Multimodal Semiotics and Collaborative Design

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placement of various interactive locations and objects within Metrotopia aimed at helping the visitors with orientation and interaction with the sim. In the interview data, most of the codesigners relate these decisions to the intended use-contexts of potential visitors and users. An important notion that I emphasized throughout the previous chapters was convergence in terms of both socially-available semiotic resources and mediated practices of social actors using various media platforms, tools and modes. The analysis of the collaborative design processes shows that using SL as a collaborative platform to design and produce content does not necessarily limit user practices with inherent affordances and constraints of SL but converges with a wider landscape of mediated communication and co-production. Co-design practices often involve a variety of online and offline platforms within designers’ reach to work on their ideas and search for shared inspirations, semiotic and/or material resources. Therefore, it is possible to discuss all the aforementioned semiotic dimensions as nexus of practices, and use the analytical matrix as hypertext to choose and combine various semiotic associations in making of multimodal experience. The overall synthesis of the findings within this section are summarized in Table 8.3. When reading this table, it is important to remember that the meta-functions operate conjointly. I do not consider one meta-function without considering its relations to others within the design. Modes operate on experiential, interpersonal and textual dimensions, and multimodal coherence of designed objects and places refers to their various arrangements by the codesigners for intended use-contexts, reflecting the co-designers’ interests in participating in communicating through design. Various discourses converge and diverge in shaping rhetorical intentions as design processes, as the codesigners and (potential) users engage in the design in different conditions and situations. Design process gives shape to potential affordances and constraints, which are actualized by users. The multimodal analysis of the three collaborative cases in SL shows that there is a dynamic interplay between the places and artifacts in SL, and the socio-technical environments in which they are produced. In the creation of particular semiotic and visual functions, the co-designers in collaborative projects consider not only the affordances of the platform but also the social environment in which other people will be getting engaged in it and experience its semiotic potentials. 235
Analytical category/case Intended practical functionality METROTOPIA PAL WORKSHOP Research Sharing music Narrative construction Education Art communities Symbolic representation Public events Public events Limited functionality Design of meeting places Activity-oriented Divisions of a city Genre+activity oriented Division by color and form i.e. Dance floor Open and closed spaces Open areas for events, gatherings and sandbox Closed areas: museum, fight club, gym Open landscape design Closed pods for intimacy Underground club for parties Essentially open shapes, characterized by largescale virtual artifacts Chronotope and flow/path of movement Division by streets and blocks of buildings Walk, teleport, fly Entry Point Sense of direction Orange pathway Walk, teleport, fly Entry Point Sense of direction Limited space for avatar movement Sense of Direction Movement in relation to the rhetorical message Use of prims and other textual elements Prims (plus collected objects and sculpted prims from SL) Prims (authentic creation, no sculpted prims Prims (authentic creation, no sculpted prims) Text Text Text Modes and multimodal arrangements Image/video Sound and music Color and texture Layout and spatiality Image/video Sound and music Color and texture Layout and spatiality Image/video Sound and music Color and texture Layout and spatiality Interactivity Interactivity Interactivity (limited) Genre and Visual Language Superhero, comic books Urban structure Divisions, streets and activity-places SL-like Pixel/Digital Landscape Futuristic , Non-human Iteration of geometric units Following the Metrotopia narrative Appropriated in relation to group story User feedback and revisions of design Design was not changed until experiment was over Additions were made for new use-contexts Research team’s needs were primary Design evolved since 2008, 4 major stages of design were observed User feedback (club idea, seating units etc.) was influential Designs were not changed after final presentation Students were challenged by the audience Table 8.3 Summary of findings from multimodal analysis in relation to the 3 case studies 236
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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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in-depth qualitative understanding
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7.1. The social actors and configur
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The core design team consists of Ca
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Curiza as the owner of the sim and
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and appreciation. He says “if you
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For Curiza, the hardest part of bei
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context 5 . On the other hand, this
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interviews, combined with findings
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Comparisons with game experiences a
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modification, combination and appro
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Shaggy, who recommends designers to
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he often used the Internet for “f
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The variety of comments from the wo
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technological developments but also
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the four Moons group, a few members
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esource for inspiration. Such inter
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inworld discussion about the costum
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“reminds the sounding of the word
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Although Shaggy’s perspective abo
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For Caitlyn, the major advantage of
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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
Page 204 and 205: these places, their elevations and
Page 206 and 207: (Rank-scale/ EXPERIENTIAL / INTERPE
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
Page 222 and 223: textual functions of the content (m
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
Page 234 and 235: and posters with positive political
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
Page 242 and 243: Modes and multimodal design element
Page 244 and 245: Xavier: It was very, EXTREMELY colo
Page 246 and 247: Texts and images are often used tog
Page 250 and 251: 9. Conclusions and discussions 9.1.
Page 252 and 253: and the lack of prior experience, p
Page 254 and 255: in flux in inworld collaborative de
Page 256 and 257: potentials, and aim to reinforce th
Page 258 and 259: Although not all of the co-designer
Page 260 and 261: As mentioned in the literature surv
Page 262 and 263: Drawing on this point, I also consi
Page 264 and 265: (Kress, 2010). The analysis of the
Page 266 and 267: although he also acknowledges the r
Page 268 and 269: creative activities and reduce the
Page 270 and 271: Further directions for research The
Page 272 and 273: Bakhtin, M.M. (1986). Speech, genre
Page 274 and 275: Charmaz, K., (2002). Qualitative in
Page 276 and 277: Fischer, G. and Giaccardi, E., (200
Page 278 and 279: Halliday, M.A.K. (2007). Language a
Page 280 and 281: Jones, J.C., (2009). What is design
Page 282 and 283: Lemke, J.L. (2005). Place, pace and
Page 284 and 285: Norman, D.A. (2008). The way I see
Page 286 and 287: Reinhard, C. D., & Dervin, B. (2010
Page 288 and 289: Thackara, J. (2005). In the bubble:
Page 290 and 291: Summary in English Computer-generat
Page 292 and 293: Dansk resumé af afhandlingen Compu
Page 294 and 295: Interview Guide (Metrotopia and PAL
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