Visual Semiotics Research Papers - Academia.edu (original) (raw)

Indagare sugli esordi della prospettiva è possibile soltanto se si tenta di comprendere il modus operandi e la forma mentis di Brunelleschi. Ricostruendo la cornice concettuale possiamo attendibilmente azzardare quali siano state le strategie cognitive e quali le modalità operative che portarono, nella prima metà del Quattrocento a Firenze, a mettere in atto un sistema di rappresentazione spaziale che tutt’ora chiamiamo prospettiva rinascimentale. Cercheremo pertanto di dimostrare che Brunelleschi fu protagonista in un ambiente ove artisti, letterati e mercanti ritenevano i concetti di accertamento e dimostrazione, strettamente correlati all’esperienza concreta: un elogio del sapere pragmatico che anticipa, sotto l’aspetto della verificazione sperimentale, la scienza moderna. Fu proprio in seno a questo sapere pragmatico che prese corpo il concetto di verifica e dimostrazione e, nello specifico, il processo si realizzò nelle botteghe e nei cantieri degli architetti e degli artisti rinascimentali, le cui opere furono valorizzate dagli umanisti fiorentini ai fini di una glorificazione della storia cittadina. Non a caso Ernst Gombrich pose in evidenza che l’idea di progresso nacque nel quadro delle conoscenze applicative: è a partire da Brunelleschi e da Ghiberti che l’artista iniziò a lavorare come uno scienziato poiché le sue opere servivano anche a illustrare «in modo insolito e ingegnoso come il maestro risolve un problema artistico».

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- Critical Theory, Art History, History of Perspective in Painting, Visual Semiotics

The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of Thessaloniki and Limassol, two European, Mediterranean cities, with a significant gastronomic tradition and a lively city center. These semiotic modes are represented in a sample which is composed of shop signs whose verbal message constitutes verbo-cultural palimpsest or is written in a local dialect, as well as of shop signs which focus on their iconic visual message using intersemiotic translation or visual rhetoric to make their message appealing for the consumers. The main conclusion is that the shop signs under scrutiny seem to be addressed mainly to the native people of the two countries which are considered in the common cultural practice much better consumers than tourists as concerns their culinary habits. The study provides also evidence for the creative use of culinary shop signs in both cities. Intracultural interpretation as well as the design of the verbal element seems to make shop signs more appealing for the consumers.

- by Evangelos Kourdis
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- Discourse Analysis, Visual Semiotics, Graphic Design, Linguistic landscapes
- by Inna Semetsky
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- Semiotics, Philosophy of Education, Popular Culture, Psychotherapy and Counseling

Poter accedere a qualsiasi immagine, in qualsiasi momento, in qualsiasi luogo. I nuovi media prospettano straordinarie vie di fruizione. Ma come orientarsi in questo scenario? La nostra cultura visuale è capace di tenere il passo della tecnologia? Questo libro racconta come il cinema, ben prima dell'avvento della tecnologia digitale, abbia saputo accogliere immagini provenienti da archivi pubblici e privati: dai rapporti con la pittura al foundfootage, dalla pratica del remake all'intermedialità. Molte volte assegnato al compito di produrre un calco del "reale", il film costituisce piuttosto uno spazio del pensiero nel quale si rielaborano le immagini del passato e si rigenerano i materiali "usurati" della cultura. Se i nuovi media invitano lo spettatore a manipolare le immagini e non semplicemente a osservarle, è dunque a partire dalle lezioni di montaggio offerte da maestri come Godard e Herzog, Sokurov e Van Sant, Pasolini e Moretti, che diventa possibile assumere un ruolo attivo e consapevole nell'orizzonte estetico e mediatico contemporaneo.

- by Francesco Zucconi
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- Cultural Studies, Aesthetics, Visual Studies, Media Studies

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

- by Massimo Leone
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- Semiotics, Cultural Semiotics, Visual Semiotics, Face Recognition

how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.

- by Salvador Leon
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- Semiotics, Photography, Visual Semiotics, Photography Theory

- by Massimo Leone
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- Semiotics, Social Networks, Internet Studies, Social Networking

Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w zwięzły sposób przedstawia szereg zagadnień istotnych dla każdego historyka, socjologa czy badacza literatury. Na Model i metaforę składają się teoretyczne podstawy myślenia obrazem, zarys historycznych relacji słowa i obrazu w humanistyce, a także praktyczne wskazówki dla tych, którzy chcieliby korzystać z obrazów w trakcie planowania i pisania tekstów. Inni czytelnicy mogą traktować tę książkę jak przewodnik, ułatwiający poruszanie się w epoce obrazów.
Jak przystało na książkę o komunikacji wizualnej, Model i metafora jest połączeniem obrazu i tekstu na równych prawach – zawiera ponad 150 rysunków wyjaśniających kwestie, które byłyby trudne do omówienia przy pomocy tekstu.

