DOCSLIB.ORG

Peirce's Semiotics Analysis of Icon and Symbol on Perfume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peirce's Semiotics Analysis of Icon and Symbol on Perfume PEIRCE’S SEMIOTICS ANALYSIS OF ICON AND SYMBOL ON PERFUME ADVERTISEMENTS A Thesis Submitted to Letters and Humanities Faculty in Partial Fulfillment of the Requirement for the Degree of Strata One (S1) AUDIA ERIANA 1110026000100 ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2015 ABSTRACT Audia Eriana, Peirce’s Semiotics Analysis of Icon and Symbol on Perfume Advertisements. Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University (UIN) Syarif Hidayatullah Jakarta, 2015. The objective of this study is to find out the meaning of signs on perfume advertisements and to explain its semiosis processes. This study applied descriptive analysis method. Through this method the researcher tries to describe, explain, and analyze the meaning of the signs and investigate its semiosis process using Charles Sanders Peirce’s theory. The unit analysis of this research was the woman perfume advertisement from Sephora site (www.sephora.com), Within the site, There are 510 advertisements of 72 brands But, only advertisements in English language are selected As a result there are 194 perfume advertisements from 29 brands. Because of the large amount of the advertisements, the researcher does sampling by using simple random sampling. The data to be analyzed are 29 advertisements in which each represents 29 brands. For the semiotics analysis, the researcher downloaded and printed the data. The classified data contain signs which consist of representament, object, and interpretant. The relationship of these three aspects can be delivered a clear meaning of a selected advertisement.. Through this relationship will create the process of delivering meaning and interpretation which is called the semiosis process. The researcher determines which one is the icon and the symbol first from the advertisement, and used it as the data. From the data (icon or symbol), the researcher analyzes the object of the icon or the symbol, and finally got the interpretant in order to give the meaning for the advertisement. In giving meaning, it is only based on the interpretants’ formulation of icon and symbol and also based on the reseacher’s understanding in interpreting the sign. The researcher found 29 icons and 23 symbols from the 29 advertisements. From the 29 icons and 23 symbols, the researcher got the 29 meaning of the advertisement. Besides, the researcher also found that the picture (icon) can be the first aspect that can give the direction to the meaning, then the language which is used in the advertisement (symbol). It could be concluded that each advertisement had different sign and also different meaning. These differences had given different interpretations. From the semiotics analysis of 29 advertisements, the advertiser’s complex idea can be easily delivered by the consumer. i DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the next. Jakarta, March 2015 Audia Eriana iv ACKNOWLEDGEMENT First and foremost, the writer likes to thank Allah SWT, the lord of the world for giving her the best guidance, brightest