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Objects and objectives of information design


In recent years, the discipline of design has evolved rapidly alongside the demand in our environment. A few years ago is still not considered a serious matter poblemáticas analyzing visual in nature, much less to pay for work that, in light of all he was only plastic inherited ability. However, the design is a mixed practice a profession in which plural variants are brought together technical, methodological, cultural and stylistic (Chávez, N.).

activation capacity of the image in conjunction with the new problems of organizing information and creating a new need to solve these problems distinguish them from traditional artist. It develops and new growth for the global community, a designer with a command of what you need to communicate. But What will you communicate?

The design profession covers various alternative solutions. Normally we have located in the field of graphic or visual representation, however, times have proved that the design process does not start in finding a graphical solution, on the contrary, in many cases result in it. Sometimes not even necessary to make a tangible product, but cognitive. Here is the confusion caused by the object of study of information design.

is much easier to deal with peripheral disciplines of information design. The object of study in these cases is a physical solution or visual credibility a greater percentage of the work. Moreover, the fact solve a problem using temporary structures and processes and intangible assets does not give the user the satisfaction that would have. However, many times the client is too close to the problem to be solved to see clear enough (Shedroff, N.). It is important to keep some distance and objectivity so as not to make false solutions that lead to the predisposition of a graphical solution.

have devised many ways of dealing with information design. There are different methodologies that systematically developed the problem based on a theory for the designer to reach the best solution. Bruce Archer sees design as a discipline in charge of "selecting the right materials and shape them to meet the needs of function and aesthetics within the limitations of the available means of production. At the same time, responds to a series of steps that help that this be conducted by organizations in three stages: analytical, creative and execution. So like this there are many methodologies that have been developed with different objectives and under different circumstances to cover for what users need. In my opinion, good methodology is one that solves practical and functional needs of the project which is trying to solve. Each will have different objectives and problems to which the methodology must adapt.

This is one of the major differences that make the difference between conventional design and information design. Here we speak of a process, a methodological framework that is based on our design. Norberto Chavez mentioned the conflict that exists in practice and design review: "there is a lack of theoretical development." In response we have seen the emergence of new methodologies, we have seen the design of information not only as a discipline focus forming visual but as a designer with an analytical mind and high awareness of working in an interdisciplinary way. For the same reason that its subject is information, it varies depending on the project. It is almost impossible to develop in an area full of designers (of any kind) without falling into what Shedroff mentioned, a considerable gap between the designer and the problem will achieve a more effective solution. Logically, the real work of design where information is yet to come.

Speaking of objects and objectives, include the recipient of our text, as Umberto Eco would call is the that ultimately will be one of the objectives of our work. The work is aimed at him, not the initial aesthetic perception and the experts of the theories of design. The issue here is that the message gets to him with more understanding and less polysemy possible. Each player is different and we can not completely control the context in which each unfolds but we can get a basic idea of \u200b\u200bthe needs and concerns it solves.

"receiver built their own messages based on the acquired," says Stuart Hall. The receiver experiences form the context field to help you interpret the thousands of messages daily and simultaneously you arrive. We are always exposed to a myriad of messages, however, one must be aware that these messages can only Birthday its objective in passing various "tests" that will reach the receiver. Evidence can be both user perception of himself as circumstances beyond its scope. The objectives of the designer continues to increase in parallel with the design process.

Finally, in conclusion, I can mention that the objects that form part of the design of information (understood as part of their structure) are as diverse as the type of project to which they are intended. Moreover, the object of this discipline, perhaps even have several users waiting for something tangible. Our culture is not yet accustomed to the benefits of cognitive design, this alone will solve the time, even large companies are already realizing the not too distant future, far, projects are usability issues for which are more concerned than they would have believed years ago. Thus gradually become more and more requested, however ephemeral that they like.


Chavez, Norberto. Design and Communication: critical theories and approaches. Paidos: Buenos Aires, 1997.

Eco, Umberto. Model Reader. Barcelona: Editorial Lumen, 2000.

Ehses, Hanno. A Semiotic Approach to Communication Design. The Canadian Journal of Research in Semiotics, Vol IV No. 3, 1977.

Gombrich, EH visual image, its place in communication. E. Debate: Madrid, 2000.

Hall, Stuart. Encoding / Decoding. Culture, Media and Language. London: Hutchinson, 1980.

Morales Rodríguez, Luis. For a theory of design. UAM-A / Tilde: Mexico, 1989.

Shedroff, Nathan. Unified field theory of Design. Electronic document recovered http://www.nathan.com/thoughts/unified

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The 11 cognitive operations


In the second half of This last session we approach a text by Professor Alejandro Brizuela: The 11 cognitive operations Information Design.

started talking about the object of study of information design. This has always been a source of many questions because it is so ephemeral and intangible compared to those of other disciplines. The information was not considered an object that requires full attention and a specific analysis of their problems. Brizuela

called cognitive categories to significant operations that are performed using visual interfaces. For him, these categories are meta-goals of any designer of information, which resolved to ensure the effectiveness of the interface.

These 11 categories are ranked by the level of complexity of cognitive operations:

1. Organization / Hierarchy - Initial order for a first approach to perceptual and cognitive information.
   
2. Settings - find a coherent order of the elements that make up the system (aesthetic-cognitive factors and cultural).
   
3. id - is part of the representation belongs to the first level of meaning and serves to refer to an object or concept by means of an image.
   