- by Maja Starakiewicz
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- Cognitive Psychology, Visual Studies, Art History, Research Methodology

Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.
Through this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.

- by Satish Kumar
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- Semiotics, Visual Studies, Cultural Semiotics, Visual Semiotics
- by Inna Semetsky
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- Semiotics, Cartography, Psychotherapy and Counseling, Visual Semiotics
- by Lorraine J Affourtit
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- Visual Culture, Visual Semiotics, Deconstruction, Critical Race Theory

One of the main distinctions between Italian Manneristic artistic period and the Dutch golden age of the 17th century painters is, as Svetlana Alpers noted, a question of the position of the observer. Italian art , linked with the themes chosen by a patron, creates an unreal and harmonic world , enclosed by a framed window and with the viewer-us-forced into a specific position. Linear perspective was, instead of an aid to reality, a portal to illusionism. Where these paintings were located? Often they were the so-called altarpieces, displayed behind the altar, symmetrical to the main axis on a Latin cross floor plan church. They were located in an area that was inaccessible to the common observer. (This idea worked even for Art moved in the smallest lateral naves chapel, normally a location for buried clerics. Inaccessibility was the source for the placements of the observers.) Since the middle age, Art was invested in the role of a teacher for te faithful. The uneducated were not able to obtain the word of god through a mass spoken in Latin, moreover they were moved to Faith with an illusionism far removed from everyday life. Linear perspective creates a timeless representation, a sort of explanation of Faith. It was a rhetoric figure placed permanently in front of our eyes. The renaissance concept of a reality that refuses the chaos of the everyday, that looks for the shape of perfection, a symmetry that only art had the power to set. Since Early Dutch painting, themes show off their distance with that conception. an example can be found in the Arnolfini portrait by Van Eyck: the commissioners are the subject of the painting (even in Italian Art Renaissance the commissioner was often depicted in the paintings, placed in a hidden or lateral position, often bowing to the religious theme which would hold the central position.) they are not particularly attractive or perfect, their wealth essentially hidden in small objects. See for example the famous round-shape mirror (Fig.

Qu'est-ce qu'une image ? La multiplication proliférante des images semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire ce qu'est réellement une image. Si notre interaction quotidienne avec les écrans a fait disparaître certaines peurs archaïques quant au pouvoir perturbateur des images, cette normalisation des rapports fait elle-même écran à une confrontation réelle avec l'efficace des images.
Prenant acte du fait que l'image n'est pas structurée comme un langage, cet ouvrage se fait le témoin des débats actuels autour des logiques imaginales, notamment les Bildwissenschaften allemandes ainsi que les visual studies aux Etats-Unis. Que ce soit à partir d'une perspective contemporaine ou encore depuis une position délibérément anachronique, les différents essais forment ensemble un arsenal conceptuel permettant d'affronter de façon nouvelle la question de l'image et de son efficace.

- by Emmanuel Alloa
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- Aesthetics, Visual Studies, Art History, Visual Anthropology

In Narrative Structure in Comics: Making Sense of Fragments, Barbara Postema uses the notion of the gap to explain how comics create meaning. As texts that combine words and images, comics rely on the verbal register to communicate meaning, but they also use images in a number of different ways, many of which are based on leaving out information, forcing readers to fill in the blanks. By foregrounding the narrative qualities of comics, Postema demonstrates the ways in which comics are structured at every level of communication—image, panel, sequence, narration—to guide the reader to assemble the narrative from fragments. Besides advancing a new understanding of the structure of meaning in comics, this work’s exploration into the form of comics integrates two traditionally separate approaches to the study of comics, namely, the semiotics of the Franco-Belgian school of visual culture and comics studies, and the practice-based comics theory advanced by American cartoonists Will Eisner and Scott McCloud. It combines these traditions to advance a novel analytical framework and a vocabulary to study the form, an approach that is demonstrated through a series of readings of contemporary North-American comics.

- by Barbara Postema
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- Semiotics, Visual Studies, Comics Studies, Visual Narrative

New drawing research/COVID-19 research project in progress with opportunity to participate.