lights and deepest mercy. The pour of blessing lead her to finish this thesis. Shalawat and Salam always devoted to our Prophet Muhammad, peace be upon him, who has guided us from the darkness to enlightenment in the world. The writer would like to express my gratitude for my advisors Hilmi, M.Hum. and Drs. Saefudin, M.Pd. who always give inspirations, encouragements, critiques, and sincere guidance for me to finish the thesis. The writer also would like to take this opportunity for expressing my deep and sincere gratitude and thankfulness to: 1. Prof. Dr. Sukron Kamil, M.Ag., The Dean of Faculty of Letters and Humanities. 2. Drs. Saefudin, M.Pd., the Head of English Letters Department and advisor. 3. Mrs. Elve Oktafiyani, M.Hum., the Secretary of English Letters Department. 4. Hilmi, M.Hum., as my super advisor who always give inspirations, encouragements, critiques, and guidance. 5. M. Shohibussirri, MALG., MALGR., as my examiner and for sharing, helps, and critiques so that my thesis is more much better. 6. Abdurrosyid, S.S., M.EIL., as my examiner. 7. All of the lecturers in English Letters Department for their valuable knowledge. 8. All the librarians of Adab and Humanities Faculty and State Islamic v University. 9. My beloved parents: Asyudi and Martini (the late) for their limitless support, pray and endless love. And also my stepmother, Indah Puspa Dewi, indirectly teaches me to be stronger and more patient. 10. My beloved brothers and sister: Ramanda Raya, Muhammad Adnan Agus Maulana and Tia Gia Agatha, who always give me cheerful and joyful, and those really help to decrease my stress. 11. My beloved fiance: Tatang Rusmanta for his support, pray, and spirit in writing my thesis. 12. My friends especially Happy C Family for their support and suggestion in writing my thesis. Finally, the writer realizes that this thesis is not perfect, that is why the writer welcomes to receive the critic and suggestion for this thesis to be better. The writer hopes this thesis will be useful, particularly for the writer and for those who interested in this field. Jakarta, March 2015 The Writer vi THE LIST OF TABLES Table 1: The List of Unit Analysis…...………………………………….. 6 Table 2: The Website Address of Data……….………………..………… 9 Table 3: Peirce’s Thought of Semiotics……………………….………… 24 Table 4: Result of Simple Random Sampling…………………………… 28 vii THE LIST OF FIGURES Figure 1: BALENCIAGA Rosabotanica, Data 1 B…….………………… 34 Figure 2: Bobbi Brown Beach fragrance, Data 1 BB…………………….. 37 Figure 3: Boyfriend Billionaire Boyfriend, Data 1 BF…………….….…. 40 Figure 4: Calvin Klein Eternity, Data 2 CK……………………………... 43 Figure 5: Carolina Herrera 212 Sexy, Data 2 CH……………….……….. 46 Figure 6: CLEAN Cool Cotton, Data 8 C……………..…………………. 49 Figure 7: CLINIQUE Happy Rollerball, Data 6 CQ…………………….. 52 Figure 8: COACH Poppy, Data 1 CC……..……………………………... 55 Figure 9: Commodity Gold, Data 3 CM………………………………….. 58 Figure 10: Desigual Fun, Data 3 D………..……………………………… 61 Figure 11: Donna Karan New York Be Delicious, Data 1 DKNY………. 64 Figure 12: Donna Karan Cashmere Mist Rollerball, Data 4 DK………… 67 Figure 13: Elizabeth and James Nirvana White Rollerball, Data 5 EJ…... 70 Figure 14: Escada Joyfull, Data 3 ES…………………………………….. 