Dr Dave Wood | University of Dundee (original) (raw)

Videos by Dr Dave Wood

The first Semiosis 101 video Elephant in the Design Studio is now available on my YouTube channel... more The first Semiosis 101 video Elephant in the Design Studio is now available on my YouTube channel.⁠
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Every Wednesday on my Semiosis101 YouTube channel I will post a video to disseminate aspects of Charles Sanders Peirce's Pragmatic Semiotics theory in designer-centric terms. In short videos I explain to graphic designers and illustrators how they can understand and apply Semiosis into visual communication work.

This is a new venture to provide a wider impact in design for my Semiotic Rosetta Stone research. Check out the videos bit.do/Semiosis101⁠
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In about 10 minutes Dave demystifies semiotic theory in a designer-friendly way, to help #designers and #artists enhance their visual communication skills.⁠
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This week's video > bit.do/Semiosis101⁠

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The second Semiosis 101 video Semiosis for Designers and Illustrators is now available on my YouT... more The second Semiosis 101 video Semiosis for Designers and Illustrators is now available on my YouTube channel.⁠
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Every Wednesday on my Semiosis101 YouTube channel I will post a video to disseminate aspects of Charles Sanders Peirce's Pragmatic Semiotics theory in designer-centric terms. In short videos I explain to graphic designers and illustrators how they can understand and apply Semiosis into visual communication work.

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The third Semiosis 101 video The Semiotic Journey is now available on my YouTube channel.⁠ ⁠ Ev... more The third Semiosis 101 video The Semiotic Journey is now available on my YouTube channel.⁠
⁠
Every Wednesday on my Semiosis101 YouTube channel I will post a video to disseminate aspects of Charles Sanders Peirce's Pragmatic Semiotics theory in designer-centric terms. In short videos I explain to graphic designers and illustrators how they can understand and apply Semiosis into visual communication work.

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In this week’s fourth episode on general Peircean semiotic theory for illustrators and designers,... more In this week’s fourth episode on general Peircean semiotic theory for illustrators and designers, in around 10-minutes, we will focus on explaining the sign-action of Semiosis using a box metaphor.

Peirce created the name Semiosis and defined its meaning as sign-action. In this video I use a box metaphor by Roderick Munday, to explain the sign-action of Semiosis. With this metaphor, we will also explore how the client, the creative and the audience are all… watch the video to find out more. bit.do/Semiosis101

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In this week’s video we will explore two important things about Semiosis in visual communicatio... more In this week’s video we will explore two important things about Semiosis in visual communication design:

A) The semiotic process begins with the client's brief's needs and the conceptual message to the intended audience. The designer or illustrator constructs a creative outcome that visually represents that message. By understanding the audience visual communicators can craft the representation to connect directly with the intended audience using visual cultural and social cues.

B) Semiosis happens at both the macro level of designing or illustrating and at the micro-decision-making level during ideation.

So, watch the video and see how I reframe Peirce’s semiotic theory to make it relevant for "Designerland."

Video Content and Timings
00:05 Semiosis 101 Introduction
03:22 Video #5 Introduction
04:10 Video #5: Revealing How Semiosis Enhances Your Creativity
15:08 Video #5 Plenary
16:48 Semiosis 101 Outro & links
18:19 Next Week's Video Preview

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Now launched on YouTube. I have set up a new channel to disseminate designer-centric videos on as... more Now launched on YouTube. I have set up a new channel to disseminate designer-centric videos on aspects of Charles Sanders Peirce's semiotic theory to designers and illustrators based on my Semiotic Rosetta Stone research.

