This exploratory enquiry seeks to examine the largely unexplored potential of semiotics for intercultural training and education. The proposed three-partdiscussion describes the process by which semiotic theoretical principles were selected and progressively refined into an applied model which was then pilotedthrough a 2007 research initiative entitled Tools for Cultural Development. The case study involved six groups of French and Australian trainees from both theacademic and professional sectors, in collaboration with university, government and community partners. The first part of the (...) article summarizes a review of theliterature on approaches to cultural competence training. The study then outlines the transcoding process by which the stated objectives of intercultural educationwere reformulated in semiotic terms, particularly in reference to cultural semiotics on which the theoretical core of the applied model was subsequently based.Relevant principles from other semiotic schools as well as similar theoretical and methodological stances in the social sciences reinforced the established body of theory for the training design. The third part of the study discusses the process by which semiotic principles were further defined as skill-based outcomes and goals for workshop implementation. This pragmatic defining process facilitated development of questionnaires and surveys, thereby allowing participants to evaluate the training experience by examining their perceptions about the workshop outcomes at the beginning and end of the sessions. This article presents the quantitative results of the evaluation and, in discussing the gains and limits of data obtained, provides the context for a follow-up article on the qualitative findingsof the study. (shrink)

This exploratory enquiry seeks to examine the largely unexplored potential of semiotics for intercultural training and education. The proposed three-partdiscussion describes the process by which semiotic theoretical principles were selected and progressively refined into an applied model which was then pilotedthrough a 2007 research initiative entitled Tools for Cultural Development. The case study involved six groups of French and Australian trainees from both theacademic and professional sectors, in collaboration with university, government and community partners. The first part of the (...) article summarizes a review of theliterature on approaches to cultural competence training. The study then outlines the transcoding process by which the stated objectives of intercultural educationwere reformulated in semiotic terms, particularly in reference to cultural semiotics on which the theoretical core of the applied model was subsequently based.Relevant principles from other semiotic schools as well as similar theoretical and methodological stances in the social sciences reinforced the established body of theory for the training design. The third part of the study discusses the process by which semiotic principles were further defined as skill-based outcomes and goals for workshop implementation. This pragmatic defining process facilitated development of questionnaires and surveys, thereby allowing participants to evaluate the training experience by examining their perceptions about the workshop outcomes at the beginning and end of the sessions. This article presents the quantitative results of the evaluation and, in discussing the gains and limits of data obtained, provides the context for a follow-up article on the qualitative findingsof the study. (shrink)

Drawing on Vilm Flusser's view of the relationship between humans and the computer (machines), I explore a new ontological framework for our beingin-the-world. I begin by raising critical questions regarding our endeavours and efforts to create endlessly expanding semiotic knowledge spaces based on technological innovation (e.g. Wikipedia or the Universal Electronic Library) in order to reflect on this development from a Flusserian perspective, i.e. as an anthropological challenge to designing interhuman relations. By searching for new ontological conditions for humans, technology (...) and knowledge, I want to probe into responses and new perspectives/models of knowledge sharing. How would we have to rethink the relation between semiotic telematic knowledge spaces and their structure/architecture, and the concrete given (our relationships, intersubjectivity, etc.)? What are the consequences of these findings for the macrosocial structures of encounter where knowledge exchange is a key element? Which are the epistemic models most suited to articulating a productive interdisciplinary knowledge exchange? My approach intends to weave knowledge and space, memory, technology and lived experience into an ontological fabric, and, in so doing, place humans and their communicative needs at the centre of my considerations. (shrink)

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence of (...) organizational complexity in each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identified as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be misfits. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process. (shrink)