73 Figure 15: Gucci Flora by Gucci Eau de Parfum, Data 11 G……………. 76 Figure 16: I Love New York by Bond No.9 for All, Data 3 ILNY……… 79 Figure 17: Jimmy Choo Flash Rollerball, Data 6 JC…………………….. 82 Figure 18: Lavanila Vanilla Lavender Fragrance, Data 5 L……………... 85 Figure 19: MAISON MARTIN MARGIELA Beach Walk, Data 1 M….. 87 Figure 20: Nomaterra On-The-Go Fragrance Wipes, Data 1 N…………. 89 viii Figure 21: One Direction You & I, Data 1 OD………………………….. 65 Figure 22: Origins Ginger Essence Intensified Fragrance Spray, Data 2 O……………………………………………………… 94 Figure 23: Pharell Williams Girl, Data 1 PW……………………………. 96 Figure 24: Philosophy Falling in Love, Data 4 P………………………… 98 Figure 25: Pink Sugar, Data 1 PS………………………………………… 101 Figure 26: Ralph Lauren Midnight Romance, Data 2 RL………………... 104 Figure 27: Stella McCartney Stella Eau de Toilette, Data 2 SM…………. 107 Figure 28: Tocca Beauty Cleopatra, Data 3 TB…………………………... 109 Figure 29: Tory Burch, Data 1 TR………………………………………... 111 ix THE LIST OF DIAGRAMS Diagram 1: Peirce’s Diagram of Semiosis…..…………………………..… 20 Diagram 2: Icon’s Diagram of Data 1 B..………………………………… 35 Diagram 3: Symbol’s Diagram of Data 1 B..……………………………... 36 Diagram 4: Icon’s Diagram of Data 1 BB………………………………… 38 Diagram 5: Symbol’s Diagram of Data 1 BB……………………………... 39 Diagram 6: Icon’s Diagram of Data 1 BF…….………………..……….... 41 Diagram 7: Symbol’s Diagram of Data 1 BF…...……..………………….. 42 Diagram 8: Icon’s Diagram of Data 2 CK….…………………………….. 44 Diagram 9: Symbol’s Diagram of Data 2 CK….….………………….…... 45 Diagram10: Icon’s Diagram of Data 2 CH….…….……………………… 47 Diagram 11: Symbol’s Diagram of Data 2 CH…..……….……….……… 48 Diagram 12: Icon’s Diagram of Data 8 C……….………………………... 50 Diagram 13: Symbol’s Diagram of Data 8 C……..….……………………. 51 Diagram 14: Icon’s Diagram of Data 6 CQ….…………………………… 53 Diagram 15: Symbol’s Diagram of Data 6 CQ…….……………………... 54 Diagram 16: Icon’s Diagram of Data 1 CC….…………………………… 56 Diagram 17: Symbol’s Diagram of Data 1 CC………………………..…... 57 Diagram 18: Icon’s Diagram of Data 3 CM…………….………………... 59 Diagram 19: Symbol’s Diagram of Data 3 CM……….….……………… 60 Diagram 20: Icon’s Diagram of Data 3 D……..………………………… 62 Diagram 21: Symbol’s Diagram of Data 3 D……………………………… 63 x Diagram 22: Icon’s Diagram of Data 1 DKNY……………….…………. 65 Diagram 23: Symbol’s Diagram of Data 1 DKNY………………………. 66 Diagram 24: Icon’s Diagram of Data 4 DK……………………………… 68 Diagram 25: Symbol’s Diagram of Data 4 DK………………………….. 69 Diagram 26: Icon’s Diagram of Data 5 RJ………………………………. 71 Diagram 27: Symbol’s Diagram of Data 5 RJ…………………………… 72 Diagram 28: Icon’s Diagram of Data 3 ES………………………………. 74 Diagram 29: Symbol’s Diagram of Data 3 ES…………………………… 75 Diagram 30: Icon’s Diagram of Data 11 G………………………………. 77 Diagram 31: Symbol’s Diagram of Data 11 G…………………………… 78 Diagram 32: Icon’s Diagram of Data 3 ILNY……………………………. 80 Diagram 33: Symbol’s Diagram of Data 3 ILNY………………………… 81 Diagram 34: Icon’s Diagram of Data 6 JC……………………………….. 83 Diagram 35: Symbol’s Diagram of Data 6 JC……………………………. 84 Diagram 36: Icon’s Diagram of Data 5 L…………………………………. 86 Diagram 37: Icon’s Diagram of Data 1 M………………………………… 88 Diagram 38: Icon’s Diagram of Data 1 N………………………………… 90 Diagram 39: Icon’s Diagram of Data 1 OD……………………………….