bit.do/Semiosis101

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Books by Dr Dave Wood

This chapter will examine the role of a new Dual Award degree in its effect on the positive enhan... more This chapter will examine the role of a new Dual Award degree in its effect on the positive enhancement of East Asian design students entering the global creative industrial markets. Through a collaborative partnership between UK's Northumbria University and Indonesia's BINUS International University in Jakarta, this Dual Award was launched in 2014 with the aim of providing Indonesian students a curriculum to enhance their ability to develop into globally focused design graduates. Students from BINUS' Graphic Design, Fashion Design and Fashion Management degrees take two extra Northumbrian modules alongside their own final year work. An Indonesian bachelor degree lasts four years, and the two Dual Award modules are run during non-core time. These two modules provide the students with a synthesis between East and West design. Two Northumbria academic design lecturers travel to Jakarta three times a year to work on campus with the Indonesians at BINUS-Northumbria School of Design in Jakarta. After which, throughout the academic year, there is continued Northumbria teaching support using video conferencing and digital submissions to help the students to successfully complete their modular work. While the visiting Northumbria lecturers are on campus, they also engage with each degree's first three years by setting each year group a design project based on aspects of Indonesian cultural identity. These projects help to prepare the students for fourth year study on the Dual Award by developing their collaborative practice. The projects build year on year to nurture the students' growing confidence in their abilities, prepping them to be ready to develop their innate talents into globally focused solutions, while academically informing and supporting the development and enhancement of the two Dual Award modules. In their fourth year on the Dual Award, the students from the Graphic Design, Fashion Design and Fashion Management degrees consider how to build on their own cultural wealth as Indonesian designers, to provide the creative industrial markets of contemporary design and visual communication with fresh creative perspectives. The lessons learnt from what the students consider as culturally important to them first as Indonesian designers, is then filtered through their own sense of aesthetic application in the designed artefacts they create. This chapter's case study will demonstrate how this special international learning environment creates a synergy between East and West creative industries. At the heart of the integrated learning in the curriculum delivery is a Pragmatism that encourages emergence of understanding through designing. This pedagogy facilitates the tailoring of each Indonesian student's understanding of what a global designer can be, springing from within their own cultural identity and what they, as graduates, can offer future employers and clients as new graduates. Moholy-Nagy, inspired by the pedagogical theories of John Dewey, pioneered this pragmatic model of understanding through doing in Chicago's New Bauhaus School. From this historical and philosophical pedagogical position on design education, this chapter's case study will conclude on the lessons learnt from how the Dual Award has impacted on developing globally focused but pragmatic design graduates.

"REVIEW- Interface Design: An introduction to visual communication in UI design delivers real ex... more "REVIEW-
Interface Design: An introduction to visual communication in UI design delivers real examples of the process of designing for UI and interactive projects. Seeing and learning from real examples of maps and diagramming while outlining critical components of the UI design process at various stages, makes this book an incredibly important resource for anyone wanting to learn about and implement a UI strategy - especially for graphic designers who were educated in the print world but want to make the transition to working on UI and interactive projects. Applying the information in this book can absolutely make any designer a more valuable and strategic contributor to current and prospective clients and employers. This book is easy to follow, provides a clear understanding of what to expect in each chapter, offers insight into key questions to be asked throughout the UI process and is loaded with relevant and applicable content and insight. This is not only a book, but an incredibly useful learning tool that can be utilized on daily basis. --Sean Brennan, Senior Project Manager, Haneke Design, Tampa, Florida, USA

Book’s Aims
This book aims to do three fresh things for interface design:

Firstly, it is a basic book on the front-end design of user interfaces. It takes the reader through the hows, the whys and the wherefores of designing different flavours of graphical user interfaces - but from a graphic design perspective.

Secondly, it will be an express journey through the importance of user experience and how to design better interactions for humans not machines.

Thirdly, this book stresses the importance of usability and aesthetics working together - and shows how this can be done.

In its aims, this book will also give a Visual Communication grounding to interface designers who need this knowledge, therefore championing graphic design as a valid standard in interface design.

BUT, most importantly, the book will demonstrate to established graphic designers that designing for dynamic user experience means exciting opportunities for creative facilitation of user-control. Designing better interactions for a user does not mean the designer losing control of their aesthetic - far from it.