Evaluation of other cultures is a strong force in a culture’s definition of itself. Cultures are formed in encounters that include domination, conflict, and dismissal as much as appreciation and smooth exchange. In this paper, the construction of cultural identity is discussed, with reference to a Scandinavian Theme Park proposal made in cooperation between American design consultants and a local Swedish team of planners and visionaries. The image production in this design proposal, which never came to be realised (...) in architectural production, shows that “Scandinavia” appears as a two-some dialogic construction that adopts stereotyped cultural identities, and that it was not brought to any wider public dialogue. In a semiotic account of this architectural decision-making, models of culture (Lotman. 1990.Universe of the mind: A semiotic theory of culture. London: Tauris.) are discussed in terms of the tripartition of culture into Ego-culture, Alter-culture and Alius-culture (Sonesson. 2000. Ego meets alter: The meaning of otherness in cultural semiotics.Semiotica128(3/4). 537–559.; Cabak Rédei, Anna. 2007.An inquiry into cultural semiotics: Germaine de Staël’s autobiographical travel accounts. Lund: Lund University Press.), considered as a basic abstracted backdrop of what is meant by cultural difference. In this paper it is suggested that this tripartite view on culture, can be further discussed in reflection of post-colonial studies, notably through terms such as “mimicry” (Bhabha. 1984. Of mimicry and man: The ambivalence of colonial discourse.October28. 125–133.) and “subalterity” (Spivak. 1988. Can the subaltern speak?. In Cary Nelson & Lawrence Grossberg (eds.),Marxism and the interpretation of culture, 271–313. Urbana & Chicago: University of Illinois Press.). The model of culture can furthermore be discussed through Peirce’s distinction between different stages and carriers of representation, adding to the cultural model an understanding of what it means, over time, for a culture to relate to an admired as well as to a neglected other cultural actor. (shrink)

The subject of the research is a modern graphic and communicative design, in the context of changing existing and forming new roles of communicators, transforming the communication model, forming a semiotic communication format. The object of the research is modern graphic and communicative design, as well as their traditional, digital and generative subdirections. Design beginning to have digital, semiotic-interactive and artificially intelligent characteristics. The author examines in detail such aspects of the topic as: dialogical, semiotic-interactive qualities of (...) design solutions; digital, semiotic-interactive design-software expressive means; features of semiotic-deconstructivity (analyticity) and semiotic-synthetics (constructiveness) of design solutions in the context of design activity; the influence of technical and technological features of tools and design-environments (design systems) for the formation of automated and artificially intelligent qualities of design solutions. The study of the conceptual model of a semiotic-interactive design is carried out in the context of a semiotic-interactive methodology (a set of principles and strategies of design activity). The main conclusions of the study are the description of the conceptual model of a semiotic-interactive design solution, in the context of a semiotic-interactive methodology implemented in the conceptual-generative subdirection of modern graphic and communicative design. The author's main contribution to the research of the topic is to identify the main components of the conceptual model of a semiotic-interactive design solution and demonstrate their relationship with each other in the form of a holistic model. The novelty of the research lies in the description of the characteristics of the components, the conceptual model of a semiotic-interactive design solution: a dialogical semiotic-interactive format for creating invariant concepts and design solutions; versioning of design solutions based on the semiotic synthesis of design programs; semiotic deconstruction of design solutions at the macro and micro levels; semiotic synthesis of design and artistic design programs; application of design programs as decision tools; use of hyperconnected capabilities of the design environment: the history of actions, integrity and continuous change and development. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 1-29.

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 203 Seiten: 227-248.

