Exploring construction project design as multimodal social semiotic practice

ABSTRACT

The semiotic nature of design and engineering communications has often evaded direct interrogation; specifically the representation of requirements using multiple semiotic modes. This paper explores the semiotic character of requirement representation in the construction project design and engineering process by mobilising a social semiotic analytic framework to reveal how project artefacts (e.g. drawings; digital imagery; physical objects) are multimodal resources that critically affect stakeholder engagement and interpretation. The focused empirical study from a hospital construction project reveals the motivations and effects of multimodal and semiotic communicative choices of different parties (e.g. client; architect; engineer; design consultant) engaged on the same project; the representation (or not) of requirements via various semiotic modes being a social and political process. The contribution of the paper is in revealing the semiotic character of requirement representation and the relevance of semiotic-informed enquiry for an industry continuing to develop new technologies (e.g. virtual reality; BIM – building information modelling) for design and construction work.     

Studying social media as semiotic technology: a social semiotic multimodal framework

ABSTRACT

How do we study social media technology? While social semiotics provides an extensive toolkit for analysing multimodal texts and semiotic practices, the study of social media as semiotic technology poses a significant challenge to existing research methodologies. In this article, we present a social semiotic framework that allows us to describe in analytical details the multimodal meaning potentials offered by digital social media technology and connect these to multimodal text-making and semiotic practices while underscoring the role of technology. Our framework is organized around seven interrelated and inherently informed dimensions: (1) multimodality, (2) practice, (3) the social, (4) medium, (5) the material, (6) the historical, and (7) the critical. This framework could pertain to most types of semiotic technologies, but will here be developed for accounting for social media technologies, and its viability will be illustrated with examples from Instagram. By developing this framework, we aim at elaborating the theoretical basis and analytical tools of social semiotics, and thereby contributing to bringing forward increased understanding of how social media technology enables making, enacting and managing meaning.     

Social media as semiotic technology and social practice: the case of ResearchGate’s design and its potential to transform social practice

ABSTRACT

This article addresses the need for critical approaches to social media by bridging the focus on language and other semiotic resources that characterises discourse studies with the broader perspective on social media as social, cultural, economic and technological constructs that dominates media and cultural studies. Specifically, we propose a model for analysing how social media as semiotic technologies, that is, technologies designed to enable and constrain meaning-making, may transform social practices. By incorporating Van Leeuwen’s [2008. Discourse and Practice: New Tools for Critical Analysis. London: Oxford University Press] framework for the critical analysis of discourse and social practice, the model extends the social semiotic approach developed in recent critical multimodal studies of software such as PowerPoint to social media, which function primarily to provide platforms for and commodify social practices, rather than to offer rich arrays of semiotic resources for creating multimodal texts and artefacts. Using the academic social network site ResearchGate and the practice of research peer review, we illustrate the model’s capacity to account for the ways the design of social media platforms – through the semiotic resources they make available and the ways these are presented – enables and constrains their users’ ability to perform key social practices and has the potential to transform these practices.     

Towards a multimodal ethnohistorical approach: a case study of bookplates

ABSTRACT

This study uses four examples of bookplates printed in Edwardian Britain (1901–1914) to demonstrate how the adoption of an ethnohistorical approach to social semiotics can vastly strengthen multimodal analysis. It argues that situating choices of image, colour, typography and materiality in archival research and the broader sociohistorical context of the Edwardian period can help to uncover the external motivations for a bookplate’s structure. The case study reveals that bookplate designs were primarily influenced by the social status and wealth of owners, as well as the specific, well-established norms of the bookplate genre. It also highlights the significance of connecting semiotic choices to the traditions of Edwardian society and the ways in which meanings can shift over time. The findings demonstrate the importance of grounding hypotheses concerning the function and form of artefacts in concrete historical documents, in addition to the vast potential of this methodology for exploring other texts within a particular historical period.     