All six chapters contain full-colour images, diagrams, and example of best practice. There are five practical exercises that will help both students and experienced designers develop skills in how graphic design and interactivity can combine in successful interface design.""

A retrospective that covers Dave Wood's ten year career as an illustrator. This book has over 100... more A retrospective that covers Dave Wood's ten year career as an illustrator. This book has over 100 pages of colour and B&W illustrations, with an introduction that charts the highs and lows of a UK illustration career during the 1990s.

Papers by Dr Dave Wood

8th International Conference on Illustration & Animation, Oct 23, 2020

Design, Basics Interactive Design: Interface Design, Dec 5, 2014

If you want to design successful user interfaces then you need clear and effective visual communi... more If you want to design successful user interfaces then you need clear and effective visual communication. Interface Design will help you achieve this using a range of incisive case studies, interviews with professional designers and clear hands-on advice to help you produce user-focused front-end designs for a range of digital media interfaces. This book introduces the major elements of graphic design for digital media – layout, colour, iconography, imagery and typography, and shows how these visual communication basics can combine to produce positive interactive user experiences. With practical advice on improving communication between designers and developer, and a tantalizing look at designing interactivity for all five senses, this is a must-have introduction to developing interfaces that users will love.

This paper disseminates a student graphic novel project to the challenge stigma against people wi... more This paper disseminates a student graphic novel project to the challenge stigma against people with complex needs. The project was a collaboration between Northumbria University 2nd year illustration students and Fulfilling Lives, a charitable organisation that helps vulnerable people to rebuild their lives. Fulfilling Lives’ work also includes outreach work with local social service providers to enact system change in their attitudes and policies to people who they define as ‘difficult clients.’ They believe in the value of the voice of people with complex needs, and they wish to amplify that voice to rebuild lives by enacting positive social change. Fulfilling Lives challenged the illustration students to use illustration to help amplify those voices. This paper focuses on the pedagogy behind how the students’ produced their graphic novellas, and on the students’ processes and reflections. It also disseminates the impacts of the ERDF funded project that published the graphic novel...

This paper focuses on a case study on re-contextualising illustration for second-rights use. The ... more This paper focuses on a case study on re-contextualising illustration for second-rights use. The illustration works it discusses is from a year-long collaboration between Rape Crisis Tyneside and Northumberland (RCTN), and 2nd year illustration students from Northumbria University. The paper will first outline the students’ original illustrated merchandise work for RCTN, before discussing the re-contextualising of that work into an information pack on sexual consent. This second project was funded by a ERDF Creative Fuse grant, and it brought together an inter-disciplinary team of experts from design, illustration, social science, applied science, and law to advise the re-contextualisation of the illustrations. This paper discusses the pedagogy behind how the students’ collaborated with RCTN. It then explains the decisions that were made by the steering group that led to the successful re-contextualisation of the students’ illustrations in a second-use context. Finally, one of the i...

This paper sets out the argument for a more proactive design thinking dialogue between designers ... more This paper sets out the argument for a more proactive design thinking dialogue between designers and theoreticians, to improve the interface between theory and designers’ tacit creative practice. To illustrate this problem, it will focus on Peirce’s pragmatic semiotic theory of Semiosis, and how designers and Peircean semioticians are beginning to address the barriers around complex theoretical language. The metaphor of a Semiotic Rosetta Stone will be used to demonstrate the central argument for a development of more designer-centric dissemination of theory. Its argument will be supported by historical precedent of the use of a meta-language to bridge between the known and unknown. Such a designer-centric meta-language would refocus complex theory without ‘dumbing down,’ and help designers who are unschooled in theory to implement it more easily into their design practice, to enhance the effectiveness of visual communication design. An emerging international Semiotic Rosetta Stone ...

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B) Semiosis happens at both the macro level of designing or illustrating and at the micro-decision-making level during ideation.

So, watch the video and see how I reframe Peirce’s semiotic theory to make it relevant for "Designerland."