Conhecer qualquer coisa sobre a realidade é fiar-se em signos, e viver a vida semioticamente é transformar a realidade através do design. De-sign é uma noção cunhada para introduzir a fusão de design e signos. No processo reiterativo de de-sign, não há separações ou limites absolutos entre o pensar e fazer como formas de conceber uma ação possível ou desenvolver ações posteriores. O livre movimento dentro de multiplicidades simultâneas, transcendendo a aparência das coisas e manipulando criativamente uma variedade (...) de polaridades, é inerente ao design thinking e à interpretação semiótica. Envolver-se no processo de de-sign é perseverar por vários paradoxos. Crenças contraditórias e antinomias desconcertantes são intrínsecas ao De-sign; elas não são apenas aceitáveis, como também bem-vindas, se pudermos desenvolver a capacidade de perseverar através deles. Paradoxos não são resultado de um erro em nosso raciocínio, mas de um defeito na nossa capacidade de lidar com uma dissonância cognitiva. Através da máxima do pragmatismo, nossos pensamentos e ações podem ser determinados e podemos avaliar quão apropriadas são suas consequências. É aqui que o pragmatismo, como método de determinar o significado do De-sign, determina a congruência entre a intenção de nossos pensamentos e a adequação de nossas ações. Como o pragmatismo é um método de experimentação que revela a eficácia do pensamento e da ação, o De-sign exige perseverança. Perseverar nos paradoxos do De-sign é estar à vontade com o que é e o que pode ou poderia ser, estar à vontade com a ambiguidade e a incerteza e ter paciência com o processo emergente daquilo-que-ainda-está-tornando-se e, assim compartilhar com a Divindade o ato agapástico da criação. (shrink)

Many caricaturists get the idea for their caricature from current issues of society. The philosophy of the caricature lies in the opinion it presents, which discusses society’s goals, culture, and crises, and it is represented in an ironic way to deliver its visual message. The fight for women’s rights, inequality, and discrimination are examples of issues concerning Saudi women that have been represented by several caricaturists. Hence, the aim of this paper is to investigate female and male caricaturists’ linguistic and (...) semiotic representation of Saudi women’s challenging issues. Following (Kress and Van Leeuwen. 2006. Reading images: The grammar of visual design, 2nd edn. London: Routledge), a social semiotic multimodal approach to the analysis is adopted in this study, which is drawn from Halliday’s social semiotic theory. Twenty caricatures were carefully selected based on the content and the issues that are being discussed in the caricatures with a consideration of their relation to the aim of the study. The present study contributes to enriching Saudi women’s rights in relation to Saudi Vision 2030. The research is significant in that, in examining women/male caricaturists’ representations of the challenges and opportunities of Saudi women empowerment prior/after Saudi Vision 2030 in the workplace, social life, it contributes to understanding the supportive caricature discourse, basic social values for Saudi women, the pressures they undergo, and the success they have achieved so far in attaining their rights. The study findings show that both the semiotic and verbal elements of the caricatures were significant in delivering the messages for women’s rights in the new Saudi. (shrink)

Semiotic studies in South Korea have a relatively short history; nevertheless, they enjoy a rapid development from a high starting point, so their research scale and insightful perspectives should not be underestimated. The introduction of “structuralist theory” in the late 1960s paved the way for Korean semiotics to enter the academic arena ideologically and theoretically. In the process of following the international trend of semiotic research, Korean semiotics has also formed its own characteristics. After over 40 years of (...) development, it has become an important part of the world’s semiotic studies. It has experienced three historical stages, namely, the budding period, the steady development period, and the comprehensive advancement period. The current Korean semiotics presents obvious new trends as follows: conducting cross-regional integration research, highlighting the national characteristic culture, and focusing on the current application of research. First, Korean scholars switched their focus to East Asia, and emphasized the presentness and application of related research while focusing on the combination of semiotics with traditional cultural classics and cultural heritage. Second, in terms of the field of study, Korean semiotics has expanded across multiple fields such as linguistics, literature, aesthetics, philosophy, communication and traditional culture, music, dance, film, architecture, design, and so forth. Finally, in terms of studying the application of semiotics, it has already reached a considerable scale and depth. Although semiotic research in Korea still needs continuous efforts in enhancing theoretical depth and rigor, it has created a wide development space and displayed unlimited potential in terms of innovation of research perspectives and novelty of ideas. (shrink)

