Multimodal Semiotics and Collaborative Design

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“reminds the sounding of the word ‘ice’” and signifies her superpower to “stop the circulation of blood and to change it into an ice 22 . The Water Avengers group, locate their narratives within a similar story, focusing on another signifier. Instead of ice and cold, the color blue signifies water for these characters, through which they appropriated semiotic resources to emphasize water pollution within their overall design: According to their story: “[a]round 2030, the drinkable water was becoming very rare. Being able to drink polluted water, Wasting Man started to pollute water to keep it for himself 23 . During the workshop, Metrotopia’s sandbox was used as a common place for building together, in which students can walk and fly around the virtual objects they create in a confined space shared with other avatars. Confinement in a limited amount of space, especially at times when there is an abundance of avatars using the same sandbox was mentioned as a constraint by the students. However, this constraint was resulted by the workshop’s inherent limitations of virtual place, as it is possible (and necessary) to provide enough space for building in multi-user places. Co-designing connected virtual places on the Second Life Grid In small design teams, collaborative design activities often take place in shared places. However, navigation in SL does not only take place by moving the avatar from one location to another by walking and/or flying in virtual space 24 . Movement between sims is often done by teleportation, which is usually sequential to searching and locating on the world-map. This map is an interactive and a customizable graphical representation of SL’s Grid, the world in which all the other virtual places exist interconnected to each other via Linden Lab servers in California . The world map not only allows customization to an extent that shows places, people and events for users to browse through and teleport directly to, but also has an indexical function to represent world’s overall grid, respective locations and scales/sizes of independent sims on it, detailed coordinates of the sims and social factors such as current population. Unlike the websites that constitute the WWW through hyperlinks, places of Second Life have spatial relations among each other and within the grid, which enables an avatar to travel from one sim to another without using a teleport link. The map important in the sense that it shows these spatial relations and allows users to have an overall view of the world’s capacity to accommodate new places for social interaction. 22 http://sisseruc09.wordpress.com/2009/09/25/goddess-isis-venus/ 23 http://sisseruc09.wordpress.com/2009/09/25/the-true-story-about-wateravengers/ 24 This particular form of movement will also be a topic of discussion in the following chapter. 177
Figure 7.13. SL ‘World Map’ screenshot (Metrotopia and surroundings) The figure above shows Metrotopia on the grid. The northern side of Metrotopia faces two other sims, which were created for Aspen for different reasons. When Aspen describes organization of Metrotopia’s design features, he mentions how “Metrotopia is not alone in the universe” and “they have neighbors.” The visual goal was to “draw a line between Metrotopia and the neighbors” which made the design team to find solutions in order to keep Caitlyn’s research participants inside the city. Shaggy (PAL) also mentions a similar issue of ‘not having neighbors’ as an opportunity to design freely in an open space, without visual or social obstruction. In fact, both Shaggy and Xavier from the PAL design team reflect on the issue of environment’s role in shaping the overall idea and structure of design, though the two co- designers emphasize two different (but interrelated) aspects of affordances. For Shaggy, the surrounding environmental elements such as water or ground are also possible resources that could be used to add metaphorical realism and aesthetic quality. He says he did not use SL’s terra-formed ground as a design element but “water is something that really looks good in SL”, thus PAL’s design includes some open locations in the sim to see the water, a beach, and a stage which is separated from the audience by water. On the other hand, Xavier compares his experiences with designing buildings in real-life (RL 25 ) and mentions a canonical concept on phenomenology of architecture: “Genius Loci” (by quoting Norberg-Schulz 1980) to describe how building architectural places in SL has a different set of environmental contexts than the location-sensitive logic of RL architecture. Xavier mentions how he began to” think like a traditional architect” at first, and then how ideas changed when he realized that “all kinds of normal stuff you use as an architect” such as gravity and scale do not apply VWs. 25 I use the abbreviation RL to refer to the so-called real-life, in contrast to SL, which is the Second Life. Although it is a very vague distinction, I choose to include this term as it is a common notion among the designers and other residents of SL. 178
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Prologue ‘So it isn’t the origi
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Multimodal Semiotics and Collaborat
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CHAPTER 3. Social semiotics, multim
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Official and third party viewers
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List of Figures Figure 4.1 Domains
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List of Tables Table 2. 1 Theories
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1. Introduction Virtual places and
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technologies introduce new social w
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innovation studies researchers have
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contextual factors of collaborative
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creative collaboration, and creativ
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In a multimodal and multi-method ap
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three case studies. This chapter al
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2. Perspectives in virtual worlds r
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making. In fact, it is possible to
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virtual world technologies, it sign
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collaborative actions that span qui
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mediated social interaction with ot
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their perceived effects on networke
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ackdrop for the understanding of us
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multidisciplinary working (Gu et al
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Socio-cultural perspectives on co-d
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innovation differs from Bonsu and D
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In a place-centric socio-semiotic v
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Theoretical Categories Concepts and
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3. Social semiotics, multimodality
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3.1. The social semiotic approach t
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structures and analyzing the contex
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designers’ purposeful orchestrati
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communication as an essential semio
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aspects of multimodal entities for