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bit.do/Semiosis101

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Book’s Aims
This book aims to do three fresh things for interface design:

Secondly, it will be an express journey through the importance of user experience and how to design better interactions for humans not machines.

Thirdly, this book stresses the importance of usability and aesthetics working together - and shows how this can be done.

In its aims, this book will also give a Visual Communication grounding to interface designers who need this knowledge, therefore championing graphic design as a valid standard in interface design.

8th International Conference on Illustration & Animation, Oct 23, 2020

Design, Basics Interactive Design: Interface Design, Dec 5, 2014

Conference Proceedings of the Academy for Design Innovation Management, 2019

ADIM delegates will learn how the quality of user-participation can be enhanced by improving the ... more ADIM delegates will learn how the quality of user-participation can be enhanced by improving the visual communication within designed outputs. The workshop’s aim is to provide a direct, hands–on experience, to explore how iconic, indexical and symbolic semiotic representation can improve design’s message, concept or affordance. It will complement the conference sub-track 5.e Seeking signification in transformational times: design semiotics and the negotiation of meaning.

Electronic Workshops in Computing, 2010

Design Principles and Practices: An International Journal—Annual Review, 2011

Proceedings of the XV International Conference on Human Computer Interaction, 2014

Interaction Design is a young discipline that grew out of an overlap of other science and design ... more Interaction Design is a young discipline that grew out of an overlap of other science and design disciplines, its remit was the design of interactive products, services and systems for human behaviour. Visual Communication and its output of graphic design once had an early ...

DYNAMIC SINSIGN:SIGN-ACTION COMMUNICATING EXPERIENTIAL THEMES About the event This talk emerg... more DYNAMIC SINSIGN:SIGN-ACTION COMMUNICATING EXPERIENTIAL THEMES

About the event
This talk emerges out of Dave’s current research-in-progress into interaction design from a Visual Communication perspective. Through a clever synthesis of Peircean semiotics and Martin Heidegger, Dave will discuss how the user experience can be revealed in a new way that connects HCI and interaction design with Visual Communication. The 45 minute illustrated talk is for any UX designer who’d like to get into the mind of the user to see what they experience in a hermeneutically direct way that personas and mental models can’t communicate.

In the first section of Dave’s talk he’ll set out the context for how Visual Communication can inform user experience:

Visual Communication as a facilitator in behavioural change
Interpreting the Hidden
Signified Inspirational Data

In the second section, Dave will illustrate his proposition with some early research experimental graphic outcomes and methods:

Experience probes - capturing experiences
Experiential themes and dynamic sinsigns - visual interpretation
Visual Hermeneutic Circle - analysing and reduction

Dave will reveal some of the philosophy that structures the central idea and implications. He will end by discussing the development of an experimental qualitative methodology to explore this further. The nascent Visual Phenomenological Methodology will be developed over the next year as part of his PhD, and Dave would welcome conversations with industrial partners to develop a Knowledge Transfer Partnership.

CONFIA 2018 conference, 2018

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhan... more The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis (or sign-action) is problematic beyond academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory.

CONFIA 2018 conference, 2018

This paper disseminates a student graphic novel project to the challenge stigma against people wi... more This paper disseminates a student graphic novel project to the challenge stigma against people with complex needs. The project was a collaboration between Northumbria University 2 nd year illustration students and Fulfilling Lives, a charitable organisation that helps vulnerable people to rebuild their lives. Fulfilling Lives' work also includes outreach work with local social service providers to enact system change in their attitudes and policies to people who they define as 'difficult clients.' They believe in the value of the voice of people with complex needs, and they wish to amplify that voice to rebuild lives by enacting positive social change. Fulfilling Lives challenged the illustration students to use illustration to help amplify those voices. This paper focuses on the pedagogy behind how the students' produced their graphic novellas, and on the students' processes and reflections. It also disseminates the impacts of the ERDF funded project that published the graphic novellas in an anthology. The students' illustrations in this book and eBook formed the core material for a social media campaign via Twitter, to provoke dialogue on the stigma against people with complex needs in society using the hashtag #WhatDoYouSee? It will conclude with discussing the early positive impacts of the students' work, and some of the dialogues that the graphic novel project has already provoked.

In this paper I outline the development of a designer-centric metalanguage that interfaces betwee... more In this paper I outline the development of a designer-centric metalanguage that interfaces between practitioner and theoretician, without compromising their integrity and rigour. I express this through a Rosetta Stone metaphor and how, as a design researcher, I developed this concept when I had to pierce through Peirce's pragmatic semiotic theory to enhance aesthetic practice. I initially found it a challenge to understand Peirce's unfamiliar academic terminology without any prior formal education in Pragmatism or semiotic theory. The problem for designers is that theoretical language can be intimidating, arcane and opaque. In reviewing the Peircean literature I identified an absence of designer-centric literature, which would quickly facilitate designers' understanding of Semiosis. This paper therefore is a progressive call for more concerted collaboration between theoreticians and practitioners. This would ideally lead to new designer-centric Peircean literature being published, leading to the enhancement of aesthetic creative practice.

Countering the Othering of Others: Freedom City and Fulfilling Lives - Pecha Kucha In post-trut... more Countering the Othering of Others: Freedom City and Fulfilling Lives -
Pecha Kucha

In post-truth 2017, following the rise of xenophobic rhetoric in recent political campaigns from politicians dubbed ’populist’ by the media, Pastor Niemöller’s final stanza from 1946 - “Then they came for me – and there was no one left to speak for me” - should sober us up to the implications of normalising the 'othering' of fellow humans. Our 2nd year illustration students across two illustration projects - Freedom City, and Fulfilling Lives - have explored how they can craft visual communication to counter destructive narratives of fear and hate. Freedom City explored the boundaries and injustices of human freedom, in advance of Newcastle’s celebration in November of the 50th anniversary of the award of Martin Luther King’s honorary doctorate. While Fulfilling Lives explored different sequential visual narratives to empathically speak up for ‘the other’ on our streets who have fallen through society. Both of these illustration projects created social impact outcomes beyond academia.

Graphic Design Educators’ Network Conference, Cardiff Metropolitan University, UK., 2016

There is a fine tradition of graphic designers making the transition from design practice to desi... more There is a fine tradition of graphic designers making the transition from design practice to design education, and Bauhaus’ Moholy-Nagy provides a good historic precedence for this. But within Higher Education there is now an expectation to also engage in ‘academic research,’ but surely that is what social scientist or humanities scholars do? After all, graphic designers understand praxis and tacit knowledge? As the discipline’s educators, how do we develop the field of graphic design research “from anecdote to evidence” to develop the field of academic research. This paper suggests that a philosophical application of Pragmatism within our practice would be beneficial. Moholy-Nagy, back in 1950’s Chicago embraced pragmatic methodologies in his New Bauhaus School. With
Pragmatism’s focus on knowledge and understanding being emergent, this paper will outline a practice-based, pragmatic methodological framework, which utilises C.S. Peirce’s pragmatic form of semiotics - Semiosis. This paper will use visual examples to take the reader into this design research, which is both THROUGH and FOR design, to demonstrate one possible way to facilitate the improvement of our visual communication.

This pictorial is a walk-through of a new method that uses visual interpretation techniques to ph... more This pictorial is a walk-through of a new method that uses visual interpretation techniques to phenomenologically reveal extra detail of user behaviour from within user research. The Circle of Visual Interpretation methodology is aimed at design teams engaged in designing interactions to use during their ideation phase. Through visual interpretation a dialogue between designers and their target audience is crafted. From engaging in this hermeneutic-semiotic process fresh understanding regarding user motivations behind user actions visually emerges. In this paper each practical step in this methodology is established, explained and illustrated with examples from a user research project.

Interaccion 2014, XV INTERNATIONAL CONFERENCE ON HUMAN COMPUTER INTERACTION, Puerto de la Cruz, Tenerife, Spain 10-12 SEPTEMBER 2014, 2014

This paper provides an overview of the Circle of Visual Interpretation methodology that is worksh... more This paper provides an overview of the Circle of Visual Interpretation methodology that is workshopped during Interacci6n 2014. This new method uses visual interpretation techniques to phenomenologically reveal extra detail of user behaviour from within user research. The Circle of Visual Interpretation methodology is aimed at design teams engaged in designing interactions to use during their ideation phase. Through visual interpretation a dialogue between designers and their target audience is phenomenologically crafted. From engaging in this hermeneutic-semiotic process fresh understanding regarding user motivations behind user actions visually emerges. In this paper each practical step in this methodology is summarised and illustrated with examples from a user research project.

The 5th International Conference on Design Principles and Practices, University of Rome, Rome, Italy, 2011

A Can of Worms: Has Visual Communication a Position of Influence on Aesthetics of Interaction? I... more A Can of Worms: Has Visual Communication a Position of Influence on Aesthetics of Interaction?

Interaction Design is a young discipline that grew out of an overlap of other science and design disciplines, its remit was the design of interactive products, services and systems for human behaviour. Visual Communication, and its output of graphic design have since lost an influence on Interaction Design that it drew from. This now has led to two myths evinced from functionalist disciplines that: Visual Communication just does the ‘aesthetic bit’ on the interface, and that aesthetics has no real use or function beyond ‘beauty’. But aesthetics cannot be reduced and measured as a functionalist equation of ‘means-end’. Experience, emotion, and interpretation can only use qualitative methods to explore an aesthetic experience. It is a cultural phenomenon, and not an engineering problem, that can be explored quantifiably. Using Dewey and Shusterman’s Pragmatist philosophical positions, the Aesthetics of Interaction can be explored from a situated and culturally connected embodiment of the interactive experience. From this position aesthetics is viewed as emergent from the interactive experience through three factors: a socio-cultural context, a mind-body context and finally a means-to-many-ends instrumentality. This makes this a Phenomenological study, and closer to Visual Communication. The rhetorical nature of Visual Communication affords a change in human behaviour, evoking a cognitive and emotional response, making its remit about framing decision-making from use of image and text. Interaction Design, Visual Communication, Experience Design, Product Design all have amorphous, overlapping boundaries with a common set of design skills. This raises a more vexing question: what other design disciplines also share or rather claim a Phenomenolgical position too? This paper will set out to explore these amorphous boundaries to decide if Visual Communication still has an actual support position of influence on Interaction Design.

This paper uncovers if other design disciplines claim a Phenomenolgical position on Aesthetics of Interaction, to decide if Visual Communication still can claim a position of influence on Interaction Design.

CREATE 10 Edinburgh Napier University, UK , 2010

Bill Moggridge’s original vision, for the emerging design discipline of Interaction Design, was t... more Bill Moggridge’s original vision, for the emerging design discipline of Interaction Design, was to “give aesthetic pleasure as well as lasting satisfaction and enjoyment” to the designed interactive artefacts, services and systems [1]. Over the last quarter of a century the development of Interaction Design has grown under the influence of other disciplines, such as HCI and cognitive psychology. Under this influence the influential balance has dipped away from ‘aesthetic pleasure’ towards functionalism and usability. In doing so aesthetics has been viewed as ‘inversely proportional’ to usability [2]. But through new theses that explore embodied interaction [3] and the emerging aesthetics from the experience [4][5], that functionalist dip is being rebalanced towards an embodied [6] and an aesthetic experience [7][8]. This paper is a theoretical contribution to the research area of Aesthetics of Interaction, but from a Visual Communication (Vis Com) perspective. There is a lack of academic research from a Vis Com perspective in general [9] [10], and specifically very little has addressed the Aesthetics of Interaction beyond web interfaces into the ‘aesthetics of use’ [11]. Therefore I will make an original contribution to this subject by demonstrating how Vis Com is not just about the visual interface, but has shared phenomenological roots with its design cousin, Interaction Design. Vis Com has had problems in the past working with interactivity [12] but with Harrison’s new HCI Phenomenological paradigm [13] to connect with, it can help towards re-balancing the influence equilibrium, and meet HCI at least halfway, especially in researching the Aesthetics of Interaction. In order to convince those that still see Vis Com as merely style and artifice, and an internalized and subjective design process, I will use the theses of Dourish ‘Embodied Interactions’ and McCullough’s ‘Digital Ground’ to connect quantitative HCI research to qualitative Vis Com methodologies. This will present the design discipline from a fresher perspective of intellectual, considered and rhetorical discourse, into a richer understanding of the discipline, in order to propose future areas for practical Vis Com research as a stronger influence upon Interaction Design.

