Design Semiotics Research Articles

Poetry as a means of social criticism and medium for learning literature in high school

The message of criticism can be conveyed in various ways, one of which is through the medium of poetry. As a literary work, poetry conveys a message in a series of beautiful languages, short but full of meaning, and able to touch the feelings of its readers. This research examines a poem entitled Selfish by Misnawati. In this poem, there is a social critique of the phenomenon of selfishness that occurs in modern society without leaving aesthetic value with the use of metaphors that can touch the reader's feelings. This study aims to explore the use of metaphors in poetry that convey social criticism and its implications for learning literary works. The method used in this study is a literature study with a semiotic design to identify the metaphorical meaning contained in the poem. Analysis data is in the form of words, phrases, or expressions that contain metaphors. The results of this study show that the use of metaphors in this poem was created to strengthen the message or meaning of social criticism so that it can foster social awareness, feelings of empathy, critical thinking, develop creativity, and foster the reader's sense of aesthetics. The implications of these findings can be used in literary learning in the framework of (1) fostering students' social awareness, (2) improving students' literary ability, (3) arousing student empathy, (4) developing student creativity, and (5) fostering students' critical awareness.

Representing Religion in North and South Korea: Seventy-Five Years of the Semiotics of Stamp Design

As government documents, postage stamps are a rich source of information about a government’s policies on a wide range of subjects. In this article, a comparative semiotic analysis of the first seventy-five years of North and South Korean stamps is used to illustrate the similarities and differences in their attitudes towards ‘religion’ and religious practice. A corpus of stamps on a ‘religious’ theme was created for stamps issued by both governments from which a series of themes and motifs was noted. The semiotic analysis of the themes and motifs showed that while on South Korean stamps Buddhist motifs constituted the majority of stamps commemorating cultural history, there were few references to the commemoration of Buddhism itself. The reverse was found to be true for Christianity. Although Christianity was not shown to be a major expression of Korean culture, Christianity itself was commemorated extensively. On North Korean stamps, folklore and Christian motifs predominated as projections of cultural history, but the Christian motifs referred only to foreign cultures, not Korean culture. Motifs relating to the foundation myth of Tan’gun were common to both North and South Korea. However, in the South, motifs from the myth referred to the nation, while in the North they referred to the ruling family.

Analyzing the Application of Traditional Chinese Cultural Elements in Brand Packaging Design With Design Semiotics: A Case Study of Modern China Tea Shop

Analyzing the Application of Traditional Chinese Cultural Elements in Brand Packaging Design With Design Semiotics: A Case Study of Modern China Tea Shop

Innovation of meaning: design-driven study based on the interpretive theory of new meaning

AbstractThis study conducts design-driven meaning innovation research based on an interpretation of new meaning through qualitative and quantitative research rooted in design practice and builds design-driven theories, methodology, and highly replicable methods. It presents a new design approach to design thinking called ‘design methodology and method of meaningful products’. The design process and framework integrate words, visuals, and functions to interpret and create new meanings. It highlights the importance of design semiotics in overcoming the limitations of traditional approaches.

Application Research on Cultural Tourism Product Design Based on Semiotics Threshold

Cultural and creative products are the business choice and important trend of the current economic transformation, tourism and cultural derivatives is one of the types of cultural and creative products, this paper analyzes the characteristics of the existing cultural and tourism products as well as the future direction of tourism peripheral product design, combines the design semiotics with the analysis of product symbols in the context of consumption, and arrives at the way of selecting, interpreting and conveying symbols in the design of cultural and tourism products. It discusses how to convey cultural connotation, stimulate tourists’ emotional resonance, and enhance the attractiveness and competitiveness of cultural tourism products through symbol design, and proposes relevant design principles and strategies. This study aims to improve the quality of cultural transformation into “cultural tourism products” and provide theoretical support for the development of tourism cultural and creative products.

Design Semiotics and the Economy of Surplus-Enjoyment

Abstract This article extends the remit of Saussurean semiotics from design criticism to design theory. It does this by invoking concepts from the work of psychoanalytic theorist Jacques Lacan. It begins by exploring the role of the signifier in Lacan's theory of language and connects it to concepts of subjectivity, desire, and surplus-enjoyment. This leads to the hypothesis that the essence of design is the production of surplus-enjoyment—a hypothesis at odds with the notion that design exists to meet human needs. The article concludes by showing how semiotic theory by way of Lacan can be used to explore the cultural, subjective, and social dimensions of the design artifact in new and productive ways. The work is intended to be accessible even to readers who are unfamiliar with Lacan's work.

PHIC DESIGN CONNOTATIONS IN ENVIRONMENTAL AWARENESS CAMPAIGNS FOR SUSTAINABLE TOURISM

This study aims to explore the benefit of graphic design in awareness campaigns promoting sustainable tourist destinations and to determine its contribution to the success of campaigns in terms of increasing the protection of natural and economic resources of the destination. The study applies semiotics to the field of social marketing to build a conceptual model that links graphic design of a campaign with public environmental awareness and destination preservation. The aim is to preserve the natural environment and pastoral activities, and that the semiotics of graphic design affects public environmental awareness. This innovative framework for graphic design can be adapted to marketing campaigns or other brands to improve the images of destinations. Tourism activities are closely linked to the environment. It is important to increase awareness among tourists, local residents, and stakeholders about the importance of adopting sustainable practices to ensure the sustainability of the tourism industry and the preservation of local resources. This is crucial in enhancing the reputation and competitiveness of tourist destinations. The increasing demand for new tourist experiences has led to the popularity of natural areas as tourist destinations, offering unique and authentic experiences for visitors seeking to escape their daily routine. The research consists of three chapters. The first chapter addresses the research methodology, which is the study of the effectiveness of these indicators in this context and how to improve them to support environmental awareness campaigns for sustainable

Study on the Translation and Application of Hakka Cultural Symbols in Heyuan Tourist Food Packaging

According to the present situation of tourism food packaging design in Heyuan area, the problems such as lack of creativity, lack of cultural connotation and single function are found out. Color elements, modeling elements and decorative elements from Hakka culture are extracted and translated into tourist food packaging by means of design semiotics, and digital media technology is integrated to focus on functional innovation of food packaging. The design strategy of Hakka cultural translation in Heyuan tourist food packaging is proposed: “Modeling transplantation and theme narrative” highlight regional characteristics. “Visual presentation and emotional resonance” gives spiritual connotation. “Hakka culture and technology integration” highlights cultural inheritance, and applies it to the design of tourism food packaging, which is conducive to the dissemination and development of traditional culture. It helps to shape a good brand image, and further realizes the cultural value and economic value of tourism food packaging.

The Kinetic-Vectorial Design of Internet-Mediated L2 Teaching Practices: The Case of BBC Learning English Website

This study offers new insights into the educational-linguistic visual semiotics of online teaching as a digital practice with kinetic-vectorial design. Towards this end, a twofold social semiotic approach is utilized as a synthetic methodology. First, Van Leeuwen’s (2016) kinetic design model is employed with a view to revealing the movement types of Internet-mediated L2 teaching practices. Second, Kress and Van Leeuwen’s (2021) model of ideational vector analysis is used in a way that uncovers the subtle pedagogical practices of the same type of teaching as directional and transactional acts addressed to educational-website networked L2 learners worldwide. The data sets targeted for analysis comprise screenshot-styled images from the BBC Learning English Website available for public purposes of L2 teaching. A total number of functionally related five images have been selected with an eye to the BBC’s pedagogic content online on the techno-semiotic levels of design kinetics and vectoriality. The current study has reached three findings (with emerging relevant implications). First, the synthetic kinetic-vectorial method of analysis has proved to be empirically effective in investigating the visual semiotics of design mediated by educational websites such as the BBC Website. Second, there emerged kinetically motivated ‘pedagogic’ and ‘digital’ vectors, respectively controlled by the BBC instructors and the design features of the website itself. Third, and last, the kinetic-vectorial analysis of the BBC Website revealed a sort of spatiotemporal compression of pedagogic content; further, the visual aspects of spatial and temporal movements (mobility and movability) appeared to have occurred across different semiotic modes, verbal and visual.

The visual content of neural networks as a return to the third-order simulacrum

This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.

Research on Symbolic Design of Creative Products based on KJ Method

Semiotics, as a meta-science, is combined with other disciplines to form disciplinary research fields with different characteristics, such as product semiotics, cultural semiotics and social semiotics. The development of semiotics is extended to explore, and the mutual influence and common development of modern social semiotics and product design is explored in combination with the field of product design. Promote the birth and development of design disciplines and schools such as product semantics and unconscious design. This topic starts from the discussion of the birth and development of semiotics, takes product semiotics as the main research object, explores the related concepts of semiotics design and the influence of product symbols on users' behavioral concepts, and combines with KJ analysis to sort out and summarize the design elements of symbolized products, looking for the application solutions of symbolized products. Finally, from the perspective of symbolic development of future product design, methods and strategies are proposed: with the help of new technologies in the Internet era, get rid of the bondage of appearance service modeling; Pay attention to users' personalized and personal needs; Integrate the creative points.