Social distance, as a non-static cognitive attribute of acceptance among particular groups across different contexts, has been resemioticized during the coronavirus crisis and legalized worldwide to reduce global strain on healthcare systems and prevent deaths. Concerning this, brand designers have tried to persuade the brand community to benefit from products or services safely by staying away from others as much as possible instead of in-person contact. This research was conducted to discover the semiosis process of social-distancing resemioticization through creating values (...) of brands during the post-coronavirus crisis. The corpus consists of 124 brands – all sampled purposely from 2019 to 2021 – which was investigated via a mixture of qualitative and quantitative methods using an integrated model in a functional perspective. All the results highlight the fact that, although brand designers have attempted to creatively resemioticize social-distancing during the coronavirus crisis as a means of increasing or enriching brand values, still some semiosis layers of brand discourse have been overlooked. Pertaining to this, the authors try to apply a new perspective of marketing semiotics to appraise consumer investments in light of a socio-cultural setting by conducting an inquiry about the semiosis of individual brand discourses to manage consumer perceptions regarding brand equity. (shrink)

Experimental Semiotics (ES) is the study of novel forms of communication that communicators develop in laboratory tasks whose designs prevent them from using language. Thus, ES relates to pragmatics in a “pure,” radical sense, capturing the process of creating the relation between signs and their interpreters as biological, psychological, and social agents. Since such a creation of meaning-making from scratch is of central importance to language evolution research, ES has become the most prolific experimental approach in this field of (...) research. In our paper, we report the results of a study on the scope of recent ES and evaluate the ways in which it is relevant to the study of language origins. We coded for multiple levels across 13 dimensions related to the properties of the emergent communication systems or properties of the study designs, such as type of goal (coordination versus referential), modality of communication, absence or presence of turn-taking, or the presence of vertical vs. horizontal transmission. We discuss our findings and our classification, focusing on the advantages and limitations of those trends in ES, and in particular their ecological validity in the context of bootstrapping communication and the evolution of language. (shrink)

Taking advantage of Denis Noble’s description, in “The Illusions of the Modern Synthesis” of the first illusion, related to the concept of natural selection itself, I will further strengthen the criticism by adding three groups of considerations mainly concerning human cognition: 1) how semiotic brains build cognitive niches; 2) the role of abduction – and in particular of manipulative abduction – in building a semiotic artificial world; 3) the biosemiotics of the so-called disembodiment of the mind. Human semiotic brains are (...) engaged in a continuous process of delegation and distribution of cognitive functions to the environment to lessen cognitive limitations, also and especially taking advantage of what I have called “manipulative abduction”. These design semiotic activities are closely related to the process of cognitive niche construction, which should be regarded as the second major participant, after natural selection, in evolution. An important effect of this semiotic brain activity is a continuous process of disembodiment of the mind that exhibits a new cognitive perspective on the mechanisms underlying the semiotic emergence of meaning processes. (shrink)

Commercial advertisements are considered informative discourse, whereas the manipulative effects of their verbal and visual strategies have been ignored. According to van Dijk (2006), manipulation in mass media is performed by drawing the audience’s attention to information A rather than to B, by providing irrelevant or incomplete information, and by playing emotional games. Since the analysis of manipulative effects of semiotic features used in advertisements is scarce, the present research project investigates the potential manipulative effects of semiotic aspects used in (...) Persian printed advertisements, and the influence of the Iranian sociocultural context on designing these visual messages. A corpus of 160 Persian printed advertisements was analyzed; the results revealed that their semiotic features, especially those which are meaningful based on the sociocultural context of Iran, tend to inculcate relevant information and meaning in consumers, in order to control their minds and subsequently their purchases. The findings of this study include six theme-based categories of semiotic manipulation strategies: Celebrity images, Creative images, Punctuation marks, Natural images, Seasonal images, and Cultural images. The results are discussed along the lines of research methodology in discourse and semiotic analysis. (shrink)

Spider diagrams are based on Euler and Venn/Peirce diagrams, forming a system which is as expressive as monadic first order logic with equality. Rather than being primarily intended for logicians, spider diagrams were developed at the end of the 1990s in the context of visual modelling and software specification. We examine the original goals of the designers, the ways in which the notation has evolved and its connection with the philosophical origins of the logical diagrams of Euler, Venn and Peirce (...) on which spider diagrams are based. Using Peirce’s concepts and classification of signs, we analyse the ways in which different sign types are exploited in the notation. Our hope is that this analysis may be of interest beyond those readers particularly interested in spider diagrams, and act as a case study in deconstructing a simple visual logic. Along the way, we discuss the need for a deeper semiotic engagement in visual modelling. (shrink)

We present SASC, Self-Adaptive Semantic Crossover, a new class of crossover operators for genetic programming. SASC operators are designed to induce the emergence and then preserve good building-blocks, using metacontrol techniques based on semantic compatibility measures. SASC performance is tested in a case study concerning the replication of investment funds.

