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A Discourse on the Semiological Significance of Contemporary Urban Spaces As physical manifestations of culture, beliefs, and social utility, cities and metropolises function as consequential relics of modernity.
They are shaped and built deliberately, assembled in the image of their creator s. Recently, the advent of utilitarian architecture and pragmatic urban design has played a large role in this importance. Cities act as interfaces, transmitting values and norms through the reification of cultural narratives and messages.
Discussion on the interfacial process around cities and urban design must necessarily begin at cultural semiotics and media theory. Recent ideological shifts in semiotic theory have brought the process of reception to the forefront.
The significance of this paradigmatic shift cannot be understated. Hall and his peers signaled a notable progression in communications theory. Previous communications models failed to take into account the complexity of both the communication process and the meaning-making process.
Thinkers like Stuart Hall, Roland Barthes, Umberto Eco and William Gibson produced works highlighting the symbiotic process of communication and meaning-making. This process can be broken down exponentially, ad infinitum.
Functioning within any semiosphere requires both constant symbol-production and continual meaning-making. While exhausting at times, this continual sense-making process is extremely liberating.
It is infinitely combinatorial. It allows for a continually emergent semiosphere. Much like language, the meaning-making process ensures the open ended-ness of the broader communication process. This open ended nature of the communication process does have some issues and pre-requisites that must be addressed.
First, the process relies on an intertwined network of concepts and ideas. This network underlies the semiosphere, and provides the necessary nodes for meaning-making amongst connections and relations.
The network runs across intertextual lines, and collapses both time and space. This intertextuality is of note when discussing the semiological importance of cities and urban spaces. The work of Roland Barthes does well to begin a discussion of intertextuality.
In the piece Barthes discusses Texts heavily. There is room to move within the social space of the Text. It is analogous to a ballet, or pugilism.
Because this communications model has much more symbiotic interaction than previous models, it quickly becomes clear that the model needs some kind of frame of reference. Connections between nodes require some sort of pre-established system of signification in order to make sense of the continual communication process.
The Cultural Encyclopedia serves this very purpose. A distributed cognition model is useful here. Theorists like Hollan, Hutchins and Kirsch, and their contemporaries such as Andy Clark, signalled a very important conversion in the discourse.
While all of the previous theorists acknowledged the existence of the Text, few notioned towards the physicality of the Communication process in regards to interfaces and the transmission of values.
While useful as a guide into the contextual complexity of the communication process, the distributed cognition model will come to play a larger role in this project during discussion of interfaces.Greiner and Schein () implicitly assume away the symbolic roles that external OD consultants play, or judge the symbolic role as being part of the “low road” of vested political interest groups and “the OD chameleons who sell out to power”.
Cultural Symbols and Textile Communication! 1! By studying the cultural importance of textiles as symbolic utilitarian and ritual objects cross-culturally, textiles can be appreciated for Speaking about textiles generally as symbolic objects is possible, as art holds creative space cross-culturally.
Speaking to specific communication. Some objects are commonly used as symbols, for instance, a four leaf clover for luck. To add an article about such an object to this category, add [[Category:Symbolic object]] to .
Aug 21, · The simple definition of a symbol is something that represents something else by association, resemblance, or convention, especially a material object used to represent something invisible. For example, a lion is a symbol for courage, and a flag a symbol of patriotism.
The Seder plate is often a special plate with six designated spaces for each of the symbolic foods. Some families have beautiful silver or china plates, while others may use a paper Seder plate, which can be decorated by the children of the household or purchased with imprinted designs.
A process and instrumentation drawing is more complex than process flow diagram. Edraw includes more than vector P&ID symbols used to depict mechanical equipment, piping, piping components, valves, equipment drivers and instrumentation and controls.