4. Description - provides information you will no judgments about the general state of things. Story
   
5. - a fact has a temporal dimension. Instruction
   
6. - carries instructions on how to solve a specific problem with sequential actions. Guidance
   
7. - determines the understanding of space and its representation. It's very interactive and allows decisions. Explanation
   
8. - allows us to understand complex situations. Try the understanding of performance, causes and effects of an object or natural phenomenon, focusing on the actions and interactive relationships. Operation
   
9. - interface with direct feedback that allows the operation of a device through other interactive interfaces.
   
10. Data Processing - visual interface that allows you to compare scenarios and possibilities in making decisions. Reason
    
11. - socio-cognitive space is based on value judgments and try to convince and defend a position. This theme

classes closed course in the theory and design methodology. In my opinion, was very productive, both the read and discussed in class. Note that this collection of readings is a very good start to tackle design theory and continue GAID in new ways to understand, investigate and analyze the design.


Brizuela, Alejandro. The 11 cognitive operations information design. Electronic document retrieved from http://dv51201.wordpress.com/2007/04/10/operaciones-cognitivas-del-diseno-de-informacion/

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Information Design Interaction Design information: a unified field theory of design


latter meeting, the divide in two different posts, just to make clear the issues. In the first half they talked about reading Nathan Shedroff , Information Interaction Design: A Unified True Thery of Design.


To Shedroff, interaction design information is the intersection of disciplines information design, interaction design and sensory design . The roots of information design are in advertising and graphic design, as we saw at the beginning of the course in other classes. Information design directs the organization and presentation of data: transformation into meaningful information.

Interaction Design is the creation and story Hitori, is both an ancient art and new technology. Sensory design is the use of all techniques with which we communicate with others through our senses. These can be tactile, visual, kinesthetic, auditory and olfactory.

information design

The author notes that the design of information does not replace the graphic design or any of the other visual disciplines, but it is the structure through which these capabilities are expressed. The information is not to the continued understanding. The data can be transformed into meaningful information , which in turn will become aware posteriormenete to end in a know . The data have no value until they form a complete message. To carry out this process must intervene interaction design and the creation of experiences, so it is necessary to know the audience, their needs, interests, abilities, etc.


Shedroff mentioned that with every experience we gain knowledge. It is the understanding gained through experience good or bad. The information is the stimulus of an experience while knowledge can be the understanding of the message obtained through experience. On the other hand, wisdom is a kind of "meta-knowledge" of processes and relationships gained through experience. Is the result of contemplation, evaluation, retrospection and interpretation (all are personal processes). It is an understanding which must be obtained yourself.

To transform data into information must first explore the way they are organized. The author proposes the following ways: by alphabet, by location, time, continuity, number, category or randomly . It should include indexes that organize the same but in different ways. It is also important to allow people to find things in a way that is most appropriate for the things you know you ell or the way they understand. This is because all people learn differently and have varying skills. We are also emphasizes the importance of every decision, no matter how simple or mundane, must have well defined goals and messages. The most important goal of effective communication is clarity.

Interaction Design

To Shedroff one of the most interactive is a conversation with a friend . Regarding this, one of the ways to consider the meaning of interactivity is to provide all experiences as a continuum of interactivity. What differentiates interactivity is the control that the audience has the tools or content, the ability to produce and create. Nathan Shedroff

mentioned various degrees to which you can interact: control feedback, creativity, co-creativity, productivity, communication and adaptability .



The first d levels you focus on how much control you have the hearing on the result, or type of action sequence, and how much feedback exists in the interface. Typically, highly interactive experiences offer greater levels of feedback.

The following levels are creativity, co-creativity and productivity . Creative experiences allow the user, operator or participant to or share something of themselves. Some experiences can be used more productively than others (as entertainment). Productivity is traditionally of most concern in the products business in entertainment. Co-creative technologies are those that offer help in setting up the process. Opportunities to meet others, talk to them and share their stories and personal opinions are always seen as important and interesting. Because these experiences include two or more people, also include high levels of control, feedback and adaptability. Nathan

Shedroff shows a diagram that shows the six levels. What it does is combine the feedback and control in one dimension; creativity, productivity and communication in another, and adaptation in a third dimension. This gives us a bucket , shows the general relationship between the experiences we can learn.


sensory design

Some of the disciplines involved in the sensory design are: writing, graphic design, iconography, making maps, calligraphy, tipogafía, illustration and theory color (graphics), photography, animation and cinematography (images) and sound design, singing and music. In the senses of taste and smell are l to perfumes and cuisine.


Finally, Nathan Shedroff explains that all the sensory details to be coordinated not only among themselves but with the project objectives and messages. An interface for an experience, whether technological, physical or conceptual, must have a message and a reason to communicate and begin with the creation of meaning and development of appropriate types of interactivity.

Personally, I found it very interesting reading, which we can retrieve many important concepts and apply them to our daily work. Mentioned something very true that a conclusion is that both information design and interaction design are disciplines very new to grow considerably depending on how to continue experimenting and creating.

Shedroff, Nathan. Unified field theory of Design . Electronic document retrieved from http://www.nathan.com/thoughts/unified

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Rhetoric Reader Model Image


For this session we were assigned a reading of Umberto Eco : Model Reader. In this regard, several points were discussed: we start talking about two types of texts : closed and open. The first is aimed at a target rate, someone in particular. It has a very specific focus and stimulate something. Valuation has semiotics, historical analysis and cultural bias. There is nothing more open than a closed text. In relation to open texts, as its name suggests, are open to free interpretation. Sets a limit on the cooperation vigilacia has the reader. In itself, a text you want someone to help him work.

also commented on the perception aesthetic that we apply when reading text is the first that comes, the first link between the text and reader. The role of the latter need to update a string of expressive devices. The text has no such elements, thanks to this is that the reader participates. Also, any text or message postulates a grammatical competence by the recipient, there are certain texts for readers with some knowledge or experience. Thus the reader's interpretation can become infinite.

In turn, the text foresees the reader in some respects. Competition does not always match the recipient of the issuer, to decode a message you need a diversified language proficiency and circumstantial. That's why to create a text requires a prior knowledge of possible interpretations and skills of our reader, ie a model reader able to participate in the update text. There is a choice of language, encyclopedia, lexicon and stylistic level.

The interpretation is always a estrategiadel dialectic between author and reader response model. Besides practice, Eco says that aesthetics can be a free and deliberate use of the word "certain novels become more beautiful when someone tells them, because they become 'other' novels."

The issuer and recipient of a text is present not as poles of the act of enunciation, but as actantial roles of the statement. In these cases, the author says verbatim somo as a recognizable style, a pure role as aparción inlocutoria actantial. Author and Reader Model estrtegia construed as types of texts.

The empirical author a hypothesis Reader Model s owever, the empirical reader (real player that makes reading) must also constructed a hypothetical data Author deducting the textual strategy.

Finally, we talk about textual cooperation, which must be understood as the updating of the intent that the statement contains virtually. textual cooperation is a phenomenon that takes place between two discursive strategies, not between individual subjects. This type of cooperation concerns the ability to link strategies to the text at least polysemic possible. There are several levels to interpret the text: to identify what it is, give permission, take a code interpretation.

This reading was particularly complicated in some respects. However, I think that is an important contribution to our way of seeing the issue raised. Perhaps we have become very common to believe that our readers find our message correctly, however, as designers of information must be aware of the difficulty that occurs in the reading process.

Eco, Umberto. Model Reader. Barcelona: Editorial Lumen , 2000.

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This time I had to explain to me. I will make a brief review of the writings of Roland Barthes in Rhetoric image with alugunas of slides I presented.


To begin, we talk about the concept of image . This word, according to the ancient etymology is connected with the root imitate, ie, an analog representation ("copy"). On this point, linguists are outside the language will communicate based on analogy. They are not the only ones wary of the linguistic nature of the image, also the common opinion, and that this analogy is considered a limited sense: some think that the image is a very rudimentary compared to the language and others think significance is not able to exhaust the ineffable richness of the image. In this reading, Barthes will talk specifically about the advertising image , as exemplified by the following brand image Panzani (p. 29-30).


mentions that the image provides three messages: Message

1. iconic language message
2. coded iconic message
3. uncoded

is easier to separate the linguistic message to the others, but the distinction between the other two , since both have the same substance (iconic), is not done spontaneously in normal lectra: image viewer receives both the literal message and cultural message. The first message is iconic in a way, printed on the second, the post holder literal message appears as "symbolic" (p. 34-35).


On the other hand, regrasando the linguistic message, it features dual message about the icons are: a function of anchor and one relay.




"Never is a literal image in its purest form (at least in advertising)" (p. 38).





Barthes, Roland. Rhetoric of the Image . Obvious and Obtuse. Paidos Ibérica, 1986.

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A semiotic approach to design communication


For this session we made Hanno Ehses reading : A semiotic approach to communication design:

Communication, sign and design

H. Ehses tells us that communication is described as an object of conveying information between people, to inform, notify and clarify. To do this effectively, individuals must share common signs, ie, a set of specific social cues. It describes the work field as a processor designer, both signs as a reinforcer in the message. Semiotics



communication between two or more people is always a situation of signs, and base it consists of a hand in the sign itself and on the other side of the sign for a transport. For Peirce's definition of sign is a triple relationship depends on three variables: interpreter, mediator and object.

Morris creates three basic components of sign: Syntactic

- Problems of representation (mediator). Process of performance or production of the sign.

Pierce syntactic classification gives the following signs:

• Qualisign: The quality material, the visible appearance of the sign.
• Sinsign: A visible sign defined in time and space.
• Legisign: Represents a sign that looks the same in different representations according to certain rules.

signs that change over time are called dynamic signs. Those who depend on space and do not change over time are static. The design works mainly the latter. Semantic

- Discusses the relationship between the mediator and the object, under the meaning of representation. Your problem to address is the content, which should be designed.

Peirce's division for this is:

• Index: A sign that actually carries a causal or direct relationship to the object.
• Icon: A sign that imitates or displays the object and showing at least one attribute in common with him.
• Symbol: A sign that does not show the object is independent, but it represents arbitrarily.

Signs pictorial features such as the symbols belong to the group of icons, while the letters and ideograms, belong to the symbols. Pragmatic

- The use of signs with a purpose and effect of representation. It refers to the intent, purpose and use of signs.

Peirce divides signs Rhema, Dicent and Plot.

• Rhema: Sign with qualitative possibilities, without meaning or purpose, not false or true.
• Dicent: current sign, real. Is true or false.
• Topic: sign under a law, only real.

signs should arouse interest in the receptors so that they participate in the communicative act.

In any form of action, whether good or bad, there is a social value system, ie, social sanctions or public opinion, so pragmatics is responsible for the psychological and sociological evaluation of the signs for proper implementation.

On the other hand, the design has different functions situations: the informational, aesthetic, economic and technical. Together determine the purpose of representation with drawings and letters, the aim being truthful communication of information.

Finally, the author tells us that for the areas of design, development and realization of the representation of information should be clearly organized, understandable, meaningful and appropriate. Communication design is about visual design of the information that must be met for effective communication along the way where it is applied photography, graphics and typography, which considers aspects of information, aesthetic, economic and technical functions.


Ehses, Hanno. A Semiotic Approach to Communication Design. The Canadian Journal of Research in Semiotics, Vol IV No. 3, 1977.