- by Tracey Bowen
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- Visual Semiotics, Visual Communication, Drawing Research, Drawing as a research tool

در اين مقاله، براي تحليل صفحة اول روزنامهها و گفتمان حاكم بر آنها
دورههاي چند ماههاي از چندين روزنامة كثيرالانتشار را مطالعه كرديم تا
دريابيم آيا صفحهآرايي صفحة اول روزنامهها به شيوهاي هدفمند انجام
ميشود يا برحسب اتفاق و صرفاً بر مبنايي زيباييشناسانه. در انجام اين كار از
مدل چندوجهي گونتر كرس و تئوفان ليوون استفاده شد كه براي صفحهآرايي
روزنامه چهار شيوه قائل است و اكثر روزنامهها براساس يكي يا تركيبي از
آنها صفحهآرايي ميشوند. در تحليل صفحة اول روزنامههاي ايراني به نتايج
مشابه تحقيق كرس و فان ليوون رسيديم كه معتقدند صفحهآرايي صفحة اول
روزنامهها نوعي جهتدهي ايدئولوژيك براي هدايت خواننده و القاي معاني
خاص به او وجود دارد.

- by Gerda Roeleveld
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- Semiotics, Architecture, Landscape Architecture, Climate Change Adaptation

The revolution taking place across the world and Nigeria are of diverse forms, some overt and some others covert. Among the covert ones are the gradual introduction of social robots in form of sex dolls, also known as female humanoids into homes. These dolls are designed and advertised for companionship, sexual stimulation, artistic representations of human fantasy, and other creative reasons. These human-like entities of various sizes and shapes can be inflated before use, and deflated after use by the male owner, and many women may not know that such objects are in their houses competing with them. This paper attempts to interrogate this emerging trend, and argues that the status of women will gradually wane with the introduction of sex dolls, explores the negative effects of the presence of these female humanoids on the image and dignity of women through the use of online questions from the Google platform that got anonymous responses from respondents. The survey and qualitative content analysis methods woven around Fairclough"s CDA were used to analyse the data. Findings show that sex dolls can never take the complementary role played by real females to their male counterparts in the society; as such, the female gender needs no redefinition. It opines that there is a need to reiterate and uphold the traditional status of women as being complementary to men, and not just as object of fun. It offers further recommendations that will assist women cope in this humanoid society, and concludes that the unconscious shifting of the traditional roles of the female gender to artificial beings will have unquantifiable consequences on the family and the society at large. The study concludes that this emerging trend of men having intimate relationship with female humanoids will likely cause fundamental changes in the meaning of social interaction and the nature of human communication in the society.

- by Rafael Fajardo
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- Semiotics, Cultural Studies, Latin American Studies, Anthropology

Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen... more

- by Lars Christian Grabbe
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- Semiotics, Cultural History, Cultural Studies, Philosophy

Les reconfigurations actuelles des films et documents audiovisuels, qui changent notamment de support ou de média, interrogent bien sûr les définitions acquises de ce que nous appelions sans trop d’incertitude, jusque dans les années 1990, « cinéma » ou « télévision », mais elles peuvent aussi questionner les catégories théoriques mêmes que nous utilisons couramment pour les étudier : genre, format, média. Prenons tout d’abord quatre exemples de migration et recatégorisation d’objets audiovisuels pour poser des repères. Nous approfondirons ensuite la réflexion en montrant comment la notion de « levain des médias » nous permet de clarifier certains de ces phénomènes. Avec cet éclairage, nous observerons comment les objets se déplacent et se situent de façon dynamique au sein d’une tension entre genre, format et média, pour mieux repenser la « logique des genres » aujourd’hui.

- by Guillaume Soulez
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- Semiotics, Media Studies, Film Studies, Intermediality

A B S T R A C T Visualisations can highly contribute to the importance and authority of new ideas, concepts, and knowledge claims. Among the many visualisations, few become well-known and influential in environmental governance. Whilst these have been objects of specific research, this study questions what constitutes and underpins their influence. For this, the paper codifies influential visualisations and defines criteria for studying their visual characteristics. The criteria are applied to two case studies, the " traffic light " and the " planetary boundaries " diagrams. To increase the validity of the findings, the study also introduces two " failure cases " as a plausibility check.

- by Piero Morseletto
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- Visual Studies, History of Ideas, Visualization, Visual Culture

The technologies that in the last ten years affected our life and the social dynamics have highlighted an unavoidable collision between the real and the virtual world. They seem to mesh up in a new territory made by stories and imaginaries, in which the concepts of local and global overlap and the plural identities left place to heterogeneous fluxes of tales and signs.