Load more

Recommended publications
  • Marshall Mcluhan
    Marshall McLuhan: Educational Implications* W.J. Gushue He received the Governor General's award for his work in literature, the Albert Schweitzer Chair at Fordham for his work in communications, and the Moison Award from the Canada Council as "explorer and interpreter of our age." He appeared on the covers of N eW8week, Saturday Review and Canada's largest weekend supplement. NBC made a one-hour docu­ mentary of his message and later repeated it, and the CBC gave him prime Sunday night viewing time on two occasions. He is one of the most publicized intellectuals of recent times. Ralph Thomas wrote in the Torfmto Star: "He has been explained, knocked and praised in just about every magazine in the EngIish, French, German and Italian languages." 1 As to newspaper coverage, which newspapers have not written about him? He has lectured city planners, advertising men, TV executives, university professors, students, and scientists; business men have sought his message from a yacht in the Aegean Sea, a hotel in the Laurentians, a former firehouse in San Francisco, and in the board rooms of IBM, General Electric, and Bell Telephone. Although "a torrent of criticism" has been heaped upon him by ':' Research for this paper was undertaken while Prof. Gushue was at the .ontario Institute for Studies in Education during the 1967-68 acad­ emic year. A slightly modified version was delivered at the C.A.P.E. conference in Calgary, June, 1968. - Ed. 3 4 Marshall McLuhan the old dogies of academe and the literary establishment, he has been eulogized in dozens of scholarly magazines and studied serious­ ly by thousands of intellectuals.2 The best indication of his worth is the fact that among his followers are to be found people (artists, really) who are part of what Susan Sontag calls "the new sensibility." 3 They are, to use Louis Kronenberger's phrase, "the symbol manipulators," the peo­ ple who are calling the shots - painters, sculptors, publishers, pub­ lic relations men, architects, film-makers, musicians, designers, consultants, editors, T.V.
    [Show full text]
  • Notes on Peirce's Semiotics and Epistemology
    DIAGRAMMATIC THINKING: NOTES ON PEIRCE’S SEMIOTICS AND EPISTEMOLOGY Luis Radford In this paper, I discuss the role of diagrammatic thinking within the larger context of cognitive activity as framed by Peirce’s semiotic theory of and its underpinning realistic ontology. After a short overview of Kant’s scepticism in its historical context, I examine Peirce’s attempt to rescue perception as a way to reconceptualize the Kantian “manifold of senses”. I argue that Peirce’s redemption of perception led him to a se- ries of problems that are as fundamental as those that Kant encountered. I contend that the understanding of the difficulties of Peirce’s epistemol- ogy allows us to better grasp the limits and possibilities of diagrammatic thinking. Keywords: Culture; Diagrammatic thinking; Kant; Peirce; Perception; Semiotics Pensamiento Diagramático: Notas sobre la Semiótica y la Epistemología de Peirce En este artículo se discute el papel que desempeña el concepto de pen- samiento diagramático en el contexto de la actividad cognitiva, tal y como es concebida dentro del marco de la teoría semiótica de Peirce y su subyacente ontología realista. Luego de presentar una visión general del escepticismo kantiano en su contexto histórico, se examina el esfuer- zo de Peirce por rescatar la percepción, esfuerzo que lo lleva a indagar de manera innovadora el “multiespacio de los sentidos” del que habla- ba Kant. Se mantiene que este esfuerzo lleva a Peirce a una serie de problemas que son tan fundamentales como los que Kant encontró en su propio itinerario epistemológico. Se sostiene que la comprensión de las dificultades intrínsecas a la epistemología de Peirce nos permite cernir mejor los límites y posibilidades de su pensamiento diagramático.
    [Show full text]
  • Semiotics As a Cognitive Science
    Elmar Holenstein Semiotics as a Cognitive Science The explanatory turn in the human sciences as well as research in "artifi- cial intelligence" have led to a little discussed revival of the classical Lockean sub-discipline of semiotics dealing with mental representations - aka "ideas" - under the heading of "cognitive science". Intelligent be- haviour is best explained by retuming to such obviously semiotic catego- ries as representation, gmbol, code, program, etc. and by investigations of the format of the mental representations. Pictorial and other "sub-linguisric" representations might be more appropriate than linguistic ones. CORRESPONDENCE: Elmar Holenstein. A-501,3-51-1 Nokendal, Kanazawa-ku Yoko- hama-shl, 236-0057, Japan. EMAIL [email protected] The intfa-semiotic cognitive tum Noam Chomsky's declaration that linguistics is a branch of psychology was understood by traditional linguists as an attack on the autonomous status of their science, a status which older structuralism endorsed by incorporating language (as a special sign system) into semiotics. Semiotics seemed to assure that genuinely linguistic relationships (grammatical and semantic relationships) were not rashly reduced to psychological or biological relationships (such as associations or adaptations). If it is looked at more closely in conjunction with the general development of the sciences in the 20th Century, the difference between Chomsky (1972: 28), who regards linguistics as a subfield of psychol- ogy, and Ferdinand de Saussure (1916: 33), for whom it is primarily a branch of "semiology", comes down to the fact that Saussure assigns linguistics in a descriptive perspective to universal semiotics, whereas Chomsky assigns it in an explanatory perspective to a special semiotics.
