Documente Academic
Documente Profesional
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Estetica în comunicare
Design and Semiotics
Design si semiologie
Cum comunicăm?
NON-VERBAL VERBAL
Semne
• Cuvinte
Simboluri
• Sunete
Gesturi
• Volum
Limbajul corpului
• Intonaţie
Expresia feţei
• Ritm/Rapiditate
Prin indicare
• Ton
Obiecte şi pictograme
• Fluenţă
Comportament
Lecture 8&9 2
Design and semiotics
How do we communicate?
NON-VERBAL VERBAL
Signs • Volume
Symbols • Intonation
Gestures • Rate
Body Language • Tone
Facial Expression • Fluency
Pointing • Words
Objects and Pictures • Sounds
Behaviour
Lecture 8&9 3
Design and semiotics
How do we communicate?
Lecture 8&9 4
Design and semiotics
Lecture 8&9 5
Design si semiologie
Despre comunicare:
MOTIVAŢIE: De ce comunicăm ?
A da, a primi atenţie
Salut
Dorinţe, necesităţi
Obţinerea informaţiilor
Furnizarea informaţiilor
Protest/Impotrivire
Exprimarea sentimentelor
Lecture 8&9 6
Design si semiologie
About communication:
MOTIVATION: Why Do We Communicate?
Attention (request, give)
Greetings
Wishes, requirements
Request information
Give information
Protest/Deny
Express Feelings
Lecture 8&9 7
Design si semiologie
Limbajul creatorilor în design (Product Design, Graphic Design) conţine
termeni ca “sisteme de informare, comunicare, transmitere a
mesajului” sau “cod, semn, simbol, semnificaţie, conotaţie”. Aceşti
termeni sunt împrumutaţi din lingvistică sau semiologie.
Lecture 8&9 8
Design si semiologie
Semiotica sau semiologia reprezintă studiul procesului de semnalizare
(semiosis), şi/sau comunicarea prin semne şi simboluri, analizate
individual sau grupate în sisteme de semnalizare/ comunicare.
Lecture 8&9 9
Design and Semiotics
Semiotics, semiotic studies, or semiology is the study of sign
processes (semiosis), or signification and communication, signs and
symbols, both individually and grouped into sign systems. It includes
the study of how meaning is constructed and understood.
The field was most notably formalized by the Vienna Circle and
presented in their International Encyclopedia of Unified Science, in
which the authors agreed on breaking out the field, which they called
"semiotic", into three branches:
Semantics: Relation between signs and the things they refer to,
their denotata.
Syntactics: Relation of signs to each other in formal structures.
Pragmatics: Relation of signs to their impacts on those who use
them (Also known as General Semantics).
Lecture 8&9 10
Design si Semiologie
Lecture 8&9 11
Design and Semiotics
Lecture 8&9 12
Design and Semiotics
We seem as a species to be driven by a
desire to make meanings: above all, we are
surely Homo significans - meaning-makers.
Distinctively, we make meanings through
our creation and interpretation of 'signs'.
Lecture 8&9 13
Design and Semiotics
Noi, oamenii suntem aparent o specie
condusă de dorinţa de a crea înţelesuri:
înainte de toate, suntem cu siguranţă Homo
significans – creatori de înţelesuri.
În particular, creăm înţelesuri prin creaţiile
noastre şi din interpretarea 'semnelor'.
Lecture 8&9 14
Design and Semiotics
Saussure offered a two-part model of the sign. He defined a sign as being
composed of:
a 'signifier' (signifiant) - the form which the sign takes; and
the 'signified' (signifié) - the concept it represents.
Lecture 8&9 15
Design si Semiologie
Saussure ne-a oferit un model al semnului, format din două părţi.
El definea semnul ca fiind compus din:
un 'obiect ' (signifier) - forma pe care o ia semnul;
un 'semnificant' (signified) - conceptul pe care îl reprezintă.
Lecture 8&9 17
Design and Semiotics
Ferdinand de Saussure (Swiss linguist 1857-1913) is the founder not only of
linguistics but also of what is now more usually referred to as semiotics (in his
Course in General Linguistics, 1916).
For Saussure, both the signifier and the signified were purely 'psychological' . Both
were form rather than substance.
The signifier is now commonly interpreted as the material (or physical) form of the
sign - it is something which can be seen, heard, touched, smelt or tasted.
Lecture 8&9 18
Design si Semiologie
Ferdinand de Saussure (lingvist elvetian 1857-1913) este fondatorul lingvisticii dar
si al semiologiei (in lucrarea sa Course in General Linguistics, 1916).