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The image is a text


This class covers reading Lorenzo Vilches, The image is a text. Start giving us two versifications of semiotics:

• structuralist semiotics - produced from French and Italian studies
• pragmatic semiotics - dominated by the Anglo-Saxon area.

Semiotics structuralist has studied the components of the sign and the relationships between different signs. Hjelmslev speaks of the sign under the concept of relationship, expanding its own field theory: the plane becomes significant level of expression and the level of meaning becomes the content plane. With this sign assumes significance as an act. qye set in motion two terms signifier and signified. The result of this union is the sign. So the language and semiotics is defined as any function that links two levels of solidarity. The value of the sign is determined by its environment (Hjelmslev, 1968)

The notion of text is also widely theorized by textual linguistics and pragmatics that have been selected as the object of analysis. The text should be considered as the main means of communication intentions. This is a whole coherent discourse through which to carry out communication strategies.

It says the outline of the agreed intention of a speaker to communicate a message and producing an effect "(Schmidt, 1973)

Pragmatics is made in the textual language, whose object of study is the designated text the communication process. The theory of the text has as its starting point the act of communication.

If the text is recognized as a communication unit the relevant unit in semiotics is not the sign or the word, but the text. For linguistics, the text is the primary linguistic sign.

text as a place of production and interpretation of communication is a "semantic-pragmatic machine that begs to be updated in an interpretive process generation whose rules match the very rules of interpretation." (Eco, 1979)

The text comes after the oral expression: that is, the speech. Here, the text is derived from the maximum unit that determines the text. This allows you to build units of analysis, as if it were to reconstruct the grammar of a text.

is to interpret the image "as productivity," and emphasizing the iconic text properties set so as to enunciation. The text can be studied as a set of rules determine a set of discourse, semantic and syntactic representation.

From the standpoint of reading the image, a text unit can be described as a syntactic / semantic / pragmatic act is interpreted as communicative competence by the recipient. One type of model relevant textual analysis of the image in the context of mass communication must have five levels: Level

1. matter of expression. Levels
2. text itself of the image or visual isotopies.
3. The contributions of the theory of enunciation and discourse theory.
4. narrative structures.
5. gender levels.

visual text production levels

1. Material production level of the image corresponds to

visual expression. The output of the image here is limited to manipulating visual materials such as colors, tones, lines and forms are still not significant. Is the material manifestation of a visual text before the substance can produce a particular form of reading.

2. Differential Expression Elements

At this level can be studied traos designed codes syntactic brand recognition and graphics, such as point, line, circle, triangle. In general, modifications recognizable forms stable but incomplete prior to the consistency that gives the unit text.

3. phrase
levels
The reader is here with complex operations but separable. Different figures are given in the box iconographic photograph or painting.

5. Intertextual levels

All transcripts narratives can be studied as textual operations that act as multifunctional instruments. It is described as context and serves as a grammar defined by the time the reader must disambiguate the text message has before it.

6. The mechanism of topic

This speaks of the mechanisms of coherence, both productive and interpretive. It is the job of assumptions and abduction of a reader or recipient. It works also as a fixed mark of broad narrative sequences or phrases like "Start Mark", "intermediate", "final" and may be syntactic or / and pragmatic.

7. Gender as a mechanism macrotextual

update is accurate and determined in a large area of \u200b\u200bvisual texts characterized by a specific genre.

8. gender typologies

gender typologies are true social operating mechanisms of the mass media. At this level should be studied various aspects of communication strategy genres. Consistency

visual text

study the picture as a visual discourse analysis requires logical-semantic organization of isotopies to ensure consistency both in terms of expression as in the content. The concept of isotopy has been defined by Greimas as an operational conceptualization according to which it means any iteration of a semiotic unit. The game of isotopies can be established at both the content and the level of expression. The relationship established between these planes is a semiotic function.

The concept of isotopy, there are two theoretical moments: the first refers to the iterativity in a syntagmatic chain of classemes to ensure the speech-set homogeneity.

image structures

to Bertin, the elementary unit of the image is the spot, which is composed deespacio and color. The middle unit of reading is when two spots in perspective. There is a spot called encompassing support, surface or bottom. Their differences can be studied as minimum semes of spatial and color that make up a layer isotopic provide a minimum of consistency in the manifestation of visual text.

This isotopy minimum becomes the visual medium, before being "iconized", ie in a purely plastic nivle, presignificativo.

The visual text was created through negotiation between the different variables that determine the isotopy produced. An image is crossed by a complex Isotope: variables of different nature and in constant interaction. The isotopes are read in a context by a reader.

discourse coherence and relationship to the image supposed to be beyond the perceptual dimension to access the cognitive dimension. Congnoscitiva dimension of the image, in turn, is possible because through a majority of the code of perceptual similarity is given a limited contract which involved both poles of the communication.


Vilches, Lorenzo. The image is a text. reading the image. Paidos: Mexico, 1991.

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Encoding / Decoding


In this class we talk about Stuart Hall : Encoding / Decoding . In this reading is critical to the communication model (sender-message-receiver). He raises process based on the moments of discursive production: production, circulation, distribution, consumption and reproduction, where if no meaning is acquired, there is no consumption and effect. It is also important to note that in this exchange of communication are present two important elements: the encoding and decoding.

The effect of the message, the language should appropriate the discourses that are significantly decoded. To do this involved the influence, instruction or persuasion with a complex consequence of the cognitive, emotional, ideological or behavioral problems.

was said that based on this model, in itself, but there is no recoding decoding, because the receiver built their own messages based on the acquired.

In any message intended to create an encoding and decoding to be symmetrical, that what you want to convey is interpreted in the same level as it was issued, and all this depends in part on identifying codes, for a missing correspondence leads to distortions.