- by Nicoletta Raffo
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- New Media, Social Identity, Visual Semiotics, Graphic Design

This article is primarily concerned with the question of understanding of notions and phenomena such are idolatry, iconolatry, and image in the framework of religious culture in European and Levant history from classic – antique age until late modern times. Since the topic is broad, the article is composed as a short discussion about main ideas and problems connected to the understanding and the interpretations of the notion of idolatry and images that were and are presented in public and scholar discourse. Theoretical basics for his article were taken from the work of several prominent post-modern scholars and researchers of scientific and academic fields of visual culture and art history such as Hans Belting, Michael Baxandall, David Freedberg, Peter Burke. In addition to this, the semiotic approach, as well as theory of media and communication was also engaged in the analysis conducted in the article.
Keywords:
Images, Christianity, cult, object, icons, visual

- by Aleksandar Pantic
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- Visual Studies, Art History, Visual Culture, Visual Semiotics

Resumen Recientemente, el estudio de la semiología ha cobrado progresivamente mayor presencia en la currícula de programas como artes visuales, plásticas, diseño gráfico, comunicación, lingüística, literatura, arquitectura y otros. Sin... more

- by Martha Soto
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- Semiotics, Art Theory, Visual Semiotics, Semiotica

In argumentation theory pictures traditionally has been considered unable to function as argumentation. In this text Jens E. Kjeldsen analyses and critiques the assumption that argumentation is tied to explicit verbal communication, and that the semiotic character of pictures makes pictorial argumentation impossible. We should rather, he proposes, consider argumentation as performative communication acts; and because pictures can perform the role of enunciation and communicative action, they can also perform argumentation.

- by Jens E. Kjeldsen
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- Visual Studies, Rhetoric, Visual Rhetoric, Visual Semiotics

In an essay on the picture frame, Georg Simmel claims the sacredness of this device considered fun- damental for the dialectical articulation of the delicate relationship between art and reality which con- stitutes, for the german philosopher, the core of his aesthetic meditations, including those on theatre. In the most contemporary forms of immersive theatre it is nevertheless no longer the framing of the proscenium – that imaginary “fourth wall”, according to a purely visual approach, through which the audience observes actions on stage – that threshold-figure (according to Simmel’s viewpoint) to which the function of separating and connecting the factual reality of the spectator and the counterfactual one of the (dramatic) possible world is delegated. In fact, in the immersive theatre this boundary devi- ce is embodied by the actor himself, who becomes the figure responsible for the continuous transfor- mation and transfiguration of the performative frame, decidedly more opaque and less transparent than to more traditional theatrical forms, such as bourgeois drama.
We are, therefore, in presence of a sort of 2.0 fictionality, no longer delegated to that specific fictional frame marked by boundary indicators such as the darkness in theater room, the curtain, the silence, etc. Actually, in this new kind of fictionality bodily matter and aesthesia at stake in the actor-spectator experience are solely account for the establishment of the performative frame.

- by Massimo Roberto Beato
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- Semiotics, Cultural Semiotics, Visual Semiotics, Drama and Theater

This paper discuss one of the very features of the urban spaces, namely the inscription of the human action as a privileged viewpoint for its constitution. Three examples are briefly discussed about howspatial articulations value the postulate of action, thus setting up very diversified types of “modelreaders”. Expecially in the case of the “dissuasive architecture” of the cities, the matter on how theaction is conceived and valued is emphasized. In particular, the modal featuring of dissuasive space is not injunctive (namely it has not the possibility of being constitutive of law), but it is only targeted to mere interdictions regarding the modality of “doing”. In the end, some features about thephenomenological construction of the subject (as “action instance”) are briefly discussed, focusing in partiular Agamben and Husserl.

- by Riccardo Bertolotti
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- Visual Semiotics, Semiotica, Semiotica Dello Spazio, Semiotica Giuridica

According to a sociosemiotic theoretical framework, this paper reflects on the enunciative relations between the so-called "dramatic text" and its performance. First we will address the textual nature of playing on stage, to be no longer thought of as a deflection from the dramatic text, but as the result of dynamics of translation converging in the stage practice. The alleged opposition between the closure of the dramatic text and the phenomenal presence of the actor's body on stage must be reconfigured on the ground of enunciation frames, along with all their effects of reality and presence. During the performance, the actor uses his own figure to project an image that displays a series of semantic articulations, adopting enunciation strategies that can be analysed sub specie textis. Though many studies on theatre still support the idea that the effect of naturalism on stage depends on casualness and impermanence, we will rely also on the approach of cognitive studies to remark that this very effect is the result of precise enunciative strategies oriented to produce empathy between the actor and the spectator.