Semioza este relaţia triadică între semn, obiectul său şi interpretantul/
semnificantul său. După Saussure, atât obiectul, cât şi semnificantul sunt pur
psihologice. Ambele sunt mai degrabă formă decât materie/substanţă.
În prezent, obiectul este considerat ca forma materială/fizică a semnului – este
ceva ce poate fi văzut, auzit, mirosit, atins sau gustat.
Lecture 8&9 19
Design and Semiotics
Lecture 8&9 20
Design and Semiotics
Simbol: iepurele
Symbol: rabbit/hare
Lecture 8&9 21
Design and Semiotics
Rabbits love to chew; symbolically, chewing implies repetition, contemplation,
and breaking concepts down into component parts. Their diet is light and
green, which implies symbolism of health and prosperity.
Rabbits are burrowers and their deep, maze-like tunnels symbolize connections
with primal energy as well as Mother Earth energies. Rabbits prefer to be on
the ground; they are true earth element animals.
Rabbits and hares are nocturnal and share the same lunar symbolism. The
moon is often depicted as a rabbit in many cultures, thus lending associations
of deep intuition and emotionality. For sure, the rabbit symbolizes reflection.
Lecture 8&9 22
Design and Semiotics
Graphic Design
Ergonomics
Formal Industrial Design
Lecture 8&9 23
Design and Semiotics
Graphic Design
Ergonomics
Formal Industrial Design
Lecture 8&9 24
Design si Semiologie
Grafica publicitară
Ergonomia
Forma în Designul industrial
Lecture 8&9 25
Design and Semiotics
The Panzani advertisement: some packets
of pasta, a tin, a sachet, some tomatoes,
onions, peppers, a mushroom, all
emerging from a half-open string bag, in
yellows and greens on a red background.
Lecture 8&9 26
Design and Semiotics
The pure image (even if the labels are part of it). This image straightaway
provides a series of discontinuous signs.
First, the idea that what we have in the scene represented is a return from the
market. A signified which itself implies two euphoric values: that of the
freshness of the products and that of the essentially domestic preparation for
which they are destined. Its signifier is the half-open bag which lets the
provisions spill out over the table, 'unpacked'. To read this first sign requires
only a knowledge which is in some sort implanted as part of the habits of a very
widespread culture where 'shopping around for oneself' is opposed to the hasty
stocking up (preserves, refrigerators) of a more 'mechanical' civilization.
The second sign; its signifier is the bringing together of the tomato, the pepper
and the tricoloured hues (yellow, green, red) of the poster; its signified is Italy,
or rather Italianicity.
Two other signs: in the first, the serried collection of different objects transmits
the idea of a total culinary service, on the one hand as though Panzani
furnished everything necessary for a carefully balanced dish and on the other
as though the concentrate in the tin were equivalent to the natural produce
surrounding it; in the other sign, the composition of the image, evoking the
memory of innumerable alimentary paintings, sends us to an aesthetic signified:
the 'nature morte' or, as it is better expressed in other languages, the 'still life';
the knowledge on which this sign depends is heavily cultural.
Lecture 8&9 27
Design and Semiotics
Lecture 8&9 28
Design and Semiotics
Grafica publicitară şi produsul
Advertisement and product
Lecture 8&9 29
Design and Semiotics
Grafica publicitară şi produsul - Advertisement and product
Maşina de cafea BRAUN Tassimo: transmiterea
mesajului în termeni clari şi accesibili – multiplele
aspecte funcţionale ale produsului.
Lecture 8&9 30
Design and Semiotics
Grafica publicitară şi produsul
Advertisement and product
United Colors of Benetton: vocabular colorat
adaptat tendinţelor din modă şi diverselor pieţe
Publicitate anti-rasială. Anti rasial ads.
Lecture 8&9 31
Design and Semiotics
Grafica publicitară şi produsul
Advertisement and product
Mesaje antirasiale din reclame
Antirasial ads
Lecture 8&9 32
Design and Semiotics
Grafica publicitară şi produsul
Advertisement and product
Mesaje antiviolenta
Non-violence message
Lecture 8&9 33
Design and Semiotics
Grafica publicitară
Advertisement
Mesaj anti-xenofob
Anti-xenophobia message
Lecture 8&9 34
Design and Semiotics
Grafica publicitară / Advertisement
Mesaje: White Horse, preparat cu multă grijă şi atenţie.
Message: White Horse, which is taken care of.
Lecture 8&9 35
Design and Semiotics
Grafica publicitară şi ergonomie/
Advertisement and ergonomics
Mesaje confuze / Duplicitary messages
Lecture 8&9 36
Design and Semiotics
Ergonomie / Ergonomics
Simboluri pentru olimpiada de la Beijing – facilitează comunicarea.
