Within the climate science research community there exists an overwhelming consensus on the question of climate change. The scientific literature supports the broad conclusion that the Earth’s climate is changing, that this change is driven by human factors (anthropogenic), and that the environmental consequences could be severe. While a strong consensus exists in the climate science community, this is not reflected in the wider public or among policymakers, where sceptical attitudes towards anthropogenic climate change is much more prevalent. This discrepancy in the perception of the urgency of the problem of climate change is an alarming trend and likely a result of a failure of science communication, which is the topic of this thesis. This paper analyses the visual culture of climate change, with specific focus on the data visualisations comprised within the IPCC assessment reports. The visual aspects of the reports were chosen because of the prioritisation images often receive within scientific communication and for their quality as immutable mobiles that can transition between different media more easily than text. The IPCC is the central institutional authority in the climate science visual discourse, and its assessment reports, therefore, are the site of this discourse analysis. The analysis tracks the development and variations in the IPCC’s visual culture, investigates in detail the use of colour and the visual form of the “Hockey Stick” graph. This work is undertaken to better understand the state of the art of climate science data visualisation, in an effort to suggest the best way forward to bridge the knowledge gap between the scientific community and the public on this important issue. The thesis concludes that a greater emphasis on the information aesthetics of their data visualisations could benefit the IPCC’s pedagogical reach, but that it may also be argued that it is not the IPCC’s role in climate change discourse to produce the most visually persuasive images. That they exist as a tone-setting institution that provides authority to entities that are better geared towards wider communication, such as journalism and activism.

This study explores the conceptual relationship between design aesthetics and Aristotelian rhetoric in the context of information visualisation. Aesthetics and rhetorical theory are traditionally studied as separate discourses, but conceptual links between these fields are identified, specifically in terms of communicative goals and strategies. This study therefore compares selected theories on design aesthetics and Aristotelian rhetoric in information visualisation in order to ascertain whether a combined framework may be feasible. Although information visualisation is traditionally practiced from software engineering disciplines, this study frames the practice within the broader field of information design. The democratisation of the field of information visualisation and the emerging practices that emphasise the aesthetic value of visualisations is explored. In order to understand what is meant by the term ‘aesthetic’, a variety of both classical and contemporary views on aesthetics theory is investigated. Even though the term ‘aesthetic’ is not defined, a broad understanding is created by identifying the main conceptual themes in discourse. A specific focus is placed on understanding aesthetics in a design context, since there are many misconceptions about ‘aesthetics’ in this context. The idea that aesthetics relates to the communication of artifacts is explored, which provides a point of departure in linking aesthetics and rhetorical theory. The communicative nature of information visualisations is thus explored in relation to visual rhetorical theory. Aristotle’s three rhetorical appeals, namely logos, pathos and ethos, form the backbone of the visual rhetorical analysis of visualisation artifacts. The aesthetic and rhetorical theories explored throughout the study are compared by applying them to Charles Joseph Minard’s seminal information visualisation of Napoleon’s march to Moscow. This comparative analysis considers the traditional divide between aesthetics and rhetorical theory but identifies sufficient conceptual links between the discourses to suggest that a combined aesthetic-rhetorical framework for information visualisation may indeed be practical. Lastly, the wider implications and potential value of such a combined framework is considered within a broader design context. Copyright / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted