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Multimodal Semiotics and Collaborative Design

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Theoretical Categories Concepts <strong>and</strong> references Analytical Implications<br />

Defining <strong>Design</strong> as<br />

Practice, Product<br />

<strong>and</strong> Discourse<br />

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De + signare, ‘making something, distinguishing it<br />

by a sign, giving it significance, designating its<br />

relation to other things” (Krippendorff 1998)<br />

“The human capacity to shape <strong>and</strong> make our<br />

environment (…) to serve our needs <strong>and</strong> give<br />

meaning to our lives” (Heskett 2002: 5)<br />

“Initiation of change in manmade things” (Jones<br />

2009 [1992]: 78)<br />

“Human power of conceiving, planning, <strong>and</strong><br />

making products that serve human beings in the<br />

accomplishment of their individual <strong>and</strong> collective<br />

purposes” (Buchanan 2001a: 9)<br />

<strong>Design</strong> is a ‘basic human activity’ <strong>and</strong> a constituent<br />

of social reality (Papanek 1984)<br />

<strong>Design</strong> is rhetorical, exploratory, emergent,<br />

reflective, ambiguous (Cross 2007 [1999])<br />

“<strong>Design</strong> has its own distinct ‘things to know, ways<br />

of knowing them, <strong>and</strong> ways of finding out about<br />

them’” (Cross 2007 [1982], 17).<br />

<strong>Design</strong> can refer to a process, the result of a<br />

process, products manufactured with the aid of<br />

design, or looks, overall pattern of products<br />

(Walker 2009 [1989])<br />

<strong>Design</strong> as ‘construction of representations’, the<br />

cognitive approach (Wisser 2006)<br />

Representation is only one of the possible<br />

languages through which design ‘speaks’, the<br />

semantic approach (Krippendorff 1990)<br />

‘<strong>Design</strong> is making sense of things” (Krippendorff<br />

1990: 8)<br />

I consider design<br />

activity not only as a<br />

professional status, but<br />

a primitive human<br />

activity to organize the<br />

socio-technical<br />

environment.<br />

Therefore, the analysis<br />

of design includes not<br />

only the visual<br />

character, but also the<br />

experiential <strong>and</strong><br />

semiotic functions.<br />

Representation is a<br />

language of design,<br />

through which<br />

designers communicate<br />

with users. The<br />

rhetorical character of<br />

design foregrounds<br />

communication, <strong>and</strong><br />

symbolic interaction.<br />

Affordances as<br />

meaning <strong>and</strong><br />

action potentials<br />

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Ecological view: affordances <strong>and</strong> our ability to<br />

recognize what the world potentially offers to our<br />

senses (Gibson 1986)<br />

User-centered design view: designer <strong>and</strong> user as<br />

two major determinants of affordance (Norman<br />

1988, 1998, 1999, 2008)<br />

Affordances are not simply properties of the<br />

environment (Chemero 2003)<br />

Affordances are not binary (Gaver 1991), they have<br />

degrees depending on the context of perceptual<br />

information (Mc Genere <strong>and</strong> Ho 2000).<br />

Social affordances of computer-supported learning<br />

environments (Kreijns <strong>and</strong> Kirschner 2001)<br />

Both affordances <strong>and</strong> constraints are contextspecific<br />

potentials, or ‘claims’ (Oliver 2005)<br />

Affordances are<br />

meaning <strong>and</strong> action<br />

potentials that are<br />

embedded by<br />

designers, <strong>and</strong><br />

actualized by users in<br />

certain situations.<br />

Therefore, the<br />

affordances <strong>and</strong><br />

constraints are dialogic<br />

constructs, <strong>and</strong> the<br />

ways in which they<br />

function as<br />

representations results<br />

from their semiotic<br />

nature.<br />

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