Doing Digital Visual Studies: One Image, Multiple Methodologies

Edited by Laurie E. Gries and Blake Hallinan.

Web Design by Aaron Beveridge.

In taking up Shepard Fairey's Obama Hope design as a single object of study, Doing Digital Visual Studies experiments with and reflects upon various methodologies and methods to explore how “the digital” is inflecting upon visual studies and opening up opportunities for inventive, constructive, and ethical play.

Interlude: Interruptions into Digital Visual Studies

The "Interlude" by Gries introduces part two of this collection, explaining how the response interviews function to not only identify both the values and limitations of the experimental work in the first part of the collection but also explore the ethics of doing DVS, further explicate the hows and whys of doing DVS, and envision future directions for DVS.

Afterword: Methodological Diffraction in Digital Visual Studies

The "Afterword" by Gries focuses on lingering methodological questions raised by the collection. Deploying a diffractive approach, Gries identifies research patterns in the collection, ultimately advocating for scholars to amplify experimental methodological play.


This project would not have been possible without the participation of several important people. We first acknowledge the unyielding faith, persistent patience, and experiential work of the contributing DVS experimenters who Laurie Gries has been blessed to work with at the University of Colorado-Boulder and the University of Florida. Second, we thank the respondents who so generally devoted their time and energy to engage with this experimental collection and who offered oral or written feedback that diversified and intensified the potential of this collection. We also thank the Program for Writing and Rhetoric and the Communication department at the University of Colorado for supporting this project with a publication grant to pay for images licenses and a RAship to support editorship, respectively. Finally, we thank the reviewers and editors of CCDP, especially Tim Lockridge, not only for all their feedback on content and design but also their labor to help bring this collection to fruition. In conception, design, and implementation, this digital book collection is truly a collaborative endeavor, and we aim to emphasize that while Gries, Hallinan, and Beveridge are credited for co-editing and co-designing this digital book project, this collection should be attributed to all participating actors.