FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W133190124> ?p ?o ?g. }

• W133190124 endingPage "37" @default.
• W133190124 startingPage "5" @default.
• W133190124 abstract "ABSTRACT The following paper assesses roles played by semiotics in graphic design and in graphic design education, which both reflects and shapes practice. It identifies a series of factors; graphic design education methods and culture; semiotic theories themselves and their application to graphic design; two wings of Peircian semiotics and Saussurian semiology and their incompatibilities; semiology's linguocentrism, its affinity to cultural criticism and its seminal role in cultural and social anthropology, structuralism, poststructuralism and deconstruction. It examines uses and criticisms of semiotics and semiology in design, their use in graphic design education, and their operationalization within technical communication and human factors as paths that might be applied to graphic design. INTRODUCTION This paper reflects an effort to understand semiotics within graphic design and graphic design education and its apparent lack of broad visibility. There are many possible reasons including defects in theories, difficulty in understanding them or their obscure terminology, difficulty in applying them, or it could be that graphic designers are averse to semiotic theories or theories in general. The history of semiotics in design indicates that there is no one underlying problem, but a series of antinomies or contradictions. Semiotics is a young field and not well worked out. Semiotic theories have been separated into two schools of Peirce and Saussure. Saussure's is a theory based on language, not visual or sensory communication. Peirce can be applied to broad range of communication, but it is difficult to understand, having a strange vocabulary. One might like to combine them, but there are some thorny incompatibilities between them. Peircian semiotics also needs a bridge to graphic design, but there is not critical mass of people within graphic design to build it, and no one can build it for them. Graphic designers are largely averse to theory and scholarly publications that could establish and develop a semiotics that would be appropriate to graphic design. Semiotics and semiology are very much alive and used elsewhere. Semiology was a part of graphic design for much of last century. It has provided a continuing critical base for social theory, deconstructlon and the interpretive turn in humanities. Semiotics is used in technical communication and semiotic concepts are used in human factors to decompose and analyze interpretation. Semiotics can serve as a framework to unify quickly developing but scattered literatures in naturalistic thinking as they are relevant to design. The semiotic model of diagrammatic thinking has made possible a comprehensive understanding not only of diagrams, but principles behind visual and spatial thinking. It demonstrates profound importance of graphical communication in human leap from experiences in world to ability to think about those experiences in abstract terms: to make order of what is and imagine what could be (Stjernfeld, 2007). THE CULTURE OF GRAPHIC DESIGN EDUCATION Graphic design has a longstanding and close relationship to visual fine arts and studio/atelier tradition of instruction by apprenticeship as practiced eighty years ago at Bauhaus and at Schule fur Gestaltung Basel, now Basel School of Design, which until recently functioned as a vocational level (Maier, 1977; Visual Communication Institute, 2009). Vocational and atelier models share a non-intellectual approach to education, In which knowledge acquired is largely tacit and not available for examination, even by knower (Polanyi, 1966). As Dietmar Winkler has chronicled, Bauhaus worked to rationalize formal aspects of design to be more in tune with industrial society, but in their own practice and teaching they were traditional. Hans Meyer in 1928 and Mies van der Rohe in 1930, had been steeped in trade school tradition, which saw non-applied research and intellectual pursuit as dilettante activity of rich and aristocratic. …" @default.
• W133190124 created "2016-06-24" @default.
• W133190124 creator A5008454437 @default.
• W133190124 date "2010-01-01" @default.
• W133190124 modified "2023-09-23" @default.
• W133190124 title "Antinomies of Semiotics in Graphic Design" @default.
• W133190124 hasPublicationYear "2010" @default.
• W133190124 type Work @default.
• W133190124 sameAs 133190124 @default.
• W133190124 citedByCount "2" @default.
• W133190124 countsByYear W1331901242016 @default.
• W133190124 crossrefType "journal-article" @default.
• W133190124 hasAuthorship W133190124A5008454437 @default.
• W133190124 hasConcept C111472728 @default.
• W133190124 hasConcept C138885662 @default.
• W133190124 hasConcept C139997677 @default.
• W133190124 hasConcept C144024400 @default.
• W133190124 hasConcept C154949211 @default.
• W133190124 hasConcept C15724806 @default.
• W133190124 hasConcept C176832844 @default.
• W133190124 hasConcept C190703774 @default.
• W133190124 hasConcept C200363104 @default.
• W133190124 hasConcept C37834803 @default.
• W133190124 hasConcept C41008148 @default.
• W133190124 hasConcept C41022531 @default.
• W133190124 hasConcept C41895202 @default.
• W133190124 hasConcept C49774154 @default.
• W133190124 hasConcept C64999355 @default.
• W133190124 hasConcept C99377836 @default.
• W133190124 hasConceptScore W133190124C111472728 @default.
• W133190124 hasConceptScore W133190124C138885662 @default.
• W133190124 hasConceptScore W133190124C139997677 @default.
• W133190124 hasConceptScore W133190124C144024400 @default.
• W133190124 hasConceptScore W133190124C154949211 @default.
• W133190124 hasConceptScore W133190124C15724806 @default.
• W133190124 hasConceptScore W133190124C176832844 @default.
• W133190124 hasConceptScore W133190124C190703774 @default.
• W133190124 hasConceptScore W133190124C200363104 @default.
• W133190124 hasConceptScore W133190124C37834803 @default.
• W133190124 hasConceptScore W133190124C41008148 @default.
• W133190124 hasConceptScore W133190124C41022531 @default.
• W133190124 hasConceptScore W133190124C41895202 @default.
• W133190124 hasConceptScore W133190124C49774154 @default.
• W133190124 hasConceptScore W133190124C64999355 @default.
• W133190124 hasConceptScore W133190124C99377836 @default.
• W133190124 hasIssue "1" @default.
• W133190124 hasLocation W1331901241 @default.
• W133190124 hasOpenAccess W133190124 @default.
• W133190124 hasPrimaryLocation W1331901241 @default.
• W133190124 hasRelatedWork W1568097021 @default.
• W133190124 hasRelatedWork W163612504 @default.
• W133190124 hasRelatedWork W1784766048 @default.
• W133190124 hasRelatedWork W1918829259 @default.
• W133190124 hasRelatedWork W1995519467 @default.
• W133190124 hasRelatedWork W2076408593 @default.
• W133190124 hasRelatedWork W2077602887 @default.
• W133190124 hasRelatedWork W2204031572 @default.
• W133190124 hasRelatedWork W2367222896 @default.
• W133190124 hasRelatedWork W2384479018 @default.
• W133190124 hasRelatedWork W2596213715 @default.
• W133190124 hasRelatedWork W275327057 @default.
• W133190124 hasRelatedWork W2940745734 @default.
• W133190124 hasRelatedWork W298143768 @default.
• W133190124 hasRelatedWork W3004106670 @default.
• W133190124 hasRelatedWork W3137020523 @default.
• W133190124 hasRelatedWork W38312258 @default.
• W133190124 hasRelatedWork W618974705 @default.
• W133190124 hasRelatedWork W97041601 @default.
• W133190124 hasRelatedWork W1884432763 @default.
• W133190124 hasVolume "44" @default.
• W133190124 isParatext "false" @default.
• W133190124 isRetracted "false" @default.
• W133190124 magId "133190124" @default.
• W133190124 workType "article" @default.