THE PREVALENCE TODAY of "semiotics" as the preferred linguistic form for designating the study of signs in its various aspects already conceals a history, a story of the ways in which, layer by layer, the temporal achievement we call human understanding builds, through public discourse, ever new levels of common acceptance each of which presents itself as, if not self-evident, at least the common wisdom. Overcoming such present-mindedness is not the least of the tasks faced by the awakening of (...) semiotic consciousness. (shrink)

Lev Vygotsky's research presented individual men tal processes as being determined by one's historically developed activity, both on a physical level (through labor) and on a mental level (through the use of psychological tools). In this study, the author reviews the translated research of Vygotsky and compares his use of the term psychological tools with research in the areas of metaphors and semiotics. Could these semiotic psychological tools be included in media sound bites and computer software to facilitate and (...) enhance learning? Because the author's research interests are in the area of instructional technology, the intention is to explore psychological theories, such as those of Vygotsky, to see how instructional technologists might use these theories. The ideal would be to incorporate theories into their design and create innovative technology programs that affect learning positively both in the United States and in other countries and cultures. (shrink)

Since the beginning of the XX-th century, it became increasingly evident that information, besides matter and energy, is a major actor in the life processes. Moreover, communication of information has been recognized as differentiating living things from inanimate ones, hence as specific to the life processes. Therefore the sciences of matter and energy, chemistry and physics, do not suffice to deal with life processes. Biology should also rely on sciences of information. A majority of biologists, however, did not change their (...) mind and continued to describe life in terms of chemistry and physics. They merely borrowed some vocabulary from the information sciences. The first science of information available to biological applications, semiotics, appeared at the end of the XIX-th century. It is a qualitative and descriptive science which stemmed from efforts of linguists and philosophers to understand the human language and is thus mainly concerned with semantics. Applying semiotics to biology resulted in today’s Biosemiotics. Independently, an explosive expansion of communication engineering began in the second half of the XX-th century. Besides tremendous progresses in hardware technology, it was made possible by the onset of a science of literal communication: Information Theory (Shannon, Bell Syst Tech J 27:379–457, 623–656, 1948). Literal communication consists of faithfully transporting a message from a place to another, or from an instant to another. Because the meaning of a message does not matter for its transportation, information theory ignores semantics. This restriction enables defining information as a measurable quantity on which a mathematical theory of communication is founded. Although lacking implementation means at its beginning, information theory became later very successful for designing communication means. Modern ones, like mobile phones, can be thought of as experimentally proving the relevance and accuracy of information theory since their design and operation heavily rely on it. Information theory is plainly relevant to biological functions which involve literal communication, especially heredity. This paper is intended to compare the two approaches. It shows that, besides obvious differences, they have some points in common: for instance, the quantitative measurement of information obeys Peirce’s triadic paradigm. They also can mutually enlighten each other. Using information theory, which is closer to the basic communication mechanisms, may appear as a preliminary step prior to more elaborated investigations. Criticizing genetics from outside, information theory furthermore reveals that the ability of the template-replication paradigm to faithfully conserve genomes is but a prejudice. Heredity actually demands error-correcting means which impose severe constraints to the living world and must be recognized as biological facts. (shrink)

