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As this book seeks to demonstrate, the visual world and its producers, its users and its designers, are engaged in a heated debate over the status of design - who has ownership of it, who is qualified to do it, and how we receive and interpret it, It is in a period of evolution, and requires more developed and rigorous understanding.
It may seem odd to say this , but whatever your view of the discussion in this chapter, it should ve clear that design is not simp;y a visual medium; it is a social and, as we have identified, a political one. It just happens to be most apparent visually in the messages sent to us by commerce, media and government, and the subtler but equally important messages we send each other in our everyday practices.
Like an iceberg, 90 per cent of visual communication is hidden beneath the surface. And, just like an iceberg, it is the invisible 90 per cent that provides the raw power of visual communication.
So, there we end this overview of some of the key ideas that are involved in the study and under standing of visual communication and its relationship with design. Undoubtedly, like some of the practitioners interviewed for the book, you will disagree with some of it. Hopefully some of it will have challenged your own positon on this subject.
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