Emotion resonance and divergence: a semiotic analysis of music and sound in 'The Lost Thing', an animated short film and 'Elizabeth' a film trailer

Music and sound contributions of interpersonal meaning to film narratives may be different from or similar to meanings made by language and image, and dynamic interactions between several modalities may generate new story messages. Such interpretive potentials of music and voice sound in motion pictures are rarely considered in social semiotic investigations of intermodality. This paper therefore shares two semiotic studies of distinct and combined music, English speech and image systems in an animated short film and a promotional filmtrailer. The paper considers the impact of music and voice sound on interpretations of film narrative meanings. A music system relevant to the analysis of filmic emotion is proposed. Examples show how music and intonation contribute meaning to lexical, visual and gestural elements of the cinematic spaces. Also described are relations of divergence and resonance between emotion types in various couplings of music, intonation, words and images across story phases. The research is relevant to educational knowledge about sound, and semiotic studies of multimodality

A multi-layered approach to surfacing and analysing organisational narratives : increasing representational authenticity

This paper presents an integrated, multi-layered approach to narrative inquiry, elucidating the evolving story of organisational culture through its members and their physical, textual, linguistic and visual dialogue. A dynamic joint venture scenario within the UK hi-technology sector was explored to advance understanding of the impact of transformation level change, specifically its influence on shared belief systems, values and behavioural norms. STRIKE – STructured Interpretation of the Knowledge Environment is introduced as an innovative technique to support narrative inquiry, providing a structured, unobtrusive framework to observe, record, evaluate and articulate the organisational setting. A manifestation of narrative in physical dialogue is illuminated from which the underlying emotional narrative can be surfaced. Focus groups were conducted alongside STRIKE to acquire a first order retrospective and contemporaneous narrative of culture and enable cross-method triangulation. Attention was given to non-verbal signals such as Chronemic, Paralinguistic, Kinesic and Proxemic communication and participants were also afforded opportunities to develop creative output in order to optimise engagement. Photography was employed to enrich STRIKE observation and document focus group output, affording high evidential value whilst providing a frame of reference for reflection. These tools enable a multiplicity of perspectives on narrative as part of methological bricolage. Rich, nuanced and multi-textured understanding is developed, as well as the identification of connections, timbre and subjugated knowledge. A highly emotional and nostalgic context was established with actors’ sense of self strongly aligned with the pre-joint venture organisation and its brand values, norms and expectations. Credibility and authenticity of findings is enhanced through data triangulation indicating traceability across methods, and from the contextual preservation attained through STRIKE. The multi-layered approach presented can facilitate researcher reflexivity and sense-making, while for the audience, it may be employed to help communicate and connect research findings. In particular, STRIKE demonstrates utility, quality and efficacy as a design artefact following ex-post evaluation. This systematic method of narrative inquiry is suitable for standardisation and alongside a diagnostic/prescriptive capacity, affords both researcher and practictioner value in its application

To Whom Belongs Conceptual Design?

The field of Conceptual Design is very alive and is rapidly developing. This paper investigates the disciplines and domains which substantially form its profile. There are considered disciplines such as Semiotics, Formal Logic, Evolutionary analogies, Qualitative Modelling, Ontologies, Artificial Intelligence and Emergent Synthesis. The answer to the question posed in the title lies nowadays in disciplines related to Cognitive Science

Knowledge management through storytelling and narrative – semiotics of strategy

This study reviews knowledge management as a construct for analysing strategy discourse; identifying key strategy artefacts; and how they may be interpreted by key stakeholders engaged in strategy discourse. The context of this study is set initially in three case studies that illuminate the nature of storytelling and narrative as a strategy discourse. In seeking to clarify the nature of storytelling and narrative and the import of social architecture, further enquiry was required. The importance of storytelling and narrative in the development of strategy is recognised. In developing the notion of strategy as a people orientated construct, this study provides a theoretical foundation for the determination of how actors in strategy may take a position on strategy.To understand the nature of strategy discourse, this study reviews the field of semiotics, as a form of social constructivism, and its importance in revealing the way artefacts in strategy discourse may be interpreted as it regulates behaviour towards establishing a position in relation to strategy. Some readers of strategy have flirted with the notion of semiotic theory in the field of strategy discourse, but the flirtation is fleeting and does not attempt to read strategy from a semiotic locus. In this study, the focus is on the way strategy conversation changes as the nature of the story is changed. This locus revealed a knowledge gap in current literature and therefore the relevance of this study. The mixed methodology in this study draws upon existing semiotic theory to explicate strategy as a story of intent; with a focus on the semiotic components; the artefacts; and the vocabulary of strategy discourse that so determine how actors in strategy take a position on strategy. This study uses three case studies as the genesis for this investigation, rooted in the academic fieldof knowledge management to set the context of this study on Semiotics of Strategy. These studies are practice based and define an organisational model of the social interactions affecting knowledge transfer within organisations arising from problems of knowledge location, knowledge retention; and knowledge transfer. The research framework chosen to achieve the research aims of this study, includes using Q Methodology,and the complexity of the Q Sort data demanded a logical and consistent analysis of the data to triangulate a semiotic view of strategy discourse. This ontological approach captures the epistemological characteristics of strategy artefactsinterpreted by the Senior Management Team, as actors, at Solent University. This research project underpins the value of a semiotic view as a diagnostic tool to determine the position that actors take in the context of existing strategy discourse. From an etymological perspective this study posits a typology based upon a semiotic framework to help diagnose how actors take a position based on their interpretation of key strategy artefacts; and to understand the nature of interpretation as a means of intervention by which the strategy narrative may be reshaped.What is of interest is how storytelling and narrative empowers individuals as they seek to disseminate and transfer knowledge from the past in order to shape the future. This study reveals the inflection that individuals may exert on knowledge artefacts; and the motivation of those who trade in knowledge assets, through storytelling and narrative, as players in the game of strategy search for coping strategies in an attempt to adapt to the new reality. Ultimately this study provides new insight into the power of semiotics in the early stage; and constructivism in the later stages of the knowledge management continuum; and describes how participants in strategy adopt a position on strategy