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and-paste logic of online media, th
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from the meaning-making practices,
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and Turner 2004). Social Informatic
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From this perspective, to build (an
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human action unfolds in ‘three-di
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genius loci idea to virtual places,
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Michael de Certeau’s (1984) analy
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semiotic practices, in all kinds of
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follow similar considerations of ex
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comparatively analyzing the multimo
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Here, the relevant question for pos
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3.6. Conclusion: social semiotics a
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Theoretical Categories Concepts and
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4. Theory and practice in design re
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elations. One example of the formal
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traditional distinctions between de
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Research for design aims to provide
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potentially offers to our senses. D
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In sum, I consider affordances and
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It is certainly important that desi
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A solely production-based account o
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design problems, while its variatio
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user-driven innovations. Von Hippel
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institutional contexts (Grossen 200
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Meaning-oriented design theories
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As explained in the Introduction ch
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The multimodal social semiotic appr
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them, and (b) experiential and inte
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From multimodal analysis, I draw ce
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phenomenology of time and space (an
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My analytical framework includes a
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characteristics of design in virtua
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6. Methodology Introduction This ch
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multimodal analysis in virtual worl
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sensibilities, and methods of analy
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are contextualized by the socio-tec
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perspectives as the primary source
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‣ Communication and Design in Vir
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Page 152 and 153: created/constituted in the situated
Page 154 and 155: than make overall statements and ge
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Page 158 and 159: 7.1. The social actors and configur
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Page 162 and 163: Curiza as the owner of the sim and
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Page 166 and 167: For Curiza, the hardest part of bei
Page 168 and 169: context 5 . On the other hand, this
Page 170 and 171: interviews, combined with findings
Page 172 and 173: Comparisons with game experiences a
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Page 180 and 181: The variety of comments from the wo
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Page 192 and 193: Although Shaggy’s perspective abo
Page 194 and 195: For Caitlyn, the major advantage of
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Page 198 and 199: shared or collaborative edited by m
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Page 202 and 203: 8. Analyzing multimodal discourse i
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Page 206 and 207: (Rank-scale/ EXPERIENTIAL / INTERPE
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Page 210 and 211: Figure 8.1. View from Metrotopia: T
Page 212 and 213: Although Metrotopia was specificall
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Page 216 and 217: Caitlyn: [W]e wanted to advertise,
Page 218 and 219: of expression and reception of digi
Page 220 and 221: In Curiza’s comment the introduct
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Page 224 and 225: their interest in such metaphors fo
Page 226 and 227: Synthesis of the findings on experi
Page 228 and 229: Caitlyn: [L]ooking at what makes up
Page 230 and 231: Curiza: I told Xavier “Xavier I w
Page 232 and 233: 0 Figure 8.22. (left) Metrotopia Pa
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Page 238 and 239: Figure 8.26. (left) The draw-bridge
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Use of prims as semiotic units is m
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Modes and multimodal design element
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Xavier: It was very, EXTREMELY colo
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Texts and images are often used tog
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placement of various interactive lo
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9. Conclusions and discussions 9.1.
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and the lack of prior experience, p
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in flux in inworld collaborative de
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potentials, and aim to reinforce th
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Although not all of the co-designer
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As mentioned in the literature surv
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Drawing on this point, I also consi
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(Kress, 2010). The analysis of the
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although he also acknowledges the r
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creative activities and reduce the
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Further directions for research The
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Bakhtin, M.M. (1986). Speech, genre
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Charmaz, K., (2002). Qualitative in
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Fischer, G. and Giaccardi, E., (200
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Halliday, M.A.K. (2007). Language a
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Jones, J.C., (2009). What is design
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Lemke, J.L. (2005). Place, pace and
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Norman, D.A. (2008). The way I see
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Reinhard, C. D., & Dervin, B. (2010
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Thackara, J. (2005). In the bubble:
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Summary in English Computer-generat
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Dansk resumé af afhandlingen Compu
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Interview Guide (Metrotopia and PAL
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Multimodal Semiotics and Collaborative Design

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