From page to virtual stage: a socio-semiotic reading of stage directions

ABSTRACT

The interrelatedness of text and performance is a feature of semiotic approaches to drama. Because of their relation to performance and to social life, dramatic texts are among the most complex texts. A dramatic text creates an imaginary world which is “staged” in readers’ imaginations. Clarifying the playwright’s vision and facilitating transformation of the play from text to performance, stage directions are key components for the interaction with readers and spectators. Stage directions act as useful interventions which lead the readers to the world of the play and guide them to imagine the three-dimensional stage space. The receivers of the dramatic text complete their semiotization through adding their own interpretation to a virtual performance which they then place against any performance they see. This paper investigates how stage directions function as a focalizing element of the text which are important to the interpretive possibilities of a play. The paper probes how stage directions can be illuminated by the sensitive application of socio-semiotics to the encoding of motifs and stage imagery in dramatic texts as a meeting point of life, culture and imagination that generates meanings which are highly sensitive to receivers’ social and cultural backgrounds. Examples from stage directions as an integral part in the plays of Sam Shepard, an American writer, will be the focus of the analysis.     

“Un nodo avviluppato”. Rossini’s La Cenerentola as a prototype of multimodal resemiotisation

ABSTRACT

Since its early beginnings in Italy in the sixteenth century, opera has always been a multimodal text, integrating verbal, musical, and stage resources. Verbal resources can be unpacked in lyric verse for vocal pieces in closed form, narrative verse or prose for recitative, and stage directions; musical resources include instrumental and vocal music, whereas stage resources incorporate stage design, singers’ and dancers’ kinesics, and set and costume arrangements. However, opera has been rarely studied in multimodal terms, as it has been mainly explored from musicological standpoints, hence prioritising music and barely taking into account the interplay of other resources. As a case study, epitomising the Golden Age of opera, La Cenerentola by Rossini has been selected, as it exemplifies how the theatrical and compositional conventions of the genre work concurrently with its metatextual components. Stage adaptations will be also analysed in two film operas, that is, Jean-Pierre Ponnelle’s La Cenerentola (Germany, 1981) and Carlo Verdone’s Cenerentola, Una favola in diretta (Italy, 2014). Opera will be interpreted as a prototype of multi-level resemiotisation, also in a critical light, as the libretto is resemiotised (1) as a musical composition; (2) as a mise-en-scène, and (3) as a film opera.     

Social distance and the multimodal construction of the Other in sectarian song

This paper introduces the concept of “tonal gravity” through a multimodal analysis of a YouTube video to demonstrate how multimodality is key to the construction of “Rule Britannia” as a sectarian song. The analysis focuses upon the multimodal semiotics of social distance which has been a key concept in sociological and anthropological traditions in recent times. This concept offers a means to understand the social semiotic relationship between Self and Other in multimodal discourse. Following previous work in social semiotics and music studies which examine how visual composition, music and the voice have constructed social distance or expressions of intimacy, I introduce the concept of tonal gravity which extends the metaphors of semiotic space in previous work in the musical mode, to account for a fuller understanding of how music helps narrate the multimodal Self and Other. This is introduced via a close multimodal analysis of “Rule Britannia” as a Rangers Football fan video which is only transformed into a sectarian text through multimodal collocation where different semiotic resources in various modes act in combination to produce a dominant Self actively prejudiced against a low Other.     

Defensive semiotic strategies in government: a multimodal study of blame avoidance

In this article, I argue that when officeholders try to avoid blame, they often engage in defensive performances which can be analysed in terms of how they exploit various multimodal semiotic resources to ward off (potential) criticism: the setting, appearance, and manner chosen for a particular interaction with an audience; and both verbal and non-verbal ways of arguing, legitimising, framing, and representing social actors and actions. I apply these analytic categories to interpret the data gathered during fieldwork at a major training event of British government communicators. By combining insights from multimodal discourse analysis, discourse-historical studies of organisational behaviour, and recent research into blame avoidance in public administration, I demonstrate how certain semiotic strategies used by officeholders have an effect of backgrounding the ideas about any possible norm violations that government communicators may have been associated with in the eyes of critical audiences, such as lying, spin doctoring, and using tax money for propaganda campaigns that may not actually serve the interests of the public. I suggest that analysts of government communication should pay more attention to the defensive practices of government insiders, and study in great detail how these practices are incorporated into everyday behaviour through professional training.     

A framework for the multimodal analysis of online news galleries: What makes a “good” picture gallery?