The term visual codes natural and realistic is the result of a discursive practice, which does not reveal the transparency of a code, but the universality and habituation of the use of codes. Thus, "the articulation of an arbitrary sign, verbal or visual reference to the concept of the product is natural but conventional, requiring intervention and support of the codes.

language used in the terms of denotation and connotation. In the denotation is talking about the literal meaning of the sign, which confuses the comparison as reality. The connotation is used to refer to conventional and associative meanings.

In this reading used them in combination to the speech. So they are used as analytical tools to distinguish the contexts of different levels of intersection between the ideologies and discourses.

The denotative level, the codes are closed and limited, while in the connotation coded signs intersect with semantic codes of culture.

Thus it was the subject of misunderstanding or lack of effectiveness in communication. The author mentions that this is due to the lack of effectiveness in key codes or viewer favorite. We therefore must set limits and parameters in which the decoding will operate. Otherwise the viewers interpret what they wanted in a message, entering, systematically distorted communication.

Stuart Hall identifies three hypothetical positions that can be built in decoding:

1. Hegemonic dominance: the observer operates within the dominant code. Coupled with this position is also the professional code, which serves to reproduce dominant definitions.
2. negotiated code: there are opposing elements adapted and based on a particular logic.
3. oppositional code: the viewer is able to understand the literal and connotative decoded speech but in a globally contrary.

Hall, Stuart. Encoding / Decoding . Culture, Media and Language. London: Hutchinson, 1980.

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Linguistics and Poetics


This time we read a part of Linguistics and poetics of Roman Jakobson . He speaks mainly about the relationship of poetry and linguistics. Tells us that the main object of poetics is the specific difference of verbal art in relation to other arts and other types of verbal behavior, has a preeminent position in of literary studies. These are problems of verbal structure and because linguistics is the science that encompasses the whole verbal structure, poetics is considered as an integral part of it.

Many poetic features belong not only the science of language, but the whole theory of signs of semiotics in general. This is true for verbal art and all variants of the language, since it shares many properties with any other system of signs, and even with all of them (traits pansemióticos).

The question of relations between the word and the world does not concern exclusively to art verbal, but to all types of speech. The values \u200b\u200bof truth, as extralinguistic entities, beyond the limits of poetics and linguistics in general.

literary studies, with the poetic to fre nte, consist-like linguistics, in two groups of problems: synchronic and diachronic. Synchronic description considered, not only literary, but also that part of the tradition has remained alive or has been revived for a certain period.

addition, the language should be investigated in the range of its functions. You must define the place of poetry within other functions and this requires analysis of factors involved in any act of speaking, any act of verbal communication. The speaker sends a message to the listener. To be operational, the message requires a context to refer to, susceptible of being grasped by the listener, and verbal ability or to be verbalized, a common code to speaker and listener and last contact, and a transmission channel psychological connection between speaker and listener, allowing both to enter and stay in communication.

Each of these six elements determines a different function of language. Diversity is not the monopoly in one of several functions, but in a different hierarchy. The verbal structure of the message depends on the dominant role basically.

The primary task of many messages is the function called referential oriented, context.

Another is the role emotional or expressive, focused on the speaker , which aims at a direct expression of his attitude toward what he is saying. Purely emotive stratum of a language is represented by the interjections, which differ from the means of a language on its sound pattern. The emotive function setting clear in the interjections is e n utterances to their level phonics, grammar and vocabulary.

The listener oriented conative function is , which finds its purest grammatical expression in the vocative and imperative, that from the viewpoint of syntactic, morphological and phonological category are diverted from other denominations and verbal.

According Bühler, the traditional model of language is reduced to these three functions (emotional, conative and referential), and three angles of this model (the first person speaker, the listener's second and third, someone or something already mentioned, message). But there are three new factors constituting verbal communication and language for three functions.


phatic function refers to messages whose primary function is to establish, extend or terminate the communication, to check if the channel is to attract attention or to confirm or partner continuous extend the communication.

metalinguistic function is present whenever the speaker and / or the listener need to check if they use the same code, fixing the attention of speaking in code.

The trend towards the message itself is poetic function, which can not be studied effectively if it deviates from the general problems of language. Serves to deepen the fundamental dichotomy of signs and objects based on promoting the quality of those obvious.


Jakobson, Roman. Linguistics and Poetics. Madrid: Catedra, 1981.

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visual image: its place in


This time we approach the reading of EH Gombrich , visual image: its place in communication. Begins narrating the fact that the image is being imposed on the written word in this event the possibilities of the image in the media are two: what can and can not do better than the spoken or written language. Karl

Buler offers three divisions of language which distinguish the functions of expression, activation and description (symptom, sign and symbol). We say that a speech act is expressive if you inform us of the speaker's mood, on the other hand, can be designed to awaken or activate a mood in the recipient. In the descriptive function, the speaker can inform another of its situation in the past, present or future, or distant observable, real or conditional logical terms this means give the message that the ability to make logical inferences (syllogisms).

visual image takes precedence in terms of deployment capability, its use for expressive purposes is problematic and generally lacks the ability to catch up expository function of language.

also remember how many things we take for granted when we look for the message in an image. It always depends on our previous knowledge of the possibilities. We can only recognize what we already know. The context must be supported by previous expectations based on tradition. When they break those links, the communication also fails.

The possibility of a correct reading of the image is governed by three variables:


* Code * Text * Context


mutual support of language and image facilitates memorization. The use of independent channels, ensuring ease of reconstruction. This is the basis of the ancient "Art of Memory."

