Typically, one might expect a review to highlight similarities, but here, I choose to place these books side by side for their contrasting perspectives.Before delving into the essence of the comparisons, it is important to recall the mission of the AK Peters Visualization Series.This series aims to capture what visualization is today in all its variety and diversity, giving voice to researchers, practitioners, designers, and enthusiasts.It encompasses books from all subfields of visualization, including visual analytics, information visualization, scientific visualization, data journalism, infographics, and their connection to adjacent areas such as text analysis, digital humanities, data art, or augmented and virtual reality ("AK Peters Visualization Series," n.d.).Both authors are practitioners who bring their expertise in communicating through visualized information and data.Jen Christiansen, who graduated in geology and art, is a senior graphics editor at Scientific American, while Nancy Organ, formally trained in statistics, has experience as a data visualization designer and educator.Each utilizes her unique skills for effective communication.Traditionally, rhetoric is understood as "a discipline concerned with the effective use of language, to persuade, give pleasure, and so on" (Matthews 2007).While this definition seems self-evident, it is essential to note that contemporary rhetoric encompasses all modes of communication.Interestingly, practitioners, educators, and researchers frequently refer to "the language [bold -EM] of data visualization," exploring its grammar, vocabulary, and stylistics (DataVis Lisboa 2020; "Visual Vocabulary," n.d.; Ben-Joseph 2016; Kandogan and Lee 2016).This context invites a closer examination of three key aspects: first, how various authors describe persuasive communication through information and data visualization, or as some call it, data storytelling; second, how to expand our rhetorical framework to include data, numbers, and statistics; and third, a deeper exploration of the audiences-crucial for rhetoricians-of data and information visualizations.As Burns et al. (2020) state.When designers create visualizations for communication, they make choices about encoding and design that they think will accurately and persuasively communicate their interpretation of the data.The ultimate interpretation of a visualization depends on both the designer and the reader. InventioBoth books target distinct audiences, as indicated by their titles.Building Science Graphics serves as both a textbook and a practical reference for anyone looking to convey scientific information through illustrations for articles, poster presentations, and beyond ("AK Peters Visualization Series," n.d.).In contrast, Data Visualization for People of All Ages is more approachable, specifically aimed

The article considers the subject of art/science intersections by presenting the affinities between the mathematician Benoit Mandelbrot and the visual artist Tadeusz Mysłowski. In the Introduction, their encounter is contextualized in an overview of earlier approaches to the study of such intersections, especially the changes in rhetorical theory and practice which led to the so-called rhetorical turn in the last decades of the 20th century. In Part 2, the evolution of visual rhetoric and the rhetoric of mathematics as autonomous subject areas within the broader field of rhetoric is discussed as constituting crucial parallel developments that now provide scholars with adequate tools to analyze and describe instances of rhetoricization of scientific and artistic communication. In Part 3, the example of the Mandelbrot/Mysłowski conjunction is scrutinized to bring out the rhetorical ramifications of their respective geometries – of fractals in the case of the mathematician and of elemental geometric-organic forms in the case of the artist.

The article presents the results of a multimodal analysis of the covers of British, German, and Polish opinion weeklies, aiming to identify language-image configurations that we term verbal-visual collocations. In our view, verbal-visual collocations give rise to so-called visiotypes, which we define as ubiquitous, one-sided, highly simplifying, standardised visual routines for perceiving reality. These are processed automatically and reflexively, often without the support of verbal cues. They significantly influence and shape the awareness of specific discourse communities. As media-staged, connotation-rich, and highly symbolic images present in the public sphere, visiotypes reflect universal patterns of thought, similar to stereotypes, and are increasingly employed on magazine covers. Since visiotypes represent specific condensed and established combinations of image and text, we utilize a modified version of the model by Stöckl (2011, 2016) and Stöckl and Pflaeging (2022) for their multimodal analysis. Keeping pace with current times, we focus on key figures in international politics: Donald Trump and Vladimir Putin. The analysis addresses questions such as which stereotypical representations and images of these politicians are (re)produced or evoked on the verbal and visual levels and what relationships between verbal and visual codes (possibly metaphorically reinforced) are employed to present the editorial stance on the cover and/or shape and reflect readers’ opinions. Furthermore, one of the goals of this analysis is to examine whether the category of verbal-visual collocation appears adequate and scientifically justified.

This article reports on an analysis of salient argumentative schemes, rhetorical devices and linguistic choices that are characteristic of, but also problematic for, the public deliberation in Poland on the acceptable degrees and forms of assistance provided to Ukraine and Ukrainians. By identifying the historical origins of anti-Ukrainian sentiment and the current media stereotypes used as premises in deliberation on the Ukraine war, the study traces how arguments are enhanced, sometimes through topoi and fallacies, by communicators that are against supporting Ukraine. The study draws on a multimodal dataset of textual and audio-video materials from 2022-2024. The larger aim is to enhance critical rhetorical literacy through an overview of the rhetorical strategies that render even unsound arguments acceptable and appealing.

This article examines various dimensions of persuasive communication during protest actions undertaken by Polish farmers in public spaces in 2023 and 2024, thereby disrupting social order. The source of information regarding the strikes is the popular general news portal rmf24.pl, which prepared a special report dedicated to these events. The analysis draws on the paradigm of the rhetoric of anger, which is conceptualised at the beginning of the article and compared to hate speech, rhetoric of violence, and similar concepts. The study employs several methodological approaches from the intersection of social sciences and humanities, including discourse analysis, semiotic analysis, and action analysis. The last section summarise how the Polish farmers' protests can be situated within the rhetoric of anger and point out fields for further research.