The right to a fair trial as a fundamental human right has been widely established in the international community. While the notion of a fair trial is typically associated with procedural safeguards, fairness can be reflected in spatial dimensions. Courtroom design, apart from achieving its main functional objectives, reflects the institutional ideology of how justice can be staged in public. In alignment with the perspective that courtroom as theatre consists of a sign system, this paper adopts a semiotic approach (...) to the courtroom setting of Chinese criminal trials. With a thick description of space, mobility and attire, it attempts to probe into how judicial ideology is symbolically framed in the field. Drawing from ethnographic fieldwork of three courts, this paper discusses how courtroom space is constructed semiotically as a performative stage on which legal dramas unfold. Ultimately this paper argues that a semiotic investigation of Chinese courtrooms will shed light on an understanding of its judicial value, ideology of justice and dynamics of power relationship. (shrink)

To relate theories of affordance and frame with the tradition of formal aesthetics, philosophical iconology and the life sciences (keyword Vitality Semiotics) is the starting point of the paper. According to this approach, the structural preconditions of images, as determined by materials, techniques and the composition of the design means, become essential. Through these structures, the producers are able to set impulses that become decisive for the interpretation of space and time or the "scene" as a dynamic event. (...) Against the social and cultural background of the recipients the "scene" gains a meaning to their life. This means to understand the productʼs conception and composition as an affordance which determines the framework of the reception conditions. The benefit of this approach lies in the identification of changes in the self-understanding and thus of trends in to new standards of societies. This is to be illustrated by Exekiasʼ drinking bowl around 540/30 BC in Munich. (shrink)

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set (...) of anchors for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

There are no established conventions for, and few examples of, indexing visual material on the basis of its form. Most image databases use keywords to describe the form or function, and access data by text-based retrieval of these keywords. An image-based approach would order the data by appearance, e.g. Shepherd (1971) and Dreyfuss (1972). A taxonomy must be created in order to apply this technique to a new data set. Previous applications have been aided by certain limiting factors on the (...) possible range of images indexed thus providing the key to a taxonomy, e.g. international pictorial signs in Dreyfuss. A fundamental principle which may be inferred from these studies is that the taxonomy needs to be related to the needs of the user, and not solely to abstract features of design. This is reflected in guidelines issued by the UK organisation The Society of Indexers. The studies also suggest the need for several approaches to classification within the same data set, e.g Dreyfuss, in which signs are located under more than one heading. (shrink)

Combining genetic algorithms that produce complex, fluid, biomorphic shapes with probabilistic systems that incorporate randomness, the designers attempt to mimic adaptive systems in natural evolution in order to arrive at intelligent design solutions. The design processes are said to be interactive and sensitive to varying conditions, behaving like an exceptionally perceptive and adaptive organism during an evolutionary process (Somol 2004: 8687); this process can be compared to the recent attempt by the architectural avant-garde to move beyond the semiotic (...) interests of deconstructionism and tap into the authority of the natural sciences. In some sense, an analogy can be drawn to natural evolution. In the natural world, adaptation and change result from an iterative progress, from one generation to the next, driven by mutation, recombination, and the survival of the fittest in the sense of selection. Following the model of nature in architecture, as proposed by some proponents of parametricism, should not be expected to make buildings more precisely adapted to particular circumstances and optimally functional. Evolutionary theory is used in contemporary architecture as a form of legitimization. It can also cast light on ethical issues, not reducing the human mind's creative intelligence to some sort of genetic determinism, developing in the free market of social choice. Therefore, searching for better ways of managing resources should be at the core of an adaptive concept of architecture. (shrink)

Legislative writing, which is one of the key genres in the practice of law, has mostly been overlooked in pedagogic applications in English for Legal Communication (ELC), even though more than any other professional writing, it demonstrates very typical and distinctive use of linguistic and other semiotic resources, including some of the specific rhetorical conventions and constraints. However, it is surprising that despite its distinctive prominence in legal practice, it has never figured in English for Legal Communication programmes. It seems (...) to be the result of pedagogic convenience rather than curriculum need. In this paper, I would like to argue for the inclusion of legislative genres in English for Legal Communication curriculum design as input to teaching materials, to make it easier for learners to understand and interpret other forms of legal communication, such as cases, judgements, contracts, agreements, and even courtroom interaction. (shrink)