In this reading I found a phrase that caught my attention: "The real value of the image lies in its ability to transmit a coded information that can not in any other way." Had not really thought much about it, but actually I think that failing to express the information in any other way (explicit enough) rather than in an image, making it truly functional.

information extracted from an image can be completely independent of the intention of its author. The interpretation by the author of the image must always be matched by the observer's interpretation. No image tells its own story.

We can not separate code from content. The easier it is to separate code from content, the more we rely on the image to communicate a particular type of information. A selective code that is known to be a code allows the author of the image filter certain types of information and encode only the features that are relevant to receiver. A selective representation showing its own principles of selection will be more informative than the replica.

other hand, writing is but one of several conventional forms of symbolism, meaning you have to learn to understand the sign. We can easily conditioned to respond to signs as they respond to things seen. The conventional sign can absorb the potential activation of the visual image.

The symbol conveys and conceals at the same time rather than the medium of rational discourse. The symbol has a diagrammatic aspect, ie the ability to convey relationships more quickly and efficiently than a string of words.

In communication theory are distinguished the expressive sign of the emotions of the extent of activation or description. Popular critics speak of art as communication often imply that the same emotions that give rise to the artwork are transmitted to the viewer, who in turn feels. This naive idea has been criticized by various philosophers and artists.


Gombrich, EH The visual image, its place in communication. E. Debate: Madrid, 2000.

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communication interfaces: what are the design? The seven columns


Within the different design issues is one particular has become very clear: the object of design. Throughout history we have seen it previously considered design has changed, that what is considered cosmetic and is not that what appeared to be a really good methodology is not sufficiently rigorous to call a method. There are a myriad of changes that the designer must take into account to develop and complement concepts that may have been on the air. One is the field concerning the design.

Gui Bonsiepe us an account of the changes undergone in the course design projecting from the 50's through today. Passing the decades, designers we are left with a label that would never have a bigger picture that the field of aesthetics and therefore our ability to create a method capable of supporting our work was virtually nil. It is at this point one must ask: what if there were no aesthetic?. We know it is absolutely necessary, but its design as a design element has been degraded due to the lack, in many cases, functional content. Despite this, in some cases have reached the point where the function is no longer so important, but merely aesthetic, it is being manipulated as a seller of a product.

In this regard, we propose a scheme Bonsiepe ontological they differ in three important areas to consider in any design: user, action and pan. The relationship between these three parties will form an interface. It does not refer to an object but a space in which the human body, tool and action in order to interact. Thus we come to the area to which the design is oriented: the interface. But why is said that the interfaces are our object of study?, Can we not take up that issue aesthetics that both spoke a moment ago and save all the other elements? Yes you can, but then the lack of survey we become artists, and is precisely what the designer has attempted to clarify and differentiate mainly after so many years.

" The interface is the design theme " said Gui Bonsiepe, trying to explain the differences between engineering and design. I think this is a very important point that needs further study. The user has to be the person we need to explore to find the difficulties that may occur as they interact with their surroundings, use, functionality and efficiency within the scope sociocultural it is concerned with the designer. Artifacts are objects that permit effective action and therefore are part of the study object. I could not speak without thinking about designing the user interaction with the other elements will, why?, It turns out that whenever we are in environments that communicate something where we look for different purposes, whether for education, action, fun, comfort, or what we need. The design is in all these aspects and more. On this point there is something interesting mentioned Bonsiepe: everything is design? No, " not all design and designers not all." He explains that this term refers more While the potential of designer who can have someone within their discipline. I agree with this argument, however, believe that only the person has potential as a designer but the things around us if designed well or poorly designed but are, in my opinion could say that "almost all" is design, I have not stopped to think carefully about the exceptions, however, this essay is not concerned with the depth on this topic.

Gui Bonsiepe speaks of design as "a phenomenon theoretically unexplored land," a domain without foundation. " I look very sharp these assertions, and you are not taking into account work by other authors explored, although not fully achieved the precision sought in the methodology, we did it a start in the field of design theory. Do not think we should underestimate that and began work as the vast majority of which are now called science.

The author also speaks of seven characteristics or thesis on the design, which I said a little, however, I will list for better understanding:

1. The design is a domain that can be manifested in all fields human activity.
2. The future is the main area of \u200b\u200bthe design.
3. is innovative, takes care of the needs of users.
4. Every design is to target the human body
5. points to effective action.
6. indicates the scope of reference and evaluation criteria.
7. The interface is the main theme of the design.

In these seven points Bonsiepe summarizes what is explained in reading "The seven columns design." I said some of the points that caught my attention more. I would just like to end with a look that I think is the most important: the interface relates to humans and their environment. This means that as designers our job is to find ways to facilitate the contact between people and their context. Brizuela Professor told us about a funny thing: we are the only person who needs to build something to protect their own environment, almost as if we belonged to this world. It is easy to refute this argument, however, if there a problem of interaction between humans and their environment, designers would not have an object of study.

Bonsiepe, Gui. interface design, object to the interface: mutations design. Ediciones Infinito, Buenos Aires, 1999.

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This time Chio discussed the assigned reading: The seven columns of the design Bonsiepe Gui. Initially, the professor made a remark about how in which we understand a reading, rarely do we truly begin to analyze who speaks, who is presenting, what he is talking and in what context it is located. It was interesting that we did these questions because it was an issue that had previously addressed in another class . Regarding

reading Bonsiepe talks about how the meaning of design has changed through history. Projecting above the discourse revolved around issues of productivity, rationalization and estadarización. Industral production model was the theoretical reference.

Moreover, the design came to quite late in the field of business administration and management. Remained on the sidelines because it is a phenomenon that goes beyond the traditional categories of administrative planning and engineering. Also judged the industrial design as a cosmetic item, which only was involved in the implementation of projects superfluous ornaments from office development techniques, however, industrial design is not the same as the drawing.