The development of digital technology in recent years has led to a revolution in news production and dissemination. In terms of production, we have witnessed a fundamental shift towards visual story-telling. Images dominate the verbal story space and have the potential to become the story themselves. Beyond this, they are also creating unique spaces for themselves (e.g. the online news gallery), with new multimodal genres posing challenges for practitioners and analysts alike. The potential effects of such fundamental shifts on the professional news story-telling practices of the legacy news media provide a rich research opportunity for understanding both how and whether news organisations fulfil their mandate of making sense of the plethora of information that is now available. In this paper, we concern ourselves with one particular innovation in visual news reporting – the online news gallery, or picture gallery in journalism terms. We report on a qualitative analysis of 35 galleries from 12 English-language newspapers with online presence from Europe, North America, Australia and Asia, and interrogate the choices made by institutions in composing this particular type of multimodal “text”, as it is situated in a professional, news story-telling context. In doing so, we explore how a systemic-functional semiotic approach to multimodal news discourse may help us to access the meaning potential of this emerging genre as a vehicle for multimodal digital news reporting, present a framework for the multimodal analysis of online news galleries and consider its implications for the education of media practitioners.     

Signs of Anthropomorphism: The Case of Natural History Television Documentaries

This article employs Peirce's triadic concept of the sign, and Deleuze's theory of the image-movement to propose a social semiotic account of the ways in which visual signs in British and US natural history anthropomorphicise 'nature'. Peirce's semiotic is employed to critique both realist and relativist accounts of anthropomorphism. Although there may be a causally indexical relation between photographic signs and object, the fact that all signs are constituted by a three-way relationship between sign, object, and interpretant means that natural history documentaries, like the scientific texts that purportedly inform them, are ineluctably anthropomorphic. Deleuze's account of the image-movement is employed to explain why, far from being a dispassionate capturing of 'any-instants-whatsoevers', natural history image-movements organise movement in ways that are mediated by the semiotics of the natural history genre. As such, image-movements also constitute a form of anthropomorphism.     

Mapping Cultural Auracy: The Sonic Politics of The Day the Earth Stood Still

Anna Kassabian writes in Hearing Film that “classical Hollywood film music is a semiotic code, and that it can and should be subjected to various semiotic and cultural studies methods, such as discourse analysis and ideology critique” (p. 36). This paper examines the sound of a particular Hollywood film—the B-Grade 1950 science fiction “classic” The Day the Earth Stood Still (1951)—in order to perform the kind of analysis Kassabian demands; but also to argue that the analysis needs to encompass not only music, but all sonic elements of the film. Furthermore, the paper argues for development of a cultural auracy that will complement studies of verbal and visual literacies in multimodal and multimedia texts.     

Intersemiotic Texture: analyzing cohesive devices between language and images

Recent research on multimodal discourse has explored the nature of semantic relations between different semiotic resources. Drawing on the interpretation of language as a social semiotic resource, this article proposes Intersemiotic Texture as the crucial property of coherent multimodal texts and presents a preliminary framework for cohesive devices between language and images. The framework is illustrated through examination of print media to demonstrate how the image–text relations are meta-functionally orchestrated across experiential, textual and logical meanings at the discourse stratum. A discourse-based model is suggested to analyze image–text logical relations complementary to existing grammar-based approaches. This research also develops a meta-language to describe Intersemiotic Cohesive Devices from two complementary perspectives: Intersemiotic Cohesion not only functions to integrate different modes together when multimodal discourse is conceptualized as a finished product, it also constitutes essential text-forming resources for semantic expansions across language and images during the ongoing contextualization of meanings in real time.     

Multimodal narratives in SIA's “Singapore Girl” TV advertisements – from branding with femininity to branding with provenance and authenticity?

This paper analyses the multimodal narratives in Singapore Airlines (SIA)’s TV advertisements. Adapting the concept of the foreground–background continuum in multimodal interaction analysis, the first section of this paper analyses the narratives in 10 TV commercials available online from 1970s to 2013. Following the comparative analysis, a close investigation from a social semiotic perspective is conducted on SIA's latest TV advertisement in 2013. Through the analysis, this study shows how gendered representations of the Singapore Girl are manipulated in SIA's advertisements. It also reveals how these gendered representations adopted by SIA are married with contemporary branding philosophies, which also work to cloak them in relation to the use of increasingly well-rounded narrative structure. This study hopes to shed light on the understanding of how gender and sexist ideologies and representations are discursively embodied in contemporary branding strategies used by large-scale advertisements and campaigns spanning a long period.     

