Multimodal Semiotics and Collaborative Design

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(Rank-scale/ EXPERIENTIAL / INTERPERSONAL / TEXTUAL / Functions) REPRESENTATIONAL ORIENTATIONAL ORGANIZATIONAL SIM AS VIRTUAL PLACE (Building) Practical Functions: (research/education/contentsharing/communitybuilding) Imagined use-contexts Public/Private Spaces Entry Point Map/Layout Flow of Movement (Open or Closed spaces) Functional and nonfunctional areas Orientation (Genius Loci) Genre and Style Metaphoricity Social Presence Size and Ratio (Avatars in Virtual Space) Direction: Verticality Mood Modality Color Cues for Navigation/Orientation Field of Vision / Visibility Intertextuality (reference/mimicry/contrast) Modes as textual elements Textures and colors Light and shadows Opacity/Visibility Rhythm and contrast in shapes and forms – Division/organization of space Open/closed spaces Relation to environment Relation to neighbors ELEVATIONS & DIVISIONS (Floor) Sub-functions Access Functional elevations Movements between levels Height Spaciousness Materials/Texture Separation of Groups (Privacy) Visibility / Accessibility Visual Links between floors/areas Elevations in relation to each other Elevations in relation to ground-plane Color and texture Degree and permanence of spatial Organization INTERACTION SPACES (Room) Functions of specific places Types of interaction (userobject, user-user) Type of places (activity, community or content oriented) Modality Color Foregrounding of functions Orientation Social Presence Setting/layout Scale Open/closed spaces Relation to outside and other spaces Spatial connectors Focus of attention Style Interactivity Modality Structural elements ARTIFACTS (Element) Functions of virtual objects: Providing information Social interaction Color Relevance to environment Affordances (prims) Textures/maps Scripts and Animations Decoration Stylistic coherence Positioning Interactivity Modality INFORMATION Information as texture Functions of surfaces Relevance SURFACES Placement of surfaces Types of information: (still Affordances (Element) Interaction with surfaces image, animation/video, Stylistic coherence Table 8.1. Systems and functions in design of virtual places and artifacts 193
The vertical axis shows the compositional elements of virtual constructions – places and artifacts -, and escalates in terms of size and scale from bottom to top. The horizontal axis lists the categories of meta-functions. Elements in each box describe the observed semiotic units in that particular level of interaction. As the table illustrates, particular analytical features, such as modality, functionality or openness/closeness of places iterate throughout various rank systems within the matrix. This means that such issues are relevant for analysis in various situations where the codesigners use these as design elements to provide different affordances. It also means that the hypertext logic of multimodal analysis operates not only among the different meta-functions, but also among the various scales and design elements that contribute to the overall meaning potentials. The meaning of these iterations refers to my interpretation of the systemic functional framework, as I assume meta-functional associations are constructed on various levels of interactions with places, some of which transgress the boundaries of single modes. Although the systemic functional approach to multimodal analysis is often concerned with each mode as a particular grammatical system of expression, the theory also claims that modes do not operate in isolation and particular features transcend among different elements often resulting in consequences that affect their social functions (O’Toole 2004, Meng 2004). In SL images, texts, sound and 3D objects are often being remediated jointly, as parts a new multimodal ensemble to support the overall message in cooperation with other linguistic or spatial modes. In this respect, each of these components were analyzed in relation to their ranks of scale and their relationships in semiotic construction of objects, focusing on coherent multimodal arrangements within overall designs. In the following analysis, I will systematically outline specific experiential, interpersonal and textual features of each of the three collaborative design cases to compare and discuss the modal configurations in relation to their rhetorical contents. The analytical insights are derived from conceptual traversals among the various elements of the overall matrix. Therefore, I constantly consider the semiotic affects, consequences and limitations of various design elements and how these interrelate to each other in multimodal composition of designed places and artifacts. The three case studies show differences in terms of particular meta-functional features, such as representations of practical functions and syntagmatic organization of structural elements. The visual styles, sizes and proportions, intended affordances and forms of modal configurations show variations depending on the project contexts. Metrotopia was designed as a virtual laboratory by an interdisciplinary academic and professional team to facilitate and observe specific types of interactions. According to the co-designers, the general aim for the visual style of Metrotopia was to reflect particular genre conventions on 194
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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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perspectives and methods. The evolu
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designers are not necessarily geogr
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material resources either by visiti
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and selection of participants in co
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also the reason why this case study
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within each consequent case study,
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created/constituted in the situated
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than make overall statements and ge
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Page 158 and 159: 7.1. The social actors and configur
Page 160 and 161: The core design team consists of Ca
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 176 and 177: Shaggy, who recommends designers to
Page 178 and 179: he often used the Internet for “f
Page 180 and 181: The variety of comments from the wo
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Page 184 and 185: the four Moons group, a few members
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Page 190 and 191: “reminds the sounding of the word
Page 192 and 193: Although Shaggy’s perspective abo
Page 194 and 195: For Caitlyn, the major advantage of
Page 196 and 197: PAL’s design. According to AmyLee
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 208 and 209: Superheroes. Caitlyn, whose needs a
Page 210 and 211: Figure 8.1. View from Metrotopia: T
Page 212 and 213: Although Metrotopia was specificall
Page 214 and 215: The Fight Club Dojo is designed to
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 236 and 237: Synthesis of the findings on interp
Page 238 and 239: Figure 8.26. (left) The draw-bridge
Page 240 and 241: Use of prims as semiotic units is m
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Page 244 and 245: Xavier: It was very, EXTREMELY colo
Page 246 and 247: Texts and images are often used tog
Page 248 and 249: placement of various interactive lo
Page 250 and 251: 9. Conclusions and discussions 9.1.
Page 252 and 253: and the lack of prior experience, p
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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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