In turn, the aesthetic aspects are very important for many people. The survival of entire companies can rely on these aspects considered side. A differential scheme from the hermeneutic point of view is the design ontological scheme, which is composed of three areas:

• User or agent
Task
utensil or appliance
• .

These connect to form a unity with the human body. This connection occurs via an interface . The interface is not an object but a space, an interaction between the human body, the tool and the object of action. Thus we see that this is the central area that is oriented towards the interest of the designer. The interface becomes accessible instrumental of objects and the communication of information content.

is necessary to recall the radical critique of consumer society and the alignment produced by the accumulation of goods that were made in the 70's (socialism). At the same time, it was criticized for the first time the universal concept of the Gute Form. It gave impetus to a specific caracterísitcas industrial design for the Third World. The socio-economic contrast between the central and peripheral countries led to raise the validity of the definition of industrial design.

In the eighties resurfaced criticism of rationalism and functionalism. Discussions the style and form nuevamnet dominated the scene. The design should first seek fun. Not paid for a design object but a lifestyle that was made by designer-label objects designed.

Today is all about self-sustained development. Simultaneously highlights the contradiction between the spread of the term design and limits of the theory of the phenomenon. design today is a phenomenon theoretically inexplrado. design domain is so far unfounded. Gui

Bonsiepe lists seven characteristics or design thesis:

1. is a domain that may manifest all fields of human activity.
2. is oriented toward the future.
3. Refers to innovation. The act of projecting the world brings something new.
4. It refers to the body and space, especially the visual space.
5. points to effective action. Linguistically
6. is anchored in the field trials.
7. Goes to the interaction between the user and the artifact.
   

The design domain is the domain of the interface.

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design Some design methods


This time I could not go to class and told that I should go to promote Codex 6 to a radio station and coincidentally all had class, someone had to go. However, I read my respective entitled "Review of some design methods" of Luis Rodríguez Morales.

This speaks a bit of different methods throughout history have used and supplemented. It also begins with a brief overview of major historical events from the Middle Ages, the Renaissance, the seventeenth century with the beginning of the separation between art and technology culminating in the nineteenth century. As the twentieth century, the Bauhaus formalizes the methods of a more objective management with the emergence of functionalism.

In 1967, the Portsmouth conference at MIT on emerging methods in environmental design and planning did highlight three main streams in the field of design methods:

1. Using computers in the design process of the current
2. creativity.
3. mainstream.

then describes some of the principles driven by authors who have had more influence:

1. Christopher Jones . He started the ideas about the need for a method and the concepts of black box and clear box. In the former considers that the designer is able to produce results that you trust and often succeeds, but is unable to explain how it got there. Its features are:

• The final design consists of past experiences.
• Its production is accelerated by the loosening of inhibitions to creativity.
• The ability to produce results depends on the availability of time.
• suddenly perceived a new way of structuring the problem. Control
• aware of the ways in which the problem structure.

The transparent box features include:

• objectives, variables and criteria set in advance.
• Analysis the problem completed before starting the solutions.
• Evaluation is verbal and logical.
• strategies established earlier.
• strategies are linear and feedback.

Both methods result in expanding the search space of the solution to the problem of design.

2. Morriz Asimow. conceives the design process very similar to the information. Thus the project activity is "the collection, management and creative organization of information relevant to the problem situation has (...) iterative nature, is no new information or gain new understanding requires repeat previous operations. Asimow raises the following phases: Analysis

Assessment Synthesis
Optimization Decision
• Implementation Review

can find sources of this trend in the design methods in the scientific method and theory classical information.

3. Bruce Archer - The systematic approach for designers. Published in 1963 and 1964 by the British magazine Design. Archer design proposes the following definition "... select right materials and shape them to meet the needs of function and aesthetics within the limitations of the available means of production ", therefore, the design process must include steps analytical, creative and execution, which in turn subdivided into:

1. Problem definition and preparation of detailed program.
2. Obtain relevant data, prepare specifications and feedback in Phase 1.
3. Analysis and synthesis of the data to prepare design proposals.
4. Prototype development.
5. prepare and carry out studies and experiments to validate the design.
6. Prepare documents for production.

This method is one of the most detailed and comprehensive published to date. Also, Archer says that the design is a science because it is a systematic search whose goal is knowledge. "

4. Hans Gugelot - Method used in school Ulm. proposes a basic methodology for the design of industrial products. Based on the principles of this methodology are given the basics of Fitness (Gute Form). The steps of this method are:

1. of information. Collection of information.
   
2. research. User needs, context, functionality, requirements.
   
3. in design. Typological study, based on scientific knowledge, not inspiration.
4. decision. Studies of cost-benefit study based technology.
   
5. of calculation. Set design standards and standards of materials and production.
   
6. prototype construction. Testing and evaluation.

structure obtaining the following requirements:

• Objectives. State the function of a subcomponent, or element of design.
• crucial parameter. Identify the relevant factor.
• subparameter. Issues still under the control of the designer.
• Quantification. Specifying the range of action.

5. Christopher Alexander . In his work Essay on synthesis of form, is a historical account of the methods that have been used in the design. See the need to create a truly scientific method as the existing ones are not sufficiently rigorous.

The problem is that traditional methods rely on verbal terms that correspond more to a cultural tradition as the structure of the problem. For him, the key lies in the rigorous analysis of the problem and to adapt to this structure program design and not vice versa.

