Multimodal Semiotics and Collaborative Design

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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
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shared or collaborative edited by m
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collaborative practices in order to
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8. Analyzing multimodal discourse i
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these places, their elevations and
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(Rank-scale/ EXPERIENTIAL / INTERPE
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Superheroes. Caitlyn, whose needs a
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Figure 8.1. View from Metrotopia: T
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Although Metrotopia was specificall
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The Fight Club Dojo is designed to
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Caitlyn: [W]e wanted to advertise,
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of expression and reception of digi
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In Curiza’s comment the introduct
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textual functions of the content (m
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their interest in such metaphors fo
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Synthesis of the findings on experi
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Caitlyn: [L]ooking at what makes up
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Curiza: I told Xavier “Xavier I w
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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
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 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
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 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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