Multimodal Semiotics and Collaborative Design

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Interview Guide (Metrotopia and PAL) Personal information and context of participation - Personal info and demographics (age, occupation, nationality) - Prior involvement in Second Life - Prior involvement in gaming, 3D modeling or collaborative design projects - Learning how to build (motivations, methods, practices) The design project - Description of the project in their point of view o Initiation, idea-generation o Configurations of the design teams, their involvement in it o Initial purposes and rhetorical intentions - Affordances of SL that lead the designers to choose the platform - Development of the design concept from initial purposes o Concept development o Changes and transformations in design during th eprocess - Their personal involvement/role in the process (reasons) - Design and building methods (Why were these specific methods preferred) - The most problematic aspects/stages of the design process and how they resolved the situations - Were the initial expectations met by the final design - Feedback from the visitors/users, challenges brought by the visitor involvement Second Life & Virtual Worlds - Overall impression of SL’s viewer and building interfaces (usability, attractiveness, - Evaluation of SL as a tool for: o Idea-generation o Collaborative design and building o Access to audiences/dissemination of design - Potentials for user-driven innovation in Second Life (examples) - Requirements of development for facilitating collaborative design and user-driven innovation 281
The analytical matrix for initial coding Habitus of Social Actors Place Semiotics Interaction Order Multimodal Semiotics ACTORS PLACES PRACTICES DESIGNS Experiential (ideational) (Co-)designers as (socially situated and motivated) sign-makers Affordances and constraints for mediated presence and content generation in SL Chronotope (movements/traversals between and/or within places) and Heterochrony (managing time-scales) in content creation Use and Reach of Modes - Layout and spatial linking of information - Presence and navigation Logical (ideational) (Their) cultural resources as semiotic resources (actors as agents of semiotic change) (Virtual) places and platforms as semiotic Communication and evolution of ideas: resources for code preference, inscription and Collaborative design as socal semiotic work emplacement of signs Virtual places and artifacts as processes of multimodal semiosis (of meaning and form) - Metaphoricity and signs of realism Interest-based participation: Design teams as compositions of (individual) styles, skills and motivations Affordances and constraints for co-presence and collaborative design in SL Working and building together in virtual space - Designing for and managing social presence feedback (designer/user interaction) Interpersonal Textual Reflections Managing plurality of resources: Networks, avatars and agents as actors Managing plurality of platforms: SL as a place to make places within places ('place of places' in context) Semiotic Aggregates: Managing plurality of discourses - Orchestration of collaborative practices in in time and space Managing plurality of 'sense-makings': Virtual places as 'open texts': Imagining avatarmediated (model-) user experience (in designed places) Habitus of Social Actors Place Semiotics Interaction Order Multimodal Semiotics Theoretical (1) Actors and their semiotic (meaning) potentials (2) avatars and mediation of collaboration between spaces (1) SL as a place to make places between places (2) Balance of usability/complexity and freedom to crate (1) from affordances and constraints to potentialities and specificities (signifiers) (1) spatiality,interactivity and virtuality as modes (2) affordances as signification (meaning/action potentials) (3) design and multimodal cohesion in virtual place-making Methodological How discourses are embedded in and transformed within places post-structruralist perspective on multimodal sign-making in response to the systemic functional theory: why it is hard to analyze place-making in terms if systems and functions, but easier to talk in terms of affordances as meaning/action potentials
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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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and posters with positive political
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Synthesis of the findings on interp
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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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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
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