“Ironic memes” and digital literacies: Exploring identity through multimodal texts

This study examines so-called “ironic memes,” a seemingly inscrutable genre of memetic Internet content, as meaningful digital multimodal text. Considering Internet memes’ semiotic construction patterns and their social functions, this study connects these two concerns, asking: How is the provocatively “nonsensical” design of ironic memes organized and connected to the construction of (group) identities online? Adopting a digital ethnographic approach, we employ a combination of multimodal discursive methods in order to jointly analyze semiotic design patterns and the social actions underlying them. The analysis suggests that, despite their nonsensical appearance, ironic memes rely on distinct design strategies that contribute to the construction of (group) identities rooted in digital literacies. Specifically, ironic memes constitute generic hybrids where semiotic practices are associated with personas that are “less literate” in Internet memeing. Our findings indicate that digital literacies can feature as central in the construction of superdiverse identities through digital text-making and text-sharing.

Application and Research of Hakka Building Codes in Cultural and Creative Product Design

In the development of the cultural and creative industry, popular cultural and creative attractions are reviewed for integrating local architecture, history, and culture into products to promote local economy and culture. We conducted a field investigation at the Xiaojia ancient house in Jiadong Township, Pingtung County, and found that there was a cultural cognitive gap between local cultural and creative products and consumers, which was a dilemma in promoting the development of the local cultural and creative industry. Through the design thinking of cultural and creative products, the spirit of Hakka culture can be delivered and expanded into local specialty products. In the design of cultural and creative products, we used the KJ method to analyze, summarize, and extract the most representative architectural features as the source of design elements. At the same time, combined with the principles of design semiotics, deep cultural symbols were integrated into the product design of the pen holder with richer local spiritual meaning. The traditional and modern elements of the Xiao family’s ancient house were combined to design a multi-functional cultural and creative pen holder. It brought a unique cultural experience and promoted the local cultural and creative industries and the Hakka culture of Xiaojia Ancient House to develop related culture and tourism. Semiotics and the KJ method in theory and practice were useful in product design and programming to develop local cultural and creative products. In the future, we apply this design method to different cultures and cross-domains to achieve wider research and application.

The World of Ideas as a Way to Focus a Design Episteme

The subject of the study is a design episteme - a system of logical connections and ways of forming concepts within a semiotic design system. The design episteme is considered in dynamics: currently, a logical impasse is being outlined in design, inspired by the ideology of modernism. The ideology of modernism in its logical development leads the semiotic system of design to the use of signs-simulacra, which, in turn, leads to the practice of design to the end. The way out of this situation may be a turn in the development of the design episteme to a fundamentally different pole of thinking. The author uses the method of semiotic analysis, which allows to identify the main type of signs that is used in the modern design episteme. In addition, the methodological basis of the study is Plato's concept of the world of ideas as applied to modern design. Examples of aesthetic relativism in modern design are given as the body of the material, these examples explicate the defocusing of the design episteme. The main conclusion of the study is that the modern design episteme is in a logical impasse due to the use of a fourth-order simulacrum as the main sign form. A fourth–order simulacrum is a sign that not only does not refer to an internal referent, but also whose external form tends to zero. Such a sign does not imply the existence of design as a principle of organization and design of the interaction of the signifier and the signified in the sign. The design episteme, which does not imply design, is in a state of defocusing. The way to reassemble the design episteme is to switch to a different paradigm. From the materialistic and horizontally oriented paradigm of modernism, the design episteme should move into a vertically oriented paradigm. The basis for building thinking in the field of design in a vertically oriented system is Plato's concept of the world of ideas.

The Role of Graphic Design Semiotics in Environmental Awareness Campaigns

This work aims to explore the usefulness of graphic design in awareness campaigns promoting sustainable tourist destinations and to identify their contribution to the success of the campaigns in terms of their generating increased protection of the natural and socioeconomic resources of the destination. The study applies semiotics to the field of social marketing to build a conceptual model that relates the graphic design of a campaign to public environmental awareness, and to the destination's preservation. In order to test the conceptual model, the campaign "Que la montagne est belle!" of the "Parc Naturel Régional des Pyrénées catalanes" in the French Pyrenees is taken as a case study for analysis, as it aims to preserve the park's natural environment and pastoral activities. The data are analysed using the partial least squares structural equation modelling technique (PLS-SEM), and the results are studied for different segments of the sample. The findings show that the graphic design semiotics influence public environmental awareness and destination preservation by generating in the audience a sensitive, emotional, and cognitive reaction towards the campaign. This innovative framework on graphic design can be adapted to other branding or marketing campaigns to improve destination images.

