Typography

Nowadays, technology influences almost every aspect of our lives, even going so far as to affect the language that we use in communicating amongst ourselves. And, as a fundamental part of ourhistory, typography evolves alongside us.
In this essay I will talk about visual poetry, and how it is possible to notice in this new style of expressiveness both a connection and, to some extent, aregression to prehistoric communication of images. That is to say that every image both expresses something, and reflects a certain lifestyle. As such, we should consider typography as an anthropologicalstudy, both cultural and critical of differing ways of life.
Typography, as a graphic representation of language, has always fundamentally endeavoured to conform to the way we speak, since its originsin the 20th Century. However, since the industrial revolution, when the artistic vanguard was born, typography ceased to be dealt with as simple phonetic signalling, and words began to be used formore than just reading. “Visual poets returned to the use of pencil and paper in protest against the mechanization of reading.”(Mathias. Hillner)
In order to explain the connection between typographyand culture, I will talk about the ‘reduction of language’ in our modern age, and how this reflects our present era, in which hurrying, stress, technical means and a wealth of information available onthe internet abound, making or indeed provoking us into writing (and in some cases, talking) with abbreviations and short expressions. These reflect an attitude of ‘minimalisation’, with respect to thecontent of the words, while keeping them intelligible, and comprehensible.
With regard to this topic, I would like to address the phenomenon of miswritten writing. This phenomenon demonstrates how,by joining the first and last letter of a word, and ‘skimming’ over the middle, our brain can decipher perfectly what it is reading.
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