Beijing Olympics symbols – facilitates communication.
Lecture 8&9 37
Design and Semiotics
Ergonomie / Ergonomics
Simboluri redundante pentru circulaţie.
Redundant symbols for traffic/pedestrians.
Lecture 8&9 38
Design and Semiotics
Lecture 8&9 39
Design si Semiologie
Lecture 8&9 40
Design and Semiotics
Semne – coduri de culoare
Signs - Color code
Lecture 8&9 41
Design and Semiotics
Comunicare prin semne/fanioane
Signs – communication
Lecture 8&9 42
Design and Semiotics
Comunicare prin semne de circulaţie
Traffic signs - communication
Lecture 8&9 43
Design and Semiotics
Limbaj scris – alfabete – scrierea cuneiforma
Language signs – cuneiform
Lecture 8&9 44
Design and Semiotics
Language signs - hieroglyphic
Lecture 8&9 45
Design and Semiotics
Language signs - chinese
Lecture 8&9 46
Design and Semiotics
Language signs - arabic
Lecture 8&9 47
Design and Semiotics
Language signs
Lecture 8&9 48
Design and Semiotics
Braille alphabet
Lecture 8&9 49
Design and Semiotics
Musical signs
Lecture 8&9 50
Design and Semiotics
The 12 signs
Lecture 8&9 51
Design and Semiotics
Types/categories of signs:
2 – Icon/Iconic: a type in which the signifier is perceived as resembling or
imitating the signified (recognizably looking, sounding, feeling, tasting or
smelling like it) - being similar in possessing some of its qualities: e.g. a
portrait, a cartoon, a scale-model, onomatopoeia, metaphors, 'realistic'
sounds in 'programme music', sound effects in radio drama, a dubbed film
soundtrack, imitative gestures.
Lecture 8&9 52
Design and Semiotics
Tipuri/categorii de semne:
2- Iconic: un tip în care obiectul este perceput ca fiind asemănător sau ca o
imitaţie a semnificantului (ca vedere, sunet, gust, atingere sau miros) – fiind
similar în ce priveşte posedarea unora dintre calităţile acestuia: ex. un portret,
o caricatură, model la scară, onomatopee, metaforă, sunet realistic, efecte
sonore în teatrul radiofonic, dublajul în filme, gesturi imitative etc.(iconic
/despre semne/: caracterizat printr-o asemănare cu realitatea pe care o
indică).
Lecture 8&9 53
Design and Semiotics
Iconical Signs
Lecture 8&9 54
Design and Semiotics
Types/categories of signs:
3 - Index/indexical: a mode in which the signifier is not arbitrary but is directly
connected in some way (physically or causally) to the signified - this link can
be observed or inferred: e.g. 'natural signs' (smoke, thunder, footprints,
echoes, non-synthetic odours and flavours), medical symptoms (pain, a rash,
pulse-rate), measuring instruments (weathercock, thermometer, clock, spirit-
level), 'signals' (a knock on a door, a phone ringing), pointers (a pointing
'index' finger, a directional signpost), recordings (a photograph, a film, video
or television shot, an audio-recorded voice), personal 'trademarks'
(handwriting, catchphrase) and indexical words ('that', 'this', 'here', 'there').
Lecture 8&9 55
Design si Semiologie
Tipuri/categorii de semne:
3 - Indexical/bazat pe indicatii: este tipul în care obiectul nu este arbitrar ci
direct conectat (fizic sau cauzal) cu semnificantul – această legătură poate fi
observată: ex. 'semne naturale ' (fum, fulger, amprente, ecou, mirosuri şi
arome naturale), simptome medicale (durere, mâncărime, puls), instrumente
de măsură (manometru, termometru, ceas, alcoolmetru), 'semnale' (o bătaie
în uşă, un sunet de telefon), indicatoare (degetul arătător, semn de
direcţionare), înregistrări (fotografie, un film, voce înregistrată), 'mărci'
personale (scrisul de mână, ticuri verbale, accente) şi cuvinte indexicale
(‘acela', ‘acesta', ‘aici', ‘acolo').
Lecture 8&9 56
Design and Semiotics
Indexical Signs
Lecture 8&9 57
Design and Semiotics
Indexical Signs
Lecture 8&9 58
Design and Semiotics
Indexical Signs
Lecture 8&9 59
Design and Semiotics
The field called "semiotic", can be broke out into three branches:
Semantics: Relation between signs and the things they refer to,
their denotata.