    [Show full text]
  • Roth Book Notes--Mcluhan.Pdf
    Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth Mediated America Part Two: Who Was Marshall McLuhan & What Did He Say? McLuhan, Marshall. The Mechanical Bride: Folklore of Industrial Man. (New York: Vanguard Press, 1951). McLuhan, Marshall and Bruce R. Powers. The Global Village: Transformations in World Life and Media in the 21st Century. (New York: Oxford University Press, 1989). McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. (Toronto: University of Toronto Press, 1962). McLuhan, Marshall. Understanding Media: The Extensions of Man. (Cambridge, MA: MIT Press, 1994. Originally Published 1964). The Mechanical Bride: The Gutenberg Galaxy Understanding Media: The Folklore of Industrial Man by Marshall McLuhan Extensions of Man by Marshall by Marshall McLuhan McLuhan and Lewis H. Lapham Last week in Book Notes, we discussed Norman Mailer’s discovery in Superman Comes to the Supermarket of mediated America, that trifurcated world in which Americans live simultaneously in three realms, in three realities. One is based, more or less, in the physical world of nouns and verbs, which is to say people, other creatures, and things (objects) that either act or are acted upon. The second is a world of mental images lodged between people’s ears; and, third, and most importantly, the mediasphere. The mediascape is where the two worlds meet, filtering back and forth between each other sometimes in harmony but frequently in a dissonant clanging and clashing of competing images, of competing cultures, of competing realities. Two quick asides: First, it needs to be immediately said that Americans are not the first ever and certainly not the only 21st century denizens of multiple realities, as any glimpse of Japanese anime, Chinese Donghua, or British Cosplay Girls Facebook page will attest, but Americans first gave it full bloom with the “Hollywoodization,” the “Disneyfication” of just about anything, for when Mae West murmured, “Come up and see me some time,” she said more than she could have ever imagined.
    [Show full text]
  • Peirce's Theory of Communication and Its Contemporary Relevance
    Ahti-Veikko Pietarinen Peirce’s Theory of Communication and Its Contemporary Relevance Introduction The mobile era of electronic communication has created a huge semi- otic system, constructed out of triadic components envisaged by the American scientist and philosopher Charles S. Peirce (1839–1914), such as icons, indices and symbols, and signs, objects and interpretants. Iconic signs bear a physical resemblance to what they represent. Indices point at something and say “there!”, and symbols signify objects by conven- tions of a community.1 All signs give rise to interpretants in the minds of the interpreters. It is nonetheless regrettable that the somewhat simplistic triadic ex- posé of Peirce’s theory of signs has persisted in semiotics as the some- how exhaustive and final description of what Peirce intended. The more fascinating and richer structure of signs emerging from their intimate relation to intercommunication and interaction (Peirce’s terms) has been noted much less frequently. Despite this shortcoming, the full Peircean road to inquiry – per- formed by the dynamic community of learning inquirers, or the com- 1 In fact, according to Peirce (2.278 [1895]): “The only way of directly communi- cating an idea is by means of an icon; and every indirect method of communicating an idea must depend for its establishment upon the use of an icon.” Peirce’s chef d’œuvre came shortly after these remarks into being as his diagrammatic system of existential graphs, a thoroughly iconic representation of and a way of reasoning about “moving pictures of thought”, which encompassed not only propositional and predicate logic, but also modalities, higher-order notions, abstraction and category-theoretic notions.