This second of a two-part series of articles on applied semiotics and intercultural training provides a qualitative evaluation of the research initiative Tools for Cultural Development. Th e discussion will firstly centre on several theoretical and methodological challenges inherent to the qualitative research paradigmand then relate these shifting concerns to convergent findings in poststructuralist (and postcolonial) semiotics, especially with respect to pheno menology and pragmatics. Analysis of four focus group interviews in France and Australia will examine and evaluate (...) the 2007 training experience in light of the culture-specific contexts and stakeholder groups involved. Of particular concern will be the capacity of qualitative evaluative processes to account for the “local meanings”and “voices” within the trainee narratives so as to highlight their perceptions as to the use of semiotics for designing culturally significant practices in educationand praxis. (shrink)

This research examines wearable, fashionable interaction design to mediate the narrative and semiotic concepts found in technology and fashion. We discuss the principles of design anthropology using Taiwan proverbs to transmit the “people-situation-reason-object” method and analyze five case studies that provide new approaches for designers engaged in future industry. Design anthropology attempts to engage physiological and psychological design through technological function, meaning formation, and fashion aesthetics to achieve cognition between people and the environment. The wearable, fashionable (...) interaction displays characteristics of narrative and semantics transmitted through craft culture as well as collective, cheerful, and creative performance. It is a confident and innovative attempt, which bears a joyful and fundamental interface. This study takes two directions, with cultural thinking serving as the basis to establish a set of traditional craft designs and interactive objects that assist designers in using the senses to inform and initiate new lifestyle values. (shrink)

This research examines wearable, fashionable interaction design to mediate the narrative and semiotic concepts found in technology and fashion. We discuss the principles of design anthropology using Taiwan proverbs to transmit the “people-situation-reason-object” method and analyze five case studies that provide new approaches for designers engaged in future industry. Design anthropology attempts to engage physiological and psychological design through technological function, meaning formation, and fashion aesthetics to achieve cognition between people and the environment. The wearable, fashionable (...) interaction displays characteristics of narrative and semantics transmitted through craft culture as well as collective, cheerful, and creative performance. It is a confident and innovative attempt, which bears a joyful and fundamental interface. This study takes two directions, with cultural thinking serving as the basis to establish a set of traditional craft designs and interactive objects that assist designers in using the senses to inform and initiate new lifestyle values. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 205 Seiten: 115-148.

Seventeen years before Kant published The Critique of Pure Reason, there appeared another work designed to undercut Hume’s skepticism and the principles upon which that skepticism was based—Thomas Reid’s Inquiry into the Human Mind on the Principles of Common Sense. In this ambitious work, Reid hoped to show, against Hume, that there need be no quarrel between common sense and philosophical inquiry. “Philosophy,” proclaimed Reid, “has no other roots but the principles of Common Sense; it grows out of them, and (...) draws its nourishment from them.” Reid’s self-imposed task was thus two-fold—to expose the errors in philosophical method which had inexorably culminated in Hume’s phenomenalistic atomism, and correlatively to provide a more adequate metaphysical scheme which could avoid the pitfalls of skepticism while doing justice to our ordinary beliefs about the world. (shrink)

The use of facial recognition systems in concerts provides a perfect pretext to semiotically discuss the role of the face in contemporary culture, identifying different strategies and axiologies (systems of values). In his visionary essay Bruits (“noises”) from 1977, the French thinker Jacques Attali establishes a close connection between music and power and locates it in the site of the collective unfolding of music: the concert hall. Following this hint, the article reconstructs the current debate on facial recognition systems in (...) the music business, with a particular focus on concerts and festivals. The different positions (of musicians, authorities, and professionals) are outlined (some are openly in favor, others openly against), key moments are identified (Beyoncé’s concert in Cardiff, 2017; Jacky Cheung’s in Nanchang, 2018; Taylor Swift’s at the Rose Bowl in Pasadena, 2018; the “banfacialrecognition.com” campaign launched in 2019; the case of Barbara Hart at Brandi Carlile’s show at the Madison Square Garden, 2022) and, finally, the issue is framed within the broader debate about the face as an indexical marker of presence, identity, and humanity (the contrast between Italian philosopher Giorgio Agamben and American sociologist and design theorist Benjamin Bratton is addressed). (shrink)

In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In (...) the second part, we offer some positive and on-going implementations designed to remedy the shortcomings observed. What is suggested is the proof of concept that human researchers need the assistance of computing methodologies. However, computers can only do their job once an adequate phenomenology of human experience is fed into the process. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 353-364.