References
[1]. MOGGRIDGE, B. (2007) Designing Interactions. MIT Press. p14
[2]. AHMED, S. U., AL MAHMUD, A., and BERGAUST, K. (2009) Aesthetics in Human-Computer Interaction: Views and Reviews. In Proceedings of the 13th international Conference on Human-Computer interaction. Part I: New Trends (San Diego, CA, July 19 – 24, 2009). J. A. Jacko, Ed. Lecture Notes In Computer Science, vol. 5610. Springer-Verlag, Berlin, Heidelberg, p564.
[3]. DOURISH, P. (2004). Where the Action Is: The Foundations of Embodied Interaction. MIT Press.
[4]. FIORE, S., WRIGHT, P. and EDWARDS, A. (2005) A Pragmatist Aesthetics Approach To The Design Of A Technological Artefact, In Proceedings of the 4th Decennial Conference on Critical Computing: Between Sense And Sensibility, August 20-24, 2005, Aarhus, Denmark.
[5]. PETERSEN, M.G., IVERSEN, O. S., Krogh, P.G. and LUDVIGSEN, M (2004) Aesthetic Interaction – A Pragmatist’s Aesthetics Of Interactive Systems. In Proceedings of the Conference on Designing Interactive Systems: Processes, Practices, Methods, and Techniques (DIS). Cambridge, MA.
[6]. McCULLOUGH, M. (2005) Digital Ground: Architecture, Pervasive Computing, and Environmental Knowing. Cambridge: MIT Press.
[7]. DEWEY, J. (1987) Art as Experience. New York: The Berkeley Publishing Group.
[8]. SHUSTERMAN, R. (1992) Pragmatist Aesthetics: Living Beauty, Rethinking Art. Blackwell.
[9]. ROCK, M. and POYNOR, R. (1995) What Is This Thing Called Graphic Design Criticism? Eye. 4 (16) pp56-59
[10]. BALDWIN, J. and ROBERTS, L. (2006) Visual Communication. London: AVA Publishing (UK) Ltd. p14
[11]. DUNNE, A. (1999) Hertzian Tales: Electronic Products, Aesthetic Experience and Critical Design. London: RCA CRD Research.
[12]. WOOD, D. (2009) Interaction Design: Where's the Graphic Designer in the Graphical User Interface? In: International Association of Societies of Design Research. IASDR 2009, 18-22 October, Seoul, Korea. Republic of Korea: IASDR, p135.
[13]. HARRISON, S., TATAR, D. and SENGERS, P. (2007) The Three Paradigms of HCI. Presented at the Alt.Chi. Session at the SIGCHI Conference on Human Factors in Computing Systems San Jose, California, USA, April 28 – May 03, 2007 CHI '07.

IASDR 2009 Conference, Seoul, South Korea, 2009

See link to paper opposite. "The IASDR 2009 conference which will be held on 18-22 October, 2009... more See link to paper opposite.

