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The purpose of this paper is to illustrate how designers attempt to engage audiences through different media in TV idents; and to explore how the human mark (such as drawing and model making) in a hybrid with digital media can not only revitalise traditions in design, but also the reception of illusion in this context.

The study focuses on the work of RedBee Media, a company that has a global market and reputation. The phenomenology of how BBC Three and BBC 2 Christmas were rebranded was examined through interviews with the designers and animators involved. Taking a media industry studies lens to examine an art/technology divide the author will expand the visual culture theory of Manovich’s (2007) metamedium.

The influence of technology on television graphic design is contested and continual. Designers might begin to question rather than rely on technology through the process of design. They can confront generic software solutions and apply more critical skills to explore fusions of heritage and digital processes in a metamedium.

This research was focused on a UK broadcaster and a single UK creative agency with a global influence. Future research should examine leading creative practice in other international markets.

The significance of this research is in understanding the materiality and creativity in the artform of TV idents and how designers attempt to engage audiences through different media.

Academics in media and design history are acknowledging the cultural significance of television branding. Design practitioners need to understand why and how in the work of others.

The objective of this study was to develop guidelines for creating and modifying nutrition education displays. Two trained moderators conducted 14, 90‐minute focus groups with 99 low‐income individuals using eight displays based on past year's usage and appropriateness to the age groups from those developed in Kansas, USA. Both groups recommended: the generous use of color; large, simple, block text; realistic images; text colors that contrast with background colors; and provision of practical printed materials. Younger respondents focused more on the graphical presentation. Older adults were more averse to complicated font characteristics and overlapping text/graphics. Excessive information on the display drastically decreased its liking by both groups.

The mass media are cultural pipelines through which flow hours of entertainment and information. They represent a part of our culture which critics decry and media specialists praise. They are difficult, if not impossible, to ignore. Television (free, cable, or pay) is the subject of attention of three‐year‐olds and Ph.D. candidates alike. Newspapers are perused daily by all classes and conditions of people and their content, ownership patterns, and circulation statistics are studied in journalism classes, high schools, and by worried editors and publishers. Films entertained children in Nickelodeons, raised the spirits of millions during World War II, and now are the subject of so much analysis that words like ‘pan,’ ‘take,’ and ‘track’ have taken on new meaning in the vocabulary of most ordinary citizens.

The purpose of the paper is to explore the potential of visual cultural studies (VCS) to inform and extend research on “accounting and the visual”.

A VCS framework is utilized: to draw together and organize work on “accounting and the visual”; and to illustrate how concepts and empirical studies from VCS can develop and extend accounting research.

The “visual culture turn” in the social sciences has generated considerable theorizing and empirical research pertinent to accounting research. In particular, it can deepen studies of accounting visuality – accounting's visibilities, invisibilities and ways of seeing – and stimulate new imag(in)ings.

The paper introduces accounting researchers to questions, topics, concepts and debates in the VCS field and illustrates how accounting and VCS research can mutually inform each other and foster interpretive/critical accounting projects.

VCS can frame studies of “accounting and the visual” (i.e. affirm it as a distinct field, with rich interdisciplinary connections) with implications for developing and extending accounting research.

Fifteen years ago the author published an article in Aslib Proceedings entitled, ‘The electronic academy’, which assessed trends in distance education and open learning. The paper provided an overview of the then dominant delivery technologies (e.g., broadcast television, videotext, audiographics, teleconferencing) and also engaged the issues of cost and quality. It is instructive to revisit that article and reflect on the extent to which the world has moved on, particularly in terms of technology and pedagogy. Naturally, the 1984 article made no mention of either the Internet or the World Wide Web, both of which are necessarily centre‐stage today in any serious discussion of asynchronous or network‐based learning. While technological advances have played an important part in accelerating the adoption of new modalities of remote learning, there are other factors (e.g., economic, socio‐cultural) to be taken into account. This article offers a wide‐angled review of developments in distance education and distributed learning: specifically, it describes the structural dynamics of the emerging virtual marketplace for perpetual learning products and services. Though written from a primarily North American perspective, the paper highlights thinking and practice globally.

The Newsletter of the Cybernetics Machine Group of the British Computer Society (30 November 1989) has given details of the group's activities. In this issue the Chairman gave an analysis of progress in the field over the past three years. A redefinition of aims and activities was proposed — a sharper focus by means of which even greater progress can be made. It concluded that the revised remit of the group can be nothing less than the discovery of the physical laws by means of which natural information processing, knowledge engineering and intelligence take place.

The runway safety system has proven its value over 15 years and is calculated to have saved the lives of 600 pilots. Also on display is the special aviation clothing and pneumatic safety and rescue equipment, and vehicles.

This paper examines visual representation in marketing communication from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. An ontological approach is offered as an alternative to phenomenologically based approaches in marketing scholarship that use consumer responses to generate data. Suggests ways to clarify complex issues of representational ethics in marketing by applying a semiotically‐based analysis that places ontological identity at the center of societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, including advertising, tourist promotions and music, as examples of bad faith marketing strategy. Music is an important force in marketing communication, yet marketing studies have rarely considered music and its visual representations as data for inquiry. Feels that considering visual representation within marketing from an ontological standpoint contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation.