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Multimodal Semiotics and Collaborative Design

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Michael de Certeau’s (1984) analysis of a Walk in the City, Dourish emhasizes the role of spatial<br />

practices in the making of the sense of place, <strong>and</strong> the importance of both space <strong>and</strong> place models in<br />

design of collaborative systems. De Certau argues that spatial practices are in fact social<br />

negotiations between “strategic” <strong>and</strong> “tactical” spatial practices, in which strategies of power <strong>and</strong><br />

control conflicts the ways people individually <strong>and</strong> collectively use <strong>and</strong> produce spaces. In this<br />

respect, “de Certau’s space is a practiced space” (Messeter 2009: 37). For de Certau, “to walk is to<br />

lack a place. It is the indefinite process of being absent <strong>and</strong> in search of a proper” (de Certau<br />

1984:103)<br />

Strategic practices can be considered as practices of design, whereas tactical practices are the<br />

practices of use (Dourish 2006). Similar to the nexus of practice perspective in MDA (Scollon<br />

2001), Dourish (2006) emphasizes the multitude of personal <strong>and</strong> social experiences that constitute<br />

the feeling of place exist in the form of a network of many spatial systems. The focus on spatial<br />

practices brings de Certau’s <strong>and</strong> Harrison <strong>and</strong> Dourish’s ideas together with those of<br />

phenomenologists (i.e. Tuan1977, Lemke 2002, 2005, Turner <strong>and</strong> Turner 2004) <strong>and</strong> LeFebvre’s<br />

(1991) Marxist framing of power relations <strong>and</strong> production of social spaces. In fact, both Harrison<br />

<strong>and</strong> Dourish (1996) <strong>and</strong> Dourish (2006) defend meaning as a collective product, <strong>and</strong> collective<br />

production of the meaningfulness of places <strong>and</strong> spaces as a social process.<br />

My purpose is to develop the multimodal systemic-functional model of social semiotics to the<br />

analysis of virtual places <strong>and</strong> artifacts, <strong>and</strong> use the multimodal analysis of meaning potentials to<br />

explore the socio-technical contexts in which co-design <strong>and</strong> co-production practices take place.<br />

There are two main reasons why I believe such a socio-technical approach to the semiotic analysis<br />

is necessary to underst<strong>and</strong> the complexity of multimodal semiotic potentials. The systemic<br />

functional analysis can help us analyze the experiential, interpersonal <strong>and</strong> textual meaning<br />

potentials that are embedded as multimodal discourses by negotiating actors, including the codesigners<br />

<strong>and</strong> visitors. Furthermore, the analysis of co-design practices <strong>and</strong> the means by which<br />

modes are organized to represent, orient <strong>and</strong> organize semiotic resources also help us underst<strong>and</strong><br />

the ways in which multimodal discourses are produced.<br />

3.4. Systemic functional framework <strong>and</strong> multimodal sign systems<br />

<strong>Multimodal</strong> analysis of semiotic entities is based on systemically outlining the potential social<br />

functions of objects in relation to their contexts of use, <strong>and</strong> the affordances of the environment in<br />

which communication takes place. The systemic functional approach to analyzing sign systems,<br />

<strong>and</strong> formulation of their meaning potentials as socio-semiotic meta-functions were developed<br />

primarily by linguists Michael A.K. Halliday (1978, 2007) <strong>and</strong> Ruqaiya Hasan (Halliday <strong>and</strong> Hasan<br />

63

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