    [Show full text]
  • The Complexity of Richness: Media, Message, and Communication Outcomes
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro The complexity of richness: Media, message, and communication outcomes By: Robert F. Otondo, James R. Van Scotter, David G. Allen, Prashant Palvia Otondo, R.F., Van Scotter, J.R., Allen, D.G., and Palvia, P. ―The Complexity of Richness: Media, Message, and Communication Outcomes.‖ Information & Management. Vol. 40, 2008, pp. 21-30. Made available courtesy of Elsevier: http://www.elsevier.com ***Reprinted with permission. No further reproduction is authorized without written permission from Elsevier. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document.*** Abstract: Dynamic web-based multimedia communication has been increasingly used in organizations, necessitating a better understanding of how it affects their outcomes. We investigated factor structures and relationships involving media and information richness and communication outcomes using an experimental design. We found that these multimedia contexts were best explained by models with multiple fine-grained constructs rather than those based on one- or two-dimensions. Also, media richness theory poorly predicted relationships involving these constructs. Keywords: Media richness theory; Information richness; Communication theory Article: 1. Introduction Investigation of relationships between the media and communication effectiveness has not provided consistent results. However, lack of understanding has not deterred organizations from investing heavily in new and dynamic forms of web-based multimedia for their marketing, public relations, training, and recruiting activities. Few studies have examined the effects of media channels and informational content on decision-making and other organizational outcomes.
    [Show full text]
  • Download/ Nwp File/2013/Notes on a Working Hypothesis.Pdf?X-R=Pcfile D
    Psychosemiotics: communication as psychological action Marko Mili Doctor of Philosophy (Psychology) University of Western Sydney November 2008 ACKNOWLEDGEMENTS I would like to express my gratitude to my wife Juliana Payne for her patience, accessibility for debate on all issues, practical assistance, and help in avoiding clichés like the plague. My parents Petar and Nediljka Mili shared their enthusiasm for learning and balanced their encouragement with flexibility about the direction that their influence took. My sister, Angela Mili, provided moral and practical support. To my extended family—Ante, Maria, Mirko, Lina, Kristina, Anthony, and Nikolas Mili; and Steve and Veronica Harwood—thank you for your support for this project. Thanks to Megan McDonald for helpful grammatical-stylistic suggestions and to Domagoj Veli, who has been an enthusiastic supporter of this project from the beginning. Professor Philip Bell, Professor Theo van Leeuwen, Dr Scott Mann and Dr Phillip Staines provided me with valuable opportunities to assist in teaching their courses in mass media, semiotics, social theory and the philosophy of language. This experience has significantly enhanced the present work. My supervisor, Dr Agnes Petocz, consistently provided detailed and incisive feedback throughout the conception and execution of this work. Her vision of a richer science of psychology has been inspirational for me. As co-supervisor, Professor Philip Bell has been an exemplary mentor and model for post- disciplinary research. ii STATEMENT OF AUTHENTICATION The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in whole or in part, for a degree at this or any other institution.
