Dear All,
Following several requests for an extension of submissions of the
essays, the deadline for the call for papers "Semiotics for Design:
how to teach it?" (http://www.ocula.it) has been extended to: Tuesday
20th September 2016.
Best regards,
Michela Deni
Deadlines:
Submission of the essays: 20 September 2016
Notification of acceptance, rejection or revision request: 20 November 2016
Scheduled Publication: 20 December 2016
Accepted languages: Italian, English, French
Best regards,
Michela Deni
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From: PhD-Design - This list is for discussion of PhD studies and
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Sent: 3. kesäkuuta 2016 18:05
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Subject: Semiotics for Design: how to teach it? Call for papers
Dear All,
Ocula (http://www.ocula.it) is pleased to announce the call for
papers: "Semiotics for Design: how to teach it?"
Deadlines:
Submission of the essays: 20 July 2016
Notification of acceptance, rejection or revision request: 15 October
2016 Scheduled Publication: 30 November 2016
Accepted languages: Italian, English, French
You can find further details in the message below.
Best regards,
Michela Deni
- - -
*Semiotics for Design: how to teach it?*
Editors: Michela Deni (Université de Nîmes), Salvatore Zingale
(Politecnico di Milano)
Semiotics has been inserted in industrial design university programs
since twenty years and more. In Italy, courses in semiotics can now be
followed at Milan Polytechnic, IUAV in Venice, Bologna University,
ISIA in Florence and Urbino, and other universities and higher
education institutions.
Techings in semiotics can also be found in European and American
design schools.
Some decades before this widespread adoption, semiotics was already
taught in some schools of project, as by Umberto Eco in the 1960s (in
Milan and Florence Universities’ Schools of Architecture) and Tomàs
Maldonado in Ulm in the 1950s.
In the last twenty years, however, design has changed. Today the
design approach is not confined to industrial or communication
artefacts and aesthetically relevant, high-quality, formally refined
consumption goods.
Design has broadened its scope to encompass the project of living
spaces, working places, events, food, new media and clothing, in short
most, and potentially the whole sphere, of social life.
The latest definition of Industrial Design, by the Icsid
(International Council of Societies of Industrial Design), is the
following: «Industrial Design is a strategic problem-solving process
that drives innovation, builds business success and leads to a better
quality of life through innovative products, systems, services and
experiences». From this definition we clearly infer that design is a
method or process whose aim is to make the world more liveable (also
in the anthropological sense) and improve the quality of life, through
any sort of means: products, systems, services, experiences. And the
list might continue.
The purposes of design, actually, have evolved and expanded in time,
often following people’s specific needs. Today design has set its goal
beyond the classical beautiful/useful pair of values, aiming at a
wider range:
comfort, safety, interaction, environment sustainability, inclusion,
social innovation, accessibility (to services and information). Such
changes, of course, have pushed the development of new design
practices, that, in their turn, imply new methods, particularly in the
field of social design:
co-design, self-production and DIY. These practices have also produced
new social and professional organisations, like the FabLabs, where the
makers gather, often mixing the roles of designer, producer and user.
In this frame the contribution of semiotics to the training of
designers plays a decisive role, if only because industrial design
leads to the production of “social objects”, conditioning and
determining the ways we act and think, modifying interactions and
habits and affecting values and beliefs. In other words, the new
services, devices and objects continuously reshape the relationships
we entertain with other persons and with tangible and intangible
objects, on both the semantic and pragmatic level.
To these considerations we must add that, from a theoretical point of
view, issues and topics traditionally belonging to semiotics
progressively emerge in the field of design. The most fashionable
seems to be, today, the Storytelling approach, but marginal aspects of
the semiotic theory are also evident in Design thinking and
Scenario-Based Design.
Thus, taking into account the more than twenty-year old presence of
semiotics in the schools of design and project, today it might be
useful to pose a general question, around which the thematic issue we
are launching will revolve: “Is it possible to identify a set of
semiotic methods to be used in design?”
Starting from this general question, which the Ocula editors as an
independent group of scholars has already begun to answer (See the
books:
Michela Deni and Giampaolo Proni, La semiotica e il progetto. Design,
comunicazione, marketing, Milano, FrancoAngeli, 2008; Cinzia Bianchi,
Federico Montanari, Salvatore Zingale, La semiotica e il progetto 2.
Spazi, oggetti, interfacce, Milano, FrancoAngeli, 2010), we welcome
the contributions by scholars with a semiotic background who have
taught or teach in design programs. We will also accept, as is our
costume, contributions by scholars from other disciplines -first of
all industrial
design- who, when teaching in design courses, have adopted or used
topics that can dialogue with semiotics.
The contributions to submit can be developed by taking as an example
one of the following points, considering that, however, they are
supposed to explain and discuss how the chosen topic can lead to a
more complete training of designers:
1. Present a semiotic subject that you think to be particularly useful
and fruitful in the teaching of design. It is also possible to put
together more than one subject, always keeping in view the final
coherence of themes and goals; 2. Report on a real teaching
experience, that may include field and case studies, particularly if
the approach has been experimental, or in the form of laboratories or
workshops from which it was possible to draw and share methodological
suggestions; 3. Propose topics and problems in the teaching of design
that, though they would require some “semiotic attention”, yet do not
receive it or receive it in an inefficient way.
Informations:
The acceptance of the articles and their publication is subject to
blind peer review.
The Authors can find all the editing and format rules at the page
“Come si collabora”, on the home page. The page includes an Italian,
English and French text. Please read it carefully and follow the
recommendations.
There are no official limits of length to the articles, yet we recommend
40.000 characters as a reasonable maximum measure (including spaces,
notes and references); Files format accepted are .doc, docx, .odt; The
articles may include any kind of images; Images (photographies,
graphs, tables) must be included in the main text file and submitted
each as a separate file, in .jpg, .png, .tif, .eps, .psd formats.
The Authors must send their contribution in two versions: one in
anonymous form, to be sent to the reviewers, and the other containing
name, position, email, website, biographic notes. Each version must be
a separate file.
In the anonymous file, in any reference to the Author’s publications
the name must be cancelled and replaced by “Author” and the titles by
“Title of the publication”. The date must be let visible.
To write the articles please use the templates and that can also be
downloaded from the page “Come si collabora”.
Articles must be sent to: [log in to unmask]
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