As the mainstream representations of the contested space of the U.S.-Mexico border often neglect to reflect the diversity of border stories and miss rhetorical dimension, the aim of this paper is to analyze Ana Teresa Fernández’s most recent act of border artivism – her performance, At the Edge of Distance (2022) and its documentation, from the visual rhetoric’s perspective. This analysis is to examine the argumentative power of images created by the artist as well as their function. The article explores versatile border stories Fernández’s paintings convey and analyzes how they function as a call for action – to challenge hostipitality Latinx experience in the U.S. and replace it with acts of transborder conviviality.

In recognizing the symbolic potential of the body, fashion photography is a logical but critically underexplored area for the study of militarism in popular culture. Using the conception of imperial democracy as a theoretical framework, a semiotic analysis of Steven Meisel’s editorial “Make Love Not War” published in “Vogue Italia” identifies how gender and uniform are used to replicate imperialist narratives in a luxury fashion context. These visuals uphold the tenets of new militarism by fetishizing military aesthetics.

The paper deals with the visual and verbal modes as well as interrelations between them employed in dominant argumentation on the British and German magazine covers devoted to president Donald J. Trump. Following the concept of multimodality and the notion of enthymemes the author discusses analogy and causality as predominant types of argumentation occurring on the covers of THE ECONOMIST and DER SPIEGEL and illustrates the contribution of the visual image to the (re-)construction of the tacit components of the argumentation.

In environmental communication, audience engagement is an essential prerequisite for achieving persuasive aims. This article responds to recent interest in visual storytelling and emotionalization – purposeful display and elicitation of emotions – as engagement techniques. A case study of the 2020 Global Biodiversity Festival – part online science festival, part fundraising event – provides evidence of how these techniques are employed in environmental communication for biodiversity conservation. Informed by scholarship on affect, emotion, visual rhetoric, and environmental communication, the case study analysis shows how visual representations of nature, mediated experiences of nature, and accompanying narration orient festival audiences toward specific ways of seeing and feeling that foreground emotional commitments and draw audiences into potentially transformative encounters. The visual rhetoric and affective dimensions of the festival’s website, virtual fi eld trips, and multimodal presentations focus attention, create moments of connection, and call audiences to action. The case study analysis also reveals how the festival, planned in response to the COVID-19 pandemic, treats this crisis as a kairotic moment for encouraging awareness, care, and pro-environmental behaviors.

A highly visual social media platform such as Instagram is incorporated by many companies in their marketing communications strategies to advertise their products and services employing digital visual rhetoric. The purpose of this study is to extend the current understanding of visual framing strategies, sentiment, and product presentation modality in the multicultural context by examining social media practices of influencers belonging to two cultural backgrounds, namely the United Kingdom of Great Britain and the United Arab Emirates. Using content analysis, this study reveals visual rhetorical strategies practiced by Instagram influencers that can equip digital marketing practitioners with effective devices of persuasion. The study provides a useful contribution to the theory of digital visual rhetoric.

On the example of the ethically controversial photographs made by Zbigniew Zielonacki from the public trial and execution of Arthur Greiser, the Nazi deputy in the Wartheland, the author demonstrates the visuality of local memory at the intersection of the narrative and non-narrative, private and public, individual and collective sphere. The photographs have become an inherent element of Poznań inhabitants’ memory of World War II and its outcomes, although they did not fit any of the emerging main war narratives.

In 2018 Mickey Mouse, an iconic brand hero of Disney, celebrated the 90th birthday anniversary in the National Film Archive – Audio-Visual Institute (Pol. FINA) in Warsaw, Poland. By this occasion, the global corporation positioned itself in the local public domain as a social agent through cooperation with the mentioned national institution. The glocalisation strategy has been reflected in the PR activities and has found its visual form in specific PR tools. The paper aims to analyse this case study as the exemplification of a successful implementation of organisational aesthetics in the public realm. The paper analyses the global organization’s visual communication practice in the local framework.

Dance is found in every known human culture as part of religious, social and healing ceremonies. The increased interest in the role of dance in western psychology corresponds with the creation of the American Dance Therapy Association (ADTA) founded by Marian Chace, and the beginning of the dance movement therapy (DMT). The Association introduced the dance and the dance-based movement as part of the therapeutic process, in order to explore the relationship between the expression of individual emotions and movement. Drawing both from the visual rhetorics approach (Patterson and Corning 1997) and the game studies (Fernández-Vara 2009) I will analyze the multiple narrative layers in the Bound video game (2016), pointing to the mutual relationship the player and the game have on each other (Keogh 2018) decoding the game as a metaphor for the therapeutic effects of dance.

This article explores the rhetorical dimensions of the structure and selected contents of Amnesty International’s official website. The study is empirical in nature and considers current patterns of textual resources and visual affordances together with color applications and compositional design. It analyzes a sample of news reports, AI mission statement, vision and values together with topical icons, infographics, photographic and video materials. It illustrates the salient multimodal solutions in persuasive communication and evaluates the organization’s online rhetoric with respect to the persuasive potential to mobilize support and remediate its appeals in social media. It also applies the notion of newsworthiness to demonstrate how reports, visuals and posts are represented to arouse emotions (pathos), engender authenticity and appropriateness of actions (logos) and boost credibility (ethos).