from the pen of John Pastorelli
Of all the different industries, professions and hobbies within which interpretive practices make an appearance I’d like to zoom in on the tourism side of things. And within this field illustrate how the concept of visual dominance plays such a significant role. In essence this concept suggests that it’s typically the visually dominant features within an environment which tends to captivate and hold our initial and ongoing attention. Its influence is captured through many labels including the ‘shiny object syndrome’ or what I like to call ‘visually dominant things’.
To quote from the tourism industry, a field which is often associated with interpretive practices, “Visual dominance and sensory diversity: analysing tourist experiences at destination attractions through online reviews”
“Our findings reveal that visual experiences dominate tourists’ sensory engagement, while mentions of olfactory, gustatory, and auditory experiences are less frequent.”
This is not to diminish the importance of our senses, which allows us to experience a dimension of wonder – the amazing calls of a lyrebird if you happen to be walking through a bushland area; the scents of a boronia and banksia when in full flower; the meditative feelings evoked by those gentle waves caressing the waters edges.
This concept of visual dominance is what influences the popularity of social media platforms like tik tok, Instagram, pinterest and snapchat. It forms the basis of tourism collateral including the effort that goes into choosing just the right photograph to place on the front cover of the latest brochure (yep, they still exist).
It also influences experiences at the ‘local level’ such as the placement of products within the isles of those big supermarket chains (product placement is not random) or even how retail items as displayed within visitor information centres and clothing stores. All of which hint (and perhaps scream) at the work of ‘the visual merchandiser’.
This practice of being visually dominated is also reinforced by social and cultural norms, and because of which lives within a self-perpetuating and reaffirming loop of importance.
To pause for a moment and ask the powerful interpreters’ question of ‘so what’? How does all this natter of visual dominance relate to interpretation? A great question, and for the start of my response I’d like to bring forward the title and theme for next year’s (2026) Interpretation Australia conference: “Ripples of Meaning: The Art of Interpretation”
Ripples of meaning: the art of interpretation
For a ripple to occur there needs to be a contributing force … a dropped pebble to bring about ripples in a pond, an act of kindness to bring about more ‘awww’ moments, or perhaps a strum of the acoustic guitar to start the acoustic ripple effect.
And what I love about the title for next years’ conference is the implied power of the ripple effect within interpretation. That we are able to influence beyond just affecting those people involved within an interpretive experience. This implied potential would complement any definition of interpretation, and within a wider realm was the key focus for research in 1961by the MIT meteorologist, Edward Lorenz, who proposed that the simple act of a butterfly flapping its wings in the Amazon could (hypothetically) lead to tornadoes ‘just up the road’ in Texas.
And so back to our ‘visually dominant things’. And our question of ‘so what?’
The first reflective thought within the title of the conference is whether we are creating the best ripples? Interpretation is about a meaningful gain for people, place and their inter-relationships. Is our interpretive effort facilitating this not just in the moment, as much as the ripples that will emanate from that moment?
Are we just being influenced by the visually dominant things and missing those opportunities, those stories, those experiences which live in the shadows of these visually dominant things.
Our role as interpreters is get into these shadowy spaces to crawl around and sniff out those stories which might just help share a bigger and greater truth.
Another thought evoked by our title of ‘Ripples of Meaning’ is that of interpersonal communication. To borrow from the above quote by Artur Schnabel and the art of music being the space between the notes … and what of our communication with others? Because just like music, when we communicate with others there is so much that takes place in the ‘spaces’ of our words and our gestures. So many things we might miss and which we do not notice. The unheard voice communicating unwritten lines and unspoken words, the ‘music’ in the pauses between the notes.
Our relationship with these ‘unseen’ spaces can often reveal more of our character than the obvious ‘bits’. When the hesitation in a person’s response is felt more than heard, when a thought is unsaid but communicated just the same. When a pause in our interactions to seek clarification might allow for a deeper and richer understanding.
Or when we reach out to those beyond the norm, beyond the cliques. When we see the person within regardless of their outer appearance and behaviour. When we see the individual beyond the job title.
Perhaps, such moments might surprise and bring to light gems unseen … to borrow from the words of J.R.R. Tolkien ‘a light from the shadows shall spring’.
And are such moments that exist within our everyday communication part of the meaning making that is implied within our conference title of ‘Ripples of Meaning’? If we were to now use our concept of ‘visually dominant bits’ as a metaphor and look beyond, would our efforts help reveal greater meaning and through this more enduring ripples.
