Laszlo Moholy-Nagy's 1923 concept of "The New Typography" explores typography as "communication in its most intense form." What's more pure than the inscription of language, the visual form of speech. His manifesto describes type as needing perfect clarity and legibility for communication, and never allowing type to interrupt the communication of content. Moholy-Nagy believes that photography has an inherent objectivity that "liberates the receptive reader from the crutches of the author's personal idiosyncrasies and forces him into the formation of his own opinion." He believes that type and photo can be objective and non-obstructive enough to present the content without the author's bias — giving the reader or audience a chance to form their own thoughts and connections to the work.
Moholy-Nagy also speaks about technology as a rapidly changing landscape. New, cheaper, more precise methods and mediums of communication bring about obsolescence within traditional mediums. He accurately predicted how filmmaking would overtake book publishing as a way to communicate. Films are producible by anyone in today's society and are more and more universally consumed than books, similarly to how the prevalence of phone-calls wiped out letter-writing. This is why he believes that "the new poster" must be vibrant and count on the most contemporary storytelling medium for his time: photography. These posters, depending on their message's potency, need to be impactful, shocking, and affect our psyche to be truly effective. By using the most recent and powerful form of direct communication, as well as new typefaces, color effects, and shocking visuals, Moholy Nagy's concept of "the new poster" is capable of holding its ground in a landscape of outgrown mediums and technologies. Moholy-Nagy's "The New Typography" is more than a balance of our sense of vision and our ability to communicate, it is also somewhat a balance of human interests and attention spans.