    [Show full text]
  • Picasso's Cubism: Politics And/Or Semiosis
    MIT 4.602, Modern Art and Mass Culture (HASS-D+CI) Spring 2012 Professor Caroline A. Jones Notes History, Theory and Criticism Section. Department of Architecture Lecture 10 SERIALISM & SEMIOSIS: Lecture 10: Picasso's Cubism: Politics and/or Semiosis 1990: Picasso's primitivism is part of a cultural discourse in which "Africa" conveyed widely accepted meanings that cannot be extricated from allusions to its art and people. - Patricia Leighton, 'The White Peril and I 'art m?gre ... " 1981 /'98: The extraordinary contribution of collage is that it is the first instance within the pictorial arts of anything like a systematic exploration of the conditions of representability entailed by the sign. - Rosalind Krauss, "In the Name of Picasso" I. Picasso's escape via Paris: from paternal academy, and provincialism A. The international "Youth Style" (Jugendstil, Joven Tut, Arte Joven magazines) B. Impressionist modes and motives, Barcelona -> Paris C. "Blue period" 1) the depressed fliineur (harlequin) 2) a "Moorish" Spaniard in France II. Picasso's escape from Paris: The Demoiselles d' A vignon A. Picasso's self-described "exorcism" - of what? B. The way modem abstraction works 1) African sculpture as "raisonnable ,. (conceptual) 2) towards a system of visual signs (away from representing towards signifying) C. Colonialist critique through performing the primitive (how different from Gauguin?) III. Cubism- hermetic language, or popular culture? A. "Braque, c 'est ma femme" - the codes of a private language 1) Georges Braque - wit, conceptualism, pattern, (French) fancypaint traditions 2) Pablo Picasso - weight, sculptural concerns, "modeling," oscillations between depth! surface B. The force of caricature in the portraits C.
    [Show full text]
  • A Semiotic Framework to Understand How Signs in a Collective Design Task Convey Information: a Pilot Study of Design in an Open Crowd Context
    Avondale College ResearchOnline@Avondale Administration and Research Conference Papers Administration and Research 2013 A Semiotic Framework to Understand How Signs in a Collective Design Task Convey Information: A Pilot Study of Design in an Open Crowd Context Darin Phare University of Newcastle, [email protected] Ning Gu University of Newcastle, [email protected] Anthony Williams Avondale College of Higher Education, [email protected] Carmel Laughland University of Newcastle, [email protected] Follow this and additional works at: https://research.avondale.edu.au/admin_conferences Part of the Architecture Commons Recommended Citation Phare, D., Gu, N., Williams, A. P., & Laughland, C. (2013). A semiotic framework to understand how signs in a collective design task convey information: A pilot study of design in an open crowd context. In M. A. Schnabel (Ed.), Cutting edge: 47th International Conference of the Architectural Science Association. Paper presented at the Architectural Science Association, Chinese University of Hong Kong, Hong Kong, 13-16 November (pp. 473–482). Sydney, Australia: The Architectural Science Association. This Conference Proceeding is brought to you for free and open access by the Administration and Research at ResearchOnline@Avondale. It has been accepted for inclusion in Administration and Research Conference Papers by an authorized administrator of ResearchOnline@Avondale. For more information, please contact [email protected]. M. A. Schnabel (ed.), Cutting Edge: 47th International Conference of the Architectural Science Associa- tion, pp. 473–482. © 2013, The Architectural Science Association (ANZAScA), Australia A SEMIOTIC FRAMEWORK TO UNDERSTAND HOW SIGNS IN A COLLECTIVE DESIGN TASK CONVEY INFORMATION A pilot study of design in an open crowd context DARIN PHARE, NING GU, TONY WILLIAMS and CARMEL LAUGHLAND The University of Newcastle, Newcastle, Australia [email protected], {ning.gu, tony.williams, carmel.laughlan }@newcastlee.edu.au Abstract.
    [Show full text]
  • Marketing Semiotics
    Marketing Semiotics Professor Christian Pinson Semiosis, i.e. the process by which things and events come to be recognized as signs, is of particular relevance to marketing scholars and practitioners. The term marketing encompasses those activities involved in identifying the needs and wants of target markets and delivering the desired satisfactions more effectively and efficiently than competitors. Whereas early definitions of marketing focused on the performance of business activities that direct the flow of goods and services from producer to consumer or user, modern definitions stress that marketing activities involve interaction between seller and buyer and not a one- way flow from producer to consumer. As a consequence, the majority of marketers now view marketing in terms of exchange relationships. These relationships entail physical, financial, psychological and social meanings. The broad objective of the semiotics of marketing is to make explicit the conditions under which these meanings are produced and apprehended. Although semioticians have been actively working in the field of marketing since the 1960s, it is only recently that semiotic concepts and approaches have received international attention and recognition (for an overview, see Larsen et al. 1991, Mick, 1986, 1997 Umiker- Sebeok, 1988, Pinson, 1988). Diffusion of semiotic research in marketing has been made difficult by cultural and linguistic barriers as well as by divergence of thought. Whereas Anglo-Saxon researchers base their conceptual framework on Charles Pierce's ideas, Continental scholars tend to refer to the sign theory in Ferdinand de Saussure and to its interpretation by Hjelmslev. 1. The symbolic nature of consumption. Consumer researchers and critics of marketing have long recognized the symbolic nature of consumption and the importance of studying the meanings attached by consumers to the various linguistic and non-linguistic signs available to them in the marketplace.