The relevance of study of visual identification of the Olympic ceremonial costume of the national team of Ukraine: the question of cultural expansion

The issue of national identity, in particular visual identification, requires considerable attention in the direction of the conformity of the declared sign or their combinations. Certain signs and their compositions influence the social perception of the information consumer, correcting the already existing opinion about the communicator at the stage of his or her development of relations with the recipients. Vestimentary code of ceremonial costume in projects of international cooperation is a component of illustrative representation of states, peoples or nations. These and other specified reasons determine the importance of scientific and applied research on the Olympic ceremonial costume of the national team of Ukraine, that is, a versatile study of the relay of cultural codes, meanings and ideas of a nation that participates in competitions covering millions of audiences of various representations. Within the framework of the study of the Olympic ceremonial parade costume of the national team of Ukraine 1994– 2022, its symbolic system and aspects of the transformation of the determinants of artistic and informational identification are comprehensively studied in accordance with the semiotics of design, national constructs, globalization requirements and the provisions of the Olympic Charter. This work determines the relevance of the study of the visual identification of the Olympic ceremonial costume of the Ukrainian national team and the role of the cultural expansion of russia, which was the result of the symbolic uncertainty of identification at world competitions.

How to remember a place to forget? The semiotic design of deep geological nuclear repositories, from long-term communication to memory transmission

Abstract Drawing on the field of nuclear semiotics, this article critically discusses the classic problem of marking the location of a deep geological repository to communicate – in the distant future – its presence and potential threats to intruders. The article is divided into two parts. The first part reviews some site-marking solutions that have been proposed in the nearly 40 years of nuclear semiotics’ existence. These solutions are analyzed through the lens of semiotics of space and memory, highlighting different ideas about the purposes of site-marking, ranging from the idea of communicating a warning message to that of transmitting a memory. The second part addresses these strategies of memory transmission by examining some recent “speculative experiments” that use art to convey information about nuclear repositories to future generations. This part of the article examines artistic proposals submitted to a competition organized by ANDRA (the French Agency for Nuclear Waste).

자연주의 화장품 패키지 디자인의 기호학적 연구

시대와 트랜드가 변함에 따라 수많은 브랜드가 소비자들의 다양한 소비심리에 맞춰 제품 패키지에 "자연주의"적 요소를 더했으며 포장을 단순 명료하게 바꾸어 왔다. 또한 소비자들은 천연성분의 화장품을 보다 선호하게 되었고, 이러한 제품들이 많아지면서 화장품 포장 및 화장품 성분에 관한 관심도 커지게 되었다.브랜드의 패키지 디자인은 브랜드의 효과적인 판매 경로를 확립하는 것이라고 볼 수 있다. 브랜드 디자인의 심볼과 패턴은 외적인 표현을 통해 브랜드의 가치를 드러내고, 화장품의 패키지 디자인은 다른 브랜드와 차별화되는 고유한 특징을 나타내는 수단이다. 본 연구는 자연주의 제품을 중심으로 한 화장품 패키지 디자인 기호학에 관한 연구로, 제품 패키지의 디자인 개념과 기호학을 통해 패키지 디자인을 효과적으로 표현하기 위한 화장품 디자인 작품에 관한 연구이다. 시각 디자인과 소비자 선호도의 다섯 가지 관점을 중심으로 5개 (라운드랩(roundlab), 비플레인(beplain), 셀퓨전씨, 닥터지, 에스쁘아) 브랜드의 패키지를 분석하였으며, 화해 뷰티 어워드 2021년 선크림 부문 1, 2위 제품 ‘라운드랩(roundlab)’과 ‘비플레인(beplain)"을 선정하여 두 브랜드의 선크림 부문 패키지 디자인의 기호학적 분석과 선호도 조사를 진행하였다. 기호는 많은 상상력을 자극한다. 따라서 기호에 연결하고자 하는 개념에 대한 사고는 나타내고자 하는 요소와의 강력한 연결고리를 형성시키며, 이러한 배경에서 화장품 브랜드가 필요로 하는 감성적 유대관계의 구축, 브랜드 활용 가치 확대를 통한 차별화된 방법, 코드 속에 담긴 기호 언어를 기호학적 관점에서 해석함으로써 향후 화장품 패키지 디자인에 대한 시사점을 제공하고자 한다. As the times and trends change, numerous brands have added "naturalistic" elements to product packages in line with consumers" diverse consumer sentiment and have changed packaging simply and clearly. In addition, consumers have preferred natural cosmetics, and as these products increase, interest in cosmetics packaging and cosmetics ingredients has also increased.The package design of a brand can be seen as establishing an effective sales path for the brand. The symbols and patterns of brand design reveal the value of the brand through external expressions, and the package design of cosmetics is a means of expressing unique characteristics that differentiate from other brands. This study is a study on cosmetics package design semiotics centered on naturalistic products, and is a study on cosmetics design works to effectively express package design through the design concept and semiotics of product packages. Based on five perspectives of visual design and consumer preference, the packages of five brands (roundlab, beplain, cell fusionC, Dr.G, Espoir) were analyzed, and the preferences of the two brands" sunblock package design were analyzed by selecting "roundlab" and "beplain" at the Hwahwa Beauty Awards 2021. Symbols stimulate many imaginations. Therefore, thinking about the concept to connect to symbols forms a strong link with the elements to be expressed, and against this background, it aims to provide implications for future cosmetics package designs by building emotional ties needed by cosmetics brands, expanding brand utilization value, and interpreting the symbolic language in codes from a semiotic perspective.

