencies of highly varied situations that underscores the importance of what we do. I prefer to see communication design as an embrace of that role, a recognition that the scope of our concern is broad: it is communication. It is also constructive work, aimed at producing concrete effects in the world. It is not just writing; it is design.
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Abstract
In 1997, I worked with a team to conduct my first qualitative research project, a study of how software developers used code libraries when developing a common codebase (McLellan et al. 1998; Spinuzzi 2001). In particular, I was interested in how developers used inline comments to understand their own and others' code. At two sites, the developers used comments pretty much as you might expect: as notes for interpreting and communicating information about the code. But at the third site, developers essentially ignored the comments. One compared the comments to an approaching car's blinker: it might or might not indicate intent, but you'd be foolish to trust it. Another set his editor to gray out comments so they wouldn't distract him. A third used comments - not to interpret the code, but as landmarks for navigating it. "If I have 50 lines of code without a comment," he told me, "I get lost. It takes me a while to actually read the code and find out what it's doing. But if I have comments I can separate it into sections, and if I know it's the second section in the function, I can go right to it."
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Abstract
Ask 10 technical communicators to define information design, and you're likely to get as many very different answers (Redish, 2000). Despite the variety, however, I think that most definitions of information design correspond more or less to one of the following approaches.