Introduction: Creating new worlds out of old texts

Despite initial expectations that globalization would eradicate the need for geographical space and distance, "maps matter" today in ways that were unimaginable a mere two decades ago. Technological advances have brought to the fore an entirely new set of methods for representing and interacting with spatial formations, while the ever-increasing mobility of ideas, capital, and people has created a world in which urban and regional inequalities are being heightened at an accelerating pace. As a result, the ability of any given place to reap the benefits of global socio-technical flows mainly hinges on the forging of connections that can transcend the limits of its material location. In contrast to the traditional "topographic" perspective, the territorial extent of economic and political realms is being increasingly conceived through a "topological" lens: as a set of overlapping reticulations in which the nature and frequency of links among different sites matter more than the physical distances between them. At the same time, a parallel stream of innovation has revolutionized the understanding of space in disciplines such as history, archaeology, classics, and linguistics. Much of this work has been concentrated in the burgeoning field of the "digital humanities", which has been persistently breaking new ground in the conceptualization of past and present places. When seen in the context of globalization-induced dynamics, such developments emphasize the need for developing cartographic approaches that can bring out the inherently networked structure of social space via a lens that is both theoretically integrative and heuristically sharp. We have decided to respond to these analytical and methodological challenges by focusing on ancient Greek literature: a corpus of work that has often been characterized as being free of the constraints imposed by post-Enlightenment cartography, despite setting the foundations of many contemporary map-making methods. In the 12 chapters that follow, we highlight the rich array of representational devices employed by authors from this era, whose narrative depictions of spatial relations defy the logic of images and surfaces that dominates contemporary cartographic thought. There is a particular focus on Herodotus' Histories - a text that is increasingly taken up by classicists as the example of how ancient perceptions of space may have been rather different to the cartographic view that we tend to assume. But this volume also considers the spatial imaginary through the lens of other authors (e.g. Aristotle), genres (e.g. hymns), cultural contexts (e.g. Babylon), and disciplines (e.g. archaeology), with a view to stimulating a broad-based discussion among readers and critics of Herodotus and ancient Greek literature and culture more generally. In fact, many of the disciplinary and conceptual perspectives explored here are at their inception, and have a more general relevance for the wider community of humanities and social science researchers interested in novel mapping techniques. The resulting juxtaposition of more "traditional", philological discussions of space with chapters dedicated to the exploration of new technologies may jar or appear uneven, especially since we have not set out to privilege one method over another. But it is through viewing these different approaches in the round and reading them alongside each other that, we maintain, we can best disrupt customary ways of thinking (and writing) about space and catch a glimpse of new possibilities

Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: NL

Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: N

Observing Environments

> Context • Society is faced with “wicked” problems of environmental sustainability, which are inherently multiperspectival, and there is a need for explicitly constructivist and perspectivist theories to address them. > Problem • However, different constructivist theories construe the environment in different ways. The aim of this paper is to clarify the conceptions of environment in constructivist approaches, and thereby to assist the sciences of complex systems and complex environmental problems. > Method • We describe the terms used for “the environment” in von Uexküll, Maturana & Varela, and Luhmann, and analyse how their conceptions of environment are connected to differences of perspective and observation. > Results • We show the need to distinguish between inside and outside perspectives on the environment, and identify two very different and complementary logics of observation, the logic of distinction and the logic of representation, in the three constructivist theories. > Implications • Luhmann’s theory of social systems can be a helpful perspective on the wicked environmental problems of society if we consider carefully the theory’s own blind spots: that it confines itself to systems of communication, and that it is based fully on the conception of observation as indication by means of distinction

My boy builds coffins. Future memories of your loved ones

The research is focus on the concept of storytelling associated with product design, trying to investigate new ways of designing and a possible future scenario related to the concept of death. MY BOY BUILDS COFFINS is a gravestone made using a combination of cremation’s ashes and resin. It is composed by a series of holes in which the user can stitch a text, in order to remember the loved one. The stitching need of a particular yarn produced in Switzerland using some parts of human body. Project also provides another version which uses LED lights instead of the yarn. The LEDs - thanks to an inductive coupling - will light when It will be posed in the hole. The gravestone can be placed where you want, as if it would create a little altar staff at home. In this way, there is a real connection between the user and the dearly departed

Agents, idols, and icons

Since the early 1960s, Artificial Intelligence has cherished the ambition to design an artificial cognitive machine able to reproduce intimate aspects of human behaviour. Distributed Artificial Intelligence and its most recent avatars—Multi- Agent Systems—have developed the concept towards social interactions and societal dynamics, attracting the attention of sociologists and ethnographers who found new ways to elaborate or validate their theories. But populations of cognitive agents aren’t the real thing, despite the efforts of their designers. Furthermore, one must cautiously examine the rationale behind these often incredibly complex arrangements of algorithms, in order to assess the usefulness of such exercises. As a matter of fact, Artificial Intelligence relies on a very positivist, and sometimes reductionist, view of human behaviour. For centuries, from Bacon to Pierce, philosophy of mind has provided meaningful insights that challenge some of these views. More recently, post-normal approaches have even taken a more dramatic stand—some sort of paradigm shift—where direct knowledge elicitation and processing override the traditional hardwiring of formal logic-based algorithm within computer agents. Keywords: Agent-Based Modelling, Artificial Intelligence, Icon, Idol, Philosophy of Mind, Cognition

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities