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Semiotica y diseño

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DISCURSO, SEMIÓTICA, INTERTEXTO Y otras fiebres contemporáneas. Top Car Designers Critique Google's Self-Driving Car. Google's self-driving car isn't just unconventional in the fact that it drives itself: it's an extremely unusual design, more reminiscent of micro-cars like the Smart Car, Fiat 500, and that weird BMW that Steve Urkel drove than a conventional auto.

Top Car Designers Critique Google's Self-Driving Car

From the bulbous shape to the total lack of manual controls to the literal smiley face on the car's face, the Google car isn't quite like anything else on the road. So we got curious: what do car designers think of it? Most active designers chose not to speak to us, not wanting to comment on what might be a competitor in the near future, but we tracked down three of the best designers in the business--or formerly in the business--showed them Google's demo video and asked for their thoughts.

Snarkitecture-Designed Beats Headphones Hint At What The Apple Era Could Look Like. Snarkitecture, a collaborative art/design studio that mostly works with slightly skewed, broken-looking furniture and apparel, teamed up with Beats by Dre to create a special, limited-edition pair of Beats headphones.

Snarkitecture-Designed Beats Headphones Hint At What The Apple Era Could Look Like

And not only do they look cool, they are all the more relevant now that Apple has purchased Beats. The Beats x Snarkitecture headphones, a riff on the Beats Studio line, are pure white. "By stripping away the familiar colors and logos," says Snarkitecture, "the headphones are reduced to their purest form. " (That still includes the lowercase B on the outside of the cups, because it is engraved into the plastic itself rather than painted on.)

London at The V&A and The Natural History Museum. I thoroughly enjoyed our day out in London – we visited The V&A first, and Meg and I went into the ‘Postmodernism’ exhibition that was on there.

London at The V&A and The Natural History Museum

I really liked it, they had almost everything displayed, from architecture to ceramics to fashion to photography. It was a gem of an exhibition as it covered so much from the 70′s to the 90′s, when Postmodernism flourished and when it died away. I particularly liked the aspect of it where it showed the consumerism and greed of this age when money was greater than ever and the need for power overwhelmed people. We see how Postmodernism collapsed under the weight of its own success. 23 Clever Urban Hacks Made From Trash On New York City Streets. Over the last three years, an anonymous artist has wandered around the streets of New York finding random pieces of trash and turning them into something useful.

23 Clever Urban Hacks Made From Trash On New York City Streets

Vladímir Propp. Vladímir Yákovlevich Propp.

Vladímir Propp

Vladímir Yákovlevich Propp (en ruso: Влади́мир Я́ковлевич Пропп), (San Petersburgo; 29 de abril de 1895 - Leningrado; 22 de agosto de 1970) fue un erudito ruso dedicado al análisis de los componentes básicos de los cuentos populares rusos para identificar sus elementos narrativos irreducibles más simples. Su Morfología del cuento (Morfológuiya skazki) fue publicada en ruso en 1928; aunque influyó a Claude Lévi-Strauss y Roland Barthes, fue prácticamente ignorada en Occidente hasta que fue traducida al inglés en el año 1958.

Analizó los cuentos populares hasta que encontró una serie de puntos recurrentes que creaban una estructura constante en todas estas narraciones. Es lo que se conoce como "las funciones de Vladímir Propp". Armando Silva - Imaginarios Urbanos. Armando Silva Téllez. Armando Silva (Bogotá, 19 de agosto de 1948) es un filósofo y semiólogo colombiano, más conocido por su trabajo de los “Imaginarios Urbanos” desarrollado en varias ciudades de América Latina y España.[1] Biografía[editar]

Armando Silva Téllez

The Best Eye Candy From Milan Design Week. Carré sémiotique. Un article de Wikipédia, l'encyclopédie libre.

Carré sémiotique

Le carré sémiotique, proposé par le linguiste et sémioticien lituanien Algirdas Julien Greimas, est un outil servant à formaliser les relations entre des signes sémiotiques et à représenter l'émergence de la signification à l'intérieur d'une structure. Il serait dérivé dans une certaine mesure du carré logique d'Aristote. Description[modifier | modifier le code] Le carré sémiotique consiste à représenter les concepts qui sont à la base d'une structure, tel un récit ou un message publicitaire, en binômes de termes opposés et contradictoires du type vrai/faux, non-vrai/non-faux. Cela en fait apparaître les relations de conjonction et de disjonction, placées respectivement au sommet et à la base du carré, tandis que les côtés font apparaître les rapports de complémentarité et correspondent à la « deixis », celle de gauche étant positive et celle de droite négative. S1 et S2ni S1 ni S2 Critique[modifier | modifier le code] ↑ A.

Metadesign. Productoverview. Design theory as analysis of a product languagedesign theory and practice: morphology, semiotics. Many attempts have been made to formulate a comprehensive theory of design, but as far as I know most of them are rather of a more methodological character.

design theory as analysis of a product languagedesign theory and practice: morphology, semiotics

Buerdek in his famous book (1)distinguishes between design methodology and design theory, the first centered on methods of structuration of design problems and processes of problem solving, the second regarding the more general topic of laying the foundation of a scientific frame of design philosophy. Algirdas Julien Greimas : The Semiotic Square / Signo. Greimas The semiotic square, developed by Greimas and Rastier, is a means of refining oppositional analyses by increasing the number of analytical classes stemming from a given opposition from two (life/death, for instance) to four (for example, life, death, life and death (the living dead), and neither life nor death (angels)) to eight or even ten.

Algirdas Julien Greimas : The Semiotic Square / Signo

This text can be found in extended version in this book: Louis Hébert, Dispositifs pour l'analyse des textes et des images, Limoges, Presses de l'Université de Limoges, 2007. Click here to obtain the English translation of this book. This text may be reproduced for non-commercial purposes, provided the complete reference is given: Louis Hébert (2006), « The Semiotic Square », in Louis Hébert (dir.), Signo [online], Rimouski (Quebec), The actantial model, isotopy and the semiotic square are undoubtedly the best-known theoretical propositions that have emerged from the Paris School of semiotics, with Greimas as its central figure. 1. 2. 3. 4.