The poster-maker, the pamphleteer and the tagger aim to sway the popular heart and mind through visual public interventions. As new technologies rise, turning the public sphere into a transparent, ubiquitous communications medium and a global marketplace, is the privileged status of the poster doomed or are we seeing it transformed as part of a new wave of visual rhetoric? When the environment starts to become responsive to our very presence and aware of our individual nature what is the role of the 'traditional poster' delivering a classical rhetorical message? This peer-reviewed journal aims to lead the debate. The Poster stands as a vehicle for the ideas of media theorists; scholars of Cultural Studies and Cultural Materialism; for social psychologists of visual communication, for architects and designers of wayfinding schemes; for philosophers of Aesthetics and Politics, Society and Linguistics; for social scientists, anthropologists and ethnographers; for political campaigners and artist activists; for communications researchers and visual communications practitioners.