"The IASDR 2009 conference which will be held on 18-22 October, 2009 in Seoul, Korea. This is a large, international design research conference with an intensive and high quality program. This venue will bring together top design researchers and practitioners to build and advance knowledge in the field of Design. We encourage your enthusiastic participation for this exciting opportunity."

In this 90-minute design semiotics workshop, ADIM delegates will learn how the quality of user-pa... more In this 90-minute design semiotics workshop, ADIM delegates will learn how the quality of user-participation can be enhanced by improving the visual communication within designed outputs. The workshop's aim is to provide a direct, hands-on experience, to explore how iconic, indexical and symbolic semiotic representation can improve design's message, concept or affordance. It will complement the conference sub-track 5.e Seeking signification in transformational times: design semiotics and the negotiation of meaning. Theoretical relationship Over 90-minutes through two exercises and a plenary, the workshop will explore how C.S. Peirce's pragmatic semiotic theory of Semiosis can be synthesised into design practice. The triadic nature of Semiosis focuses on the interrelationship between the design concept, how this is visually represented, and how this representation affects how the intended meaning is finally interpreted. The workshop exercises take a Constructivist approach to facilitate participants' own revelation as to how design outputs can be improved through applying the triadic relationship of Semiosis. Ethical Issues As the proposed workshop will be an 'opt in' attendance for participating, an ethical informed consent agreement form will be issued before the workshop begins. Only the work of those participants who sign and consent to their workshop outputs will be used in any ongoing analysis or reflection in the report or future papers. Workshop approach The approach for the 90-minute workshop would follow this structure: 00:00 Welcome, workshop aims, semiotic audit (@ 20 mins) • Welcome message • Projection of a semiotic audit form and explanation: o Participants will have a paper copy of a semiotic audit form o They will complete first section before workshop begins o This captures the initial level of pre-existing understanding of semiotic theory • Then an overview of rudimentary Semiosis and its triadic relationship between concept, its representation, and the role of interpretation in the context of designed artefacts. 00:20 Exercise 1: Symbolic representation in designing effective visual communication (@20 mins)

This one hour practical workshop will introduce you to the basic triadic theory of C.S. Peirce’s ... more This one hour practical workshop will introduce you to the basic triadic theory of C.S. Peirce’s pragmatic semiotics, to learn how it can be used to enhance the visual communication in your design outputs. Within 60 minutes you will visually explore with scissors, markers and glue paper, how to craft pragmatic semiotic signs into your design ideas through a mini-ideation project.
In the workshop, you will be guided by a designer and Peircean semiotician using simple practical exercises employing iconic, indexical and symbolic semiotic representations.
This introductory exercise will help you experience how pragmatic semiotics can improve the visually communication of your design idea’s message or concept.
How this concept is visually represented, and then interpreted, by its intended audience are triadically inter-related and is a core component of Peirce’s theory.
Within one hour the workshop will demonstrate how complex theory can begin to be practically crafted into design practice.
This 60-minute workshop will give 8 to 12 participants direct hands–on experience of the basics of how to synthesise C.S. Peirce’s pragmatic semiotic theory into their design practice. The workshop is led by a team comprising of a designer and a Peircean semiotician.

Themes in workshop include:
• Utilising pragmatic semiotic theory to visually communicate intended meaning and concepts;
• The effective semiotic sign-actions of representation within visual communication.
The practical experience of applying pragmatic theory into design ideation, will provide each workshop participant with the following:
• Basic theoretical/practical guidance from the workshop team to understand the rudimentary theory in the context of their design practice.
• Time within a structured workshop practical mini-project to explore how to apply the theory in the context of their design practice.

Draft, 2021

This is a working draft of a short paper on the application of Peirce's semiotic theory in the vi... more This is a working draft of a short paper on the application of Peirce's semiotic theory in the visual communication design. As I shape the paper I'll update this draft with the current version to garner feedback from Peircean theorists.

First initial (rough) draft of the paper will be uploaded here sometime soon, so check back…