The protagonism of the image in the media benefits the disciplines that better control its mechanisms. Among them, Advertising stands out effortlessly because, in a moment when the communication sees its image dimension accentuated, this discipline emphasizes the power of the image to communicate and persuade under the cloak of a permanent seduction. Consequently, Advertising emerges in contemporary culture as a markedly imaginative discourse, capable of infecting all others (Ferreira, 2012), vulnerable to the seductive power of the image and a culture that defines itself from it. In this way, its association with Rhetoric, while “faculty of theorizing about what is appropriate in each case to convince” (Aristotle, 1355b), though inevitable, does not appear free of obstacles, especially in which regards the choice of the model to analyse the specificity of the advertising image. This article presents the semiotic-rhetorical models related to image analysis of Roland Barthes (1964), Durand (1964), Péninou (1973), Grupo μ (1987), Floch (1981), Sonesson (1993), Umberto Eco (1997), Martine Joly (1999) and José Saborit (1999).

- by Ivone Ferreira
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- Rhetoric, Advertising, Visual Rhetoric, Visual Semiotics

Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.

- by Lars Christian Grabbe
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- Semiotics, Philosophy, Aesthetics, Visual Studies

Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura dell’in-volto, dell’in-viso, da una parola nutrimento a una parola escremento, e non quello della sua eiezione naturale ma quello di una parola-vomito, borborigma che parla a sé stesso, che inverte la traiettoria del bolo dal dentro al fuori. Ma ventriloquo è anche colui che parla al ventre, nel senso che non si rivolge al viso, alle orecchie, alla bocca, al volto dell’altro, ma spinge l’interlocutore a dismettere il proprio volto per farsi ventre, per rimanere nel chiuso del proprio io, nel rimuginare la parola ricevuta dal ventriloquo finché essa non diviene a sua volta sterco, e non viene eietta come natura vorrebbe ma vomitata verso il volto altrui, negandone la purezza fenomenologica, frustrandone la funzione di volto, oppure spingendolo a diventare anch’esso pancia, in una asemiosi illimitata che spegne il senso invece di accenderlo, che chiude l’esistenza nell’angolo buio dell’essere, che restituisce i corpi alla natura e li rende ferini, invisi gli uni agli altri, nemici, barbari.

- by Massimo Leone
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- Semiotics, Cultural Semiotics, Visual Semiotics, Cognitive Semiotics

The paper defines the role of airlines’ names in nation branding. The author describes the types of identity (territorial, political, ethnic) in airlines’ names and the main types of onyms communicating these identities. Key words:... more

- by Olena Fomenko
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- Visual Sociology, Onomastics, Visual Semiotics, National Identity

An inquiry on inductive logic and diagnosis.

- by Francesco Galofaro
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- Epistemology, Visual Semiotics, Inductive Reasoning

Tradicionalmente, el Diseño ha sido una disciplina directamente relacionada con el aspecto meramente estético. Tan sólo alguna de sus especialidades, como el Diseño Gráfico, se ha asociado a la Comunicación Visual, y en el terreno periodístico se ha tratado como un complemento de la información y un procedimiento secundario en la elaboración de noticias, reportajes y otros contenidos. Esta disociación entre Diseño e Información no tiene sentido y consideramos que limita el poder comunicativo de ambas materias. Son igual de importantes el «qué» y el «cómo» en la elaboración de los mensajes de carácter informativo. Del mismo modo, son tan importantes los redactores como los diseñadores (frecuentemente conocidos en los medios impresos como maquetadores). En definitiva, forma y contenido están en el mismo nivel y deben ser complementarios. El objetivo principal de este capítulo es destacar la intensa relación existente entre Periodismo y Diseño y proporcionar a los estudiantes más herramientas que potencien su capacidad narrativa e informativa. Conocer estos puntos que los unen hace que los estudiantes de Periodismo pierdan la reticencia inicial a adentrarse en el Diseño porque consideran erróneamente que para diseñar hace falta dibujar.

- by Roberto Gamonal Arroyo
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- Design, Journalism, Information Visualization, Visual Semiotics
- by Giorgia Aiello
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- Visual Studies, Visual Anthropology, Visual Culture, Visual Rhetoric
- by Wibo Bakker
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- Semiotics, Design, Fashion design, Art