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Within the academy rarely are we allowed to say what we mean and mean what we say. The only way "this" can be done is to take one's collective works, find a small publishing house, pay for printing of a few thousand copies, and sell them out his or her trunk. In most cases, there is an editor or a "gatekeeper" who decides what will be published and what will be said. All too many times as authors and designers, we find ourselves having to compromise our work in order to be published. With the advent of the Internet all "this" has changed. The gatekeepers are nonexistent. The new problem that arises is what information is credible and how does one find the publication.
Shipka provided wide-open spaces to communicate within but a new problem arose. As one begins designing the project, the project begins to confine itself. The problem here is the framing no longer consists of clear boundaries but invariable glass walls. If one does not proceed with hands out stretched constantly checking for boundaries one runs into a glass wall. Eventually the designer finds that the artifact works in a form of tension between the artifacts and the designer. This is where a critical reader or several critical readers become invaluable. As authors and designers we find ourselves asking out critical reader some very basic questions: What does "this" mean to you? Is it good? What makes sense? What doesn't make sense? Do you understand what I am saying? Another critical eye peering into the artifact becomes help because they may find another meaning that was never intended. "This" image is shared between the 324 Patent and 407 OED Communicative Objectives.
"This" image is shared between the 324 CO1 and 407 CO1 and demonstrates a convergence of thinking across the two individual communicative objectives.