Lecture 8&9 60
Design si semiologie
Domeniul, denumit “semiotică”, poate fi împărţit în trei ramuri:
Lecture 8&9 61
Design si Semiologie
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Design si Semiologie
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Design si Semiologie
Întregul este mai mult decât suma componentelor (principiu Gestalt).
The whole is more than the components’ sum (Gestalt principle).
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Design si Semiologie
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Design si Semiologie
2. Pragmatism / The pragmatic dimension
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Design si Semiologie
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Design si Semiologie
3. Semantics / The semantic dimension
Semantics studies the significance of words and language; trying to
establish connections between objects and their significance. It
studies the changing of meaning, the synonyms, the polysemy and
the vocabulary structure.
Lecture 8&9 68
Design si Semiologie
Dimensiunea semantică
Dimensiunea semantică:
- înţelesul primar/normal (semnificaţia, sensul obiectului,
inteligibilitatea)
- înţelesul conotaţional (imaginea, simbolul)
Lecture 8&9 69
Design si Semiologie
Lecture 8&9 70
Design si Semiologie
Dimensiunea semantică
Polisemia depinde de contextul lecturării mesajului.
Înţelesul primar
Înţelesul primar este
este “o cruce
“o inima roşie”.
maro”. Înţelesul
Înţelesul
conotaţional este
conotaţional este
“un simbol
“un simbol al iubirii
religios”. Mai
adevărate şi al
exact, este un
afectivităţii”.
simbol al
Creştinismului.
Lecture 8&9 71
Design si Semiologie
Lecture 8&9 72
Design si Semiologie
Polisemia semnelor
Lecture 8&9 73
Design si Semiologie
The Bauhaus Design rejects the visual and cultural symbols of the
bourgeoisie. The result is a strict and clear form-function
interrelationship and the elimination of all details and adornments
which are the carriers of these symbols.
Lecture 8&9 74
Design si Semiologie
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Design si Semiologie
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Design si Semiologie
Stilism - Stylism
Formalism - Formalism
Funcţionalism - Functionalism
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Design si Semiologie
Lecture 8&9 78
Design si Semiologie
In case one of the “dimensions” is prevailing
semantic – significance/coherence,
syntactic – relationship with the other objects,
pragmatic – relationship with the user,
Lecture 8&9 79
Design si Semiologie
#1 Stilism / Stylism
Prevalează dimensiunea semantica/simbolică a produsului.
The product semantic/symbolic dimension is prevailing.
Obiectele uzuale, în afară de valoarea de utilizare posedă o încărcătură
emoţională. Primează efectul de stil – legat primordial de forma
obiectului.
The emotional charge of
the objects – in relation
mainly with their forms,
but also with colors,
odors or textures. They
hit the peoples senses
because they are fully
loaded with symbols
with multiple
significances.
Lecture 8&9 80
Design si Semiologie
Stilism / Stylism
by the architect S. Calatrava
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Design si Semiologie
Stilism
Lecture 8&9 82
Design si Semiologie
Stylism
Lecture 8&9 83
Design si Semiologie
Stil / Style
Lecture 8&9 84
Design si Semiologie
Styling
Lecture 8&9 85
Design si Semiologie
Styling
The market, the marketing, the desire of selling products, fashion, these
all force the designers to exaggerate the number an the quantity of
adornments on products. The visual seduction of consumers can be
obtained by exaggerating the style effects.
Lecture 8&9 86
Design si Semiologie
Styling
Lecture 8&9 87
Design si Semiologie
Stilism
Lecture 8&9 88
Design si Semiologie
Stylism
Lecture 8&9 89
Design si Semiologie
Bio-design
Lecture 8&9 90
Design si Semiologie
Bio-design
Lecture 8&9 91
Design si Semiologie
Relaţia design-stil-identitate
Lecture 8&9 92
Design si Semiologie
The design-style-identity relationship
Lecture 8&9 93
Design si Semiologie
#2 Formalism
Lecture 8&9 94
Design si Semiologie
#2 Formalism
Lecture 8&9 95
Design si Semiologie
#2 Formalism
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Design si Semiologie
Formalism
Lecture 8&9 97
Design si Semiologie
Formalism
Lecture 8&9 98
Design si Semiologie
#3 Funcţionalism
Lecture 8&9 99
Design si Semiologie
#3 Functionalism
Exemplu de simplitate
şi funcţionalism.
Simplicity and
functionality at
Bauhaus style.
Centrul “Georges
Pompidou”, Paris
Arh. Renzo Piano and
Richard Rogers 1971-
1977