QUANTUM SEMIOTICS AND FEATURES OF ITS APPLICATION TO THE FORMATION OF OBJECTS OF DESIGN, ARCHITECTURE AND ART

The article considers the main approaches to defining the essence of the concept of quantum semiotics in the field of design, architecture, and art. The relevance of the study lies in the fact that quantum semiotics is gradually gaining ground in the modern world as a kind of response to evolutionary changes in the algorithms of human mental activity. This approach allows us to perceive information about the current reality and create its alternative version, in particular, in works of visual art. In this paper, quantum semiotics is considered as the ability of a person to perceive the world around him according to the quantum complementarity principle (augmented reality).
 The quantum-semiotic approach in the humanities makes it possible to trace the transformation of real cultural facts, events, phenomena, or objects into signs, to analyze their semantic content and ways of transformation into symbols. Similar processes of object symbolization occur due to the number of images laid down by the author, perceived from different angles of view, and can carry different meanings that complement each other.
 The study and analysis of several examples of works of visual art suggest that the quantum-semiotic method of forming and perceiving the image of objects (works) can be considered an organic part of the highest scientific and theoretical approach, namely the synergetic one, which, among other things, makes it possible to choose key points of human knowledge of the world. Thanks to the ability of a human creator - a scientist or a practitioner - to go beyond the facts of cognition and use interdisciplinary methods in their work, in particular quantum-semiotic methods, viewers are allowed to perceive the multi-layered world around them, as well as imagine its multifaceted parallels in their minds. Thus, the studied facts form ideas and concepts, and in general create messages that can only be understood by the sender and a specific recipient, or by all of humanity.
 The paper emphasizes the need to introduce the concept of "quantum semiotics" into scientific circulation in the field of design, architecture, and art through the proposed quantum semiotic method; features and strategies for the development of quantum semiotics in design, architecture, and art, as well as its application in theory and practice, are considered.

Semiosic Processes and Design Processes. Inventiveness, Dialogue, Narrativity, Translation

Design semiotics could lead to two lines of research: the study of design products and the study of design processes. As much as the analysis of artifacts has significance, the survey about semiosic processes inside design processes is the one that defines the unique nature of semiotics in the design context. This investigation follows “the pragmatist route” to design semiotics, for two reasons: (1) because it understands design as an activity that leverages the concept of inventive abduction and can provide answers to cognitive challenges; (2) because the work of design is never to be conceived as concluded in the final result, but embedded in a f low of unlimited semiosis. I will focus on the concept of semiosis according to Peirce’s semiotics, understood as a process of production of sense. In this way, I will deal with the following four processes: Inventiveness, whose logical model refers to abduction, the process that enables exploration of the ways to possible meanings. Based on Bakhtin’s literary theory and Bohm’s epistemology, dialogicity, which will be considered as the social interaction model underpinning every social idea of design. Narrativity, understood as the general scheme that is implemented in a project, understood as a series of actions leading to the achievement of a goal, and as a process of transformation. Translation, considered not only as an interpretation process that takes place between different forms of expression, but especially as a transition from a problem or desire to an “interpretant artifact.”