Language/Action Meets Organisational Semiotics: Situating Conversations with Norms

Virtual professional communities require a strong co-evolution of their social and information systems. To ensure that the evolutionary process of their socio-technical systems is viable, a legitimate user-driven specification process is required. Such a process helps to ensure the meaningfulness and acceptability of specification changes. A specification method supporting this process should be grounded in the neo-humanist paradigm so that subjectivist and conflict aspects receive proper attention. Two related subfields of information science that have roots in this paradigm are the Language/Action Perspective (LAP) and organisational semiotics (OS). The RENISYS method for specification of the socio-technical systems of virtual professional communities is presented. It combines aspects from both LAP and OS, by building on work done in the DEMO (LAP) and MEASUR (OS) methodologies. It thus provides an operationalization of neo-humanist ideals that can help to extend theoretical and empirical research.     

建筑空间的符号学意义

论文系统分析了符号学与建筑空间设计的关系。在此基础上依照建筑符号学的基本框架,结合实例探讨了中国传统建筑形式的规律、意义及其表达方式。探索中国建筑空间形式的符号学意义上的规律。     

Computer software as text

Participatory design strategies have placed the user at the center of the design process, leaving computer software designers without guidelines for how to design and implement the software system. This paper aims to bring the designer back to the center of the design process. and the way of doing it is to consider computer software as text. Three different text theories are presented in order to explain what is meant by text, namely pragmatics, structuralism and deconstructivism. Finally it is discussed how the design processes should be understood, and how they should be organized when taking the text point of view of computer software.     

符号学在图标设计中的应用

针对图标设计缺乏理论思想指导的现状,从理论上解释了符号的表达和理解过程,分析了符号的四个重要因素,并以范例形式解释了如何在图标设计中应用,给出了图标设计的一般流程。最后,总结了图标设计需把握的两个要点:一是功能需求;二是用户的定义。     

基于农耕文化的川西林盘导视系统设计研究

目的 以导视系统为载体赋予川西林盘农耕文化新意境,是展现农耕文化的一种有效形式。以成都市郫都区林盘农耕文化导视系统设计为模型,以乡村发展复兴为契机推进农耕文化与乡村产业革新相融合,打造突显川西林盘特色的导视系统。方法 结合设计符号学理论,从元素符号的语义、语用、语境、语构四个维度,剖析川西林盘导视系统设计方法,以造型元素、色彩、材质肌理等客体对象解构导视系统符号化体系;同时与“境-景-人-物”四维体系相结合构建川西林盘导视系统。结果 表达林盘农耕文化外延造型及内涵意识,借助导视系统唤起川西农耕文化审美范式记忆,建立具有农耕文化特征符号的导视系统设计方法。结论 保护与传承川西农耕文化特色,提升川西林盘整体文化形象,拓展现代乡村导视系统设计思路。     

从《哲学树》到“哲学树”：关联性文化 景观自然原型象征意义的解读途径研究

“关联性文化景观”中“自然元素”与其“非物质 要素”的结合方式因高度抽象的表达及多样的意义生成背景, 其阐释途径的合理解读具有复杂性,对之进行解读是揭示“关 联性文化景观”的重要途径之一。首先以分析心理学派代表人 物荣格《哲学树》中的11幅心理绘画“树原型”作为研究材 料,通过总结普适性的“还原性文本”,分析其叙事文本、意 指作用、隐喻关系;进而揭示其蕴含的人类视野中宏大的“世 界树原型象征”,通过文化升华后的“原型象征”进一步阐释 人类对“自然元素”的意义加工和修饰;最终得以形成超越 “自然元素”单纯本体的“哲学树”。并以此建构理解“关联 性文化景观”自然原型象征意义的途径,指出人类通过意识形 态下基于个人或集体的精神世界中“自然元素”印刻在“还原 性文本”中的方式,具象化“非物质要素”与“自然元素”动 态呈现关系在“关联性文化景观”语境下的表达方式,为解读 其他“关联性文化景观”原型象征的诸多意义提供参考。     

Human–computer interaction viewed as pseudo-communication

Semiotics is considered fundamental to an understanding of human–computer interaction, and of all computer artifacts. Informatics should therefore be viewed as technical semiotics (or semiotics engineering). In particular, interaction between human and computer is characterized by features of communication, a sort of communication, however, that lacks decisive communicative features. It must be identified as a process of pseudo-communication. Interaction is viewed as the coupling of two autonomous processes: a sign process (carried out by the human user) and a signal process (carried out by the computer). Software appears as a semiotic entity in a duplicate way: calculated and calculating, i.e. both as a result and agent of calculations. This dialectics characterizes the class of signs on the computer medium. Problems of software design (functionality and usability design) are specific problems of the coupling of sign and signal processes.     

关于临汾城市风貌的规划思考

以临汾城市风貌的规划为例,从城市文化、城市美学、符号学的角度深入剖析,试图以规划为核心进行切入,并对临汾城市风貌的重新塑造提出了建议,从而塑造个性化的城市风貌。     

Hillsong and “megachurch” practice: semiotics,spatial logic and the embodiment of contemporary evangelical protestantism

ABSTRACT

“Megachurches” are congregations with a weekly attendance of at least 2000, by one definition and that have been established recently—many of them since the 1980s—in a variety of countries including the United States, Canada, the United Kingdom, South Korea, Singapore, Australia, New Zealand. They are often distinguished and distinguish themselves, from older (including other large) churches by a number of characteristics: a contemporary worship style prominently featuring electronic musical instruments and media, dynamic and charismatic speakers, services geared towards “seekers” rather than mature believers, international links and networks, informality in dress and atmosphere. Megachurches are also commonly congregations dominated by relatively young and well-educated members. Beyond these similarities, the term “megachurch” really covers a wide range of denominational, doctrinal, socioeconomic, linguistic-cultural, branding/image and organizational differences. Scholarly and public opinion has accordingly been strongly divided on the position, values and practices of megachurches. Referring closely to the internationally renowned Australian megachurch, Hillsong, this paper attempts to arrive at an analytical framework for megachurches based on a pragmatic and cognitive approach to megachurch semiotics and spatial practice, in the process defining the megachurch as one which seeks to materialize some of the intangibles of the Christian experience, while foregrounding practices of size and presence.     

Narratives of a lost space: A semiotic analysis of central courtyards in Iranian cinema

Most constructions in Iranian cities today neglect the traditional principles of design, particularly the rules on spatial hierarchy. This interdisciplinary study deploys cinematic analysis to understand the multidimensional aspects of architectural spaces and to investigate the different functions of the “central courtyard,” an important space in traditional Iranian architecture. In addition, this study demonstrates how films provide a perspective for architects to improve their understanding of the dynamics of space. A semiotic analysis of two films, namely, “The Deer” (1974) and “Mum׳s Guest” (2004), reveals that the central courtyard creates a sequence between public and private realms and, as a semi-private space, provides time and opportunities for residents to react to outside events. Spatial fluidity and connectivity, collaborative activities, and empathy can be the other outcomes of this space, in which residents become familiar with one another׳s lives.