    [Show full text]
  • Copy Editing and Proofreading Symbols
    Copy Editing and Proofreading Symbols Symbol Meaning Example Delete Remove the end fitting. Close up The tolerances are with in the range. Delete and Close up Deltete and close up the gap. not Insert The box is inserted correctly. # # Space Theprocedure is incorrect. Transpose Remove the fitting end. / or lc Lower case The Engineer and manager agreed. Capitalize A representative of nasa was present. Capitalize first letter and GARRETT PRODUCTS are great. lower case remainder stet stet Let stand Remove the battery cables. ¶ New paragraph The box is full. The meeting will be on Thursday. no ¶ Remove paragraph break The meeting will be on Thursday. no All members must attend. Move to a new position All members attended who were new. Move left Remove the faulty part. Flush left Move left. Flush right Move right. Move right Remove the faulty part. Center Table 4-1 Raise 162 Lower 162 Superscript 162 Subscript 162 . Period Rewrite the procedure. Then complete the tasks. ‘ ‘ Apostrophe or single quote The companys policies were rewritten. ; Semicolon He left however, he returned later. ; Symbol Meaning Example Colon There were three items nuts, bolts, and screws. : : , Comma Apply pressure to the first second and third bolts. , , -| Hyphen A valuable byproduct was created. sp Spell out The info was incorrect. sp Abbreviate The part was twelve feet long. || or = Align Personnel Facilities Equipment __________ Underscore The part was listed under Electrical. Run in with previous line He rewrote the pages and went home. Em dash It was the beginning so I thought. En dash The value is 120 408.
    [Show full text]
  • A Semiotic Theory of Music: According to a Peircean Rationale
    A SEMIOTIC THEORY OF MUSIC: ACCORDING TO A PEIRCEAN RATIONALE The Sixth International Conference on Musical Signification University of Helsinki Université de Provence (Aix-Marselle I) Aix-en-Provence, December 1-5, 1998 José Luiz Martinez (Ph.D.) [1] The recent growth of musical applications of Peirce’s general theory of signs, such as in the works of David Lidov (1986), Robert Hatten (1994), William Dougherty (1993, 1994), shows that this approach, once set properly in both musical and semiotic contexts, has great analytical power on questions of musical signification. In this paper I will present the structure of a semiotic theory of music, as demonstrated in my doctoral dissertation, Semiosis in Hindustani Music (Imatra: International Semiotics Institute), submitted and approved by the University of Helsinki in 1997. [2] Peirce, in his studies of semiotics, concluded that thought is only possible by means of signs (vide CP 1.538, 4.551, 5.253). Music is a species of thought; and thus, the idea that music is sign and depends on significative processes, or semiosis, is obviously true. A musical sign can be a system, a composition or its performance, a musical form, a style, a composer, a musician, hers or his instrument, and so on. According to Peirce, signification occurs in a triadic relation of a sign and the object it stands for to an interpretant (CP 6.347), which - in music - is another sign developed in the mind of a listener, musician, composer, analyst or critic. [3] In Peirce’s classification of the sciences, semiotics (or semeiotic) has three branches: Speculative Grammar, Critic and Methodeutic (or Speculative Rhetoric) (CP 1.192).
    [Show full text]