6.6
6
Job:01212 Title: Basics typography (AVA)
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The signifi cance of ambiguity: 6.6 The virtual and the digital
6.5 The characteristics of virtual typography 6.7 In haste there is error
The virtual and the digital
While the viewer’s mind can be captivated through
visual challenges, where the viewer is not able to
meet the challenge – be it due to the surrounding
circumstances or due to a lack of perceptual capabilities
- virtual typography fails in its purpose of decelerating
the communication process. If no interpretation of the
visual stimuli takes place, communication fails altogether.
Therefore the perceptual challenge needs to be set at
a level that is appropriate for the target audience.
Digital output
The successful use of virtual typography relies also
on the viewer’s focus of attention, which may be affected
by surrounding distractions. However, in relation to digital
communication we may assume a certain focus
of attention to be conditional. Digital outputs in the
context of visual communication are mostly screen-
based. Even though screens take on many forms
- hand-held devices, advertising displays or desktop
computer systems – they are hardly ever perceived
as ambient media. Screens focus people’s attention
and, much like a window, raise expectations of the
information enclosed. Virtual typography undermines
those expectations because its imperfect defi nition,
its incompleteness, confl icts with the fundamental
principles of digital systems. The concept of a digit
defi es any notion of transition. As opposed to analogue,
digital information means simply ‘yes’ or ‘no’, ‘on’ or
‘off’, ‘true’ or ‘false’ and so on. Digital systems impose
absolute measures on relative values. In their quantitative
perfection, digital communication technologies do not
allow for any qualitative grey zones. These grey zones,
or stages of transition are precisely what we should try
to reinstate when producing virtual typography.
Job:01212 Title: Basics typography (AVA)
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