There has been criticism of how Fair-Trade products represent workers in remote parts of the world where packaging offers an encounter with distant others which romanticizes and homogenizes them as a pre-modern form of ethnicity. Such workers are shown as always engaged in authentic, simple, honest decontextualized manual labor. And they are depicted as highly appreciative of, and empowered by, the act of ethical shopping. This paper shows that a close social semiotic analysis of Fair-Trade packaging reveals a different set (...) of meanings which sit alongside the decontextualized ones. Designs integrate these workers into more contemporary kinds of modernist, rational, design chic, which communicates its own kind of honesty and authenticity. We consider how this, too, shapes how such consumers encounter distant others and its consequence for the meaning of the act of ethical shopping, where consumers can buy into moral alignment offered by products. (shrink)

This paper presents an integrated framework applied towards the design and evaluation of a virtual museum of Byzantine art that combines the theorized fields of semiotics, virtual heritage (VH), and Byzantine art. A devised semiotic model, the case study semiosphere, synthesizes important principles from the theoretical background justifying the overall design and evaluation methodology. The approach presented has theoretical extensions to the understanding of the role technology plays in promoting a consummatory aesthetic experience for Byzantine art in (...) virtual environments, complementing the experience received from traditional Byzantine art media. Part A of the work presents the development of the semiotic foundation of the study prior to presenting the applied potential of the approach in design and evaluation of VH for Byzantine art, which appears in Part B. The final task of the proposed approach aims to support a meaningful interpretation, assisting in the promotion of the significance (value) of the virtual museum to potential interpreters/visitors. (shrink)

This paper presents an integrated framework applied towards the design and evaluation of a virtual museum of Byzantine art that combines the theorized fields of semiotics, virtual heritage, and Byzantine art. A devised semiotic model, the case study semiosphere, synthesizes important principles from the theoretical background justifying the overall design and evaluation methodology. The approach presented has theoretical extensions to the understanding of the role technology plays in promoting a consummatory aesthetic experience for Byzantine art in virtual (...) environments, complementing the experience received from traditional Byzantine art media. Part A of the work presents the development of the semiotic foundation of the study prior to presenting the applied potential of the approach in design and evaluation of VH for Byzantine art, which appears in Part B. The final task of the proposed approach aims to support a meaningful interpretation, assisting in the promotion of the significance of the virtual museum to potential interpreters/visitors. (shrink)

Continuing from Part A (2016), in which we discuss the semiotic foundation for designing a virtual museum of Byzantine art, Part B presents an applied methodology for the representation of cultural artifacts through virtual technologies and semiotic techniques. We discuss how our semiotic model, case study semiosphere, contributes to design and evaluation research of such unique art-form representation and why the approach contributes as a whole to the field of Virtual Heritage (VH). Theorizing further the design implications integrating (...) the overall approach including the evaluation experiment of three VH applications with the participation of young users and its semiotic analysis, we formulate design guidelines that can be applied also to other types of cultural heritage and art. (shrink)

Continuing from Part A, in which we discuss the semiotic foundation for designing a virtual museum of Byzantine art, Part B presents an applied methodology for the representation of cultural artifacts through virtual technologies and semiotic techniques. We discuss how our semiotic model, case study semiosphere, contributes to design and evaluation research of such unique art-form representation and why the approach contributes as a whole to the field of Virtual Heritage. Theorizing further the design implications integrating the overall (...) approach including the evaluation experiment of three VH applications with the participation of young users and its semiotic analysis, we formulate design guidelines that can be applied also to other types of cultural heritage and art. (shrink)