Lamppost networks*: stickers as a genre in urban semiotic landscapes

ABSTRACT

This paper examines the pragmatics of stickers as a genre prominent in communication in urban public space. Although normally small in size, stickers may quantitatively dominate signage in certain areas of cities. Stickers are examined here as localized communicative events that mediatize social practices through a range of complex multimodal and linguistic processes, based on data from the Digbeth area in central Birmingham, UK. An analysis of the distribution of stickers, their agency, audience, and the multimodal practices involved in their creation reveals that they bring together transgressive, artistic and commercial discourses and form a specific layer of urban communication, especially in areas of pedestrian transit within a city. A large number of stickers also initiate communications that can potentially be continued online.     

The Legitimacy Audience Shapes the Coalition: Lessons from Afghanistan, 2001

ABSTRACT

Legitimacy considerations profoundly affect coalition-building strategies for contemporary military interventions. However, the nature of this impact depends on which of three distinct legitimacy audiences intervening governments are most concerned about: their domestic publics, the international community or the host-country population. Intervening actors typically value all three audiences, but may be more confident of some audiences’ approval than of others’. Moreover, these audiences may raise divergent demands regarding coalition design, each entailing distinctive strategic, operational and/or political costs. Intervening actors therefore make strategic choices about how to adjust their coalition, including which legitimacy audience to prioritize. Juxtaposing the two Western-led coalitions deployed to Afghanistan in 2001 highlights how profoundly such choices affect coalition design – and what unintended longer-term consequences they can have.     

The critical problem of cynical irony meaning what you say and ideologies of class and gender

ABSTRACT

Critical theorists such as Slavoj ?i?ek have for some years discussed the ideological significance of cynical or “blank” irony in fairly general terms. Less attention has been paid to the practical implications of such irony for critical semiotic analysis. With this in mind, this paper discusses the problems that sexist and “classist” jokes – specifically jokes about “chavs” – pose for the critical analyst. On the one hand, they seem to be saying deeply ideological things. On the other, their ironic nature means that they evade the claim that they are really saying, asserting, meaning anything. Theirs is a kind of blank irony which can be identified in all kinds of contemporary semiotic practice and is therefore an important phenomenon for critical analysts to get to grips with. The paper attempts to get to grips with it by outlining some semiotic clues to blank irony, and, more importantly, by suggesting some ways in which we might try to bring a critical perspective to bear in cases of cynical irony.     

From gold to futurity: a semiotic overview on trust,legal tender and fiat money

ABSTRACT

In the first part of the paper, I am summarizing the most relevant findings of the semiotic study of the money sign. It starts with a tripartition of the major types, namely commodity money, representative money, and fiat money. I then use this approach in order to position the most important contributions of other authors from semiotics and surrounding disciplines. In the second part, I develop a semiotic reading of the notion of legal tender where the latter is seen as a semiotic mechanism that provides particular conditions for the formation of the value of money. I combine a historical review with stress on important theoretic reflections during the development and implementation of pure legal tender money. The last part is dedicated to a proposal for a semiotic model of the fiat money sign. The model is developed and implemented as a reflection on some critical readings of the world financial crisis from 2008 to 2009, where the “semiotization of money” was used for explication. My model is based on one of the most insightful definitions of money, which sees them as “trust inscribed”.     

The expanding galaxy of performing arts: extending theories and questioning practices

This paper introduces the Special Issue on the languages of performing arts and is therefore aimed at designing how the context of the latter can be illuminated by socio-semiotic and multimodal approaches to communication. In this Special Issue, performances and performing arts are described as multimodal semiotic acts that co-deploy a range of semiotic resources to produce and construct meanings across different cultures and ages. Seen as dynamic and interactive processes of meaning-making, their analysis calls for new and multidisciplinary frameworks which are collected in this Special Issue. The introduction gives an overview of these papers and discusses their range of diverse phenomena, both live and recorded, including theatre performances and films, art installations, opera, as well as reading out aloud. By outlining the significance and contribution of different disciplines and fields of studies to the broad area of performance studies, the chapter argues the case for innovative approaches that can extend theories and analyse aesthetic and performative practices in context. With the help of some case studies, it provides guidelines for the reading and interpretation of the several theoretical discussions and practical case studies presented to encourage further multidisciplinary research on these domains.