We can divide the method of Alexander in 6 steps:

• Defining the problem. By
• a list of demands, we study the behavior of systems in context.
• is given a trial to determine whether the solutions to one of the requirements are determined with another.
• is analyzed and decomposed. Establishing a hierarchy of subsystems.
• Using diagrams to find a solution to the demands.
• diagrams are developed to achieve formal synthesis of the requirements.

considers that the context consists of: location physical, usage and manufacturing methods . In any design problem has two components: one consisting of requirements beyond the control of the designer and the other by the way the designer must adapt to the above.

6. Oscar Olea and Carlos González Lobo - Model target. basic factors in the design process are the demand, the answer given by the designer and the target satisfying. The demand is formed by: a.

Unibación. specific site where the need arises. B.
Destination. purpose of satisfying demand. C.
Economy. Assessment of available resources.

For the designer is able to provide an adequate response to demand, should drive five levels: Functional

1. . Solutions use object-relations. Environmental
2. . Problems in the object-physical context. Structural
3. . Rigidity or durability of the object based on usage. Constructive
4. . Problems encountered in mass production and its impact on the solutions to the other levels. Expressive
5. . Aesthetic solution levels.

Diana model steps are: Setting

1. demand.
2. Information Organization. Defining the vector
3. analytical problem. Definition
4. approach. Define
5. semantic areas related to the variable.
6. Research Organization. Assign
7. choice probabilities. Give a hierarchical order.
8. Assign your cumulative factor. Set
9. logical constraints. Rate
10. in binary form areas of demand.
11. Set the lower limit of the probability of choice. Skip
12. data coding sheet.
13. Start the process with the computer.

7. Process Layout Design - University Professors Autónoma Metropolitana Azcapotzalco. aim to develop self-awareness on the method of the process and thus ensure the correct process itself and its outcome. Its phases are:

1. Case. Specifies both the theoretical framework and the techniques to separate lists.
2. Problem. Relevant data collection, including the design criteria for interpretation and solution.
3. Hypothesis. Alternatives to analyze and solve semiotic systems, functional, constructive, economic and administrative planning.
4. Project. Total interaction with the methods and techniques of the disciplines that will be implemented in reality the design hypothesis.
5. Realization. Supervision and direction of the material realization. Ends when it is used.

notes that there is a close relationship between this model and the scientific method.

Personally I regret not having gone to class (although many listened to the announcement of Codex 6) because it was a lot of vital information which I missed. Broadly speaking, I did understand each of the methods, however, is not the same thing to read that comment in class and listen to other opinions.

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Norberto Chaves: Art & Design


One of the great dilemmas that so far can be observed is the ambiguity differentiation resulting in the applied arts of design as a communication technique. This class proposes a reading of Argentine designer Norberto Chaves, who mentioned the lack of theoretical activity in the field of design.

Some points of conflict in practice and design review are:

• Inprecisión of functions in the communications market. Uneven Development
• graphic design services and the difficulty for approval.
• formal deviation in the ranking of levels of program design. Pragmatism or trend
• the answer is not measured by conceptual processing.
• Lack of theoretical development. Failure
• curricular teaching profession.

design itself is already a heterogeneous practice a profession in which plural variants attend technical, methodological, cultural and estilísitcas.

Listed below are some of the deficiencies more common in graphic design services:

• resistance to the constraints of the program.
• The dimensionality of the speech.
• , the context of the piece.
• The low abstraction. Non-discrimination
• functions.
• Non objectification of graphical languages.
• passive reproduction of style. Poverty
• style.
• designer identification with the work. Empiricism and deficit
• discipline.

To solve this we need a new profile for the graphic designer. It is precisely at this point in reading where we see Norberto Chaves was approached what would later be called information designer.

The designer is a global communicator must have control of what you need to communicate. Importantly, not an artist so the style is still a variable, ie does not respond to personal creative needs.

The designer must be more dominant demand also must follow a process, a methodology that supports your work as it is difficult to educate the customer to make him understand that our object of study is a knowledge product and intangible. It is at this time when we are in a struggle between the needs of customers vs. comuncación customer needs. It is necessary to educate and help it grow.

addition to what has been said, the designer must be highly analytical mind and an awareness of working in an interdisciplinary way. Many designers end up work alone without seeing the context in which this unfolding trying to solve the problem. Even the cultural influence of the utmost importance that they put aside and try to cover by tropicalisation products. Culture is encompassing, the design must take this into account.

Why art design is not applied?

The design is sometimes confused with the art, however, the latter has no prospective design process, but of craft production. In practice, the design is affirmed and institutionalized as disciples independently associated with the production and responding synthetically all his requirements: technical, utilitarian, symbolic and aesthetic, commercial, industrial, and promotional comuniacionales.

This was one of the main discussions of this kind, "the design is art? Yes or no?.

One of my colleagues argued that the turn has been given to the art is more personal expression, however, take into account that this is a very recent concept. We also saw that can be considered a necessity of aesthetic pleasure, precisely because the way we approach things is aesthetic taste is a fundamental part, goes with the feel and response of acceptance or rejection of the around us. Multiple

do graphic design professions, whether sketches, illustrations, visual codes, diagrams, etc. Many times our product and our process are also graphic visual depictions.

Finally, personal style as a fundamental part of the design was one of the discussions. Personally I do not think the style is the source of the design. Certainly there are companies that look specifically for the style of a designer, looking to sell that image, but this does not mean that style is going to ensure functionality. In short, to quote the words of my friend Veronica in the previous class, "aesthetics serves to function. "

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Design in


This first session was divided into two blocks during the first established the content that will follow the rest of the semester and everything for the syllabus (objectives, content, sessions, course dynamics and evaluation criteria), while in the second part of this class we focus on the history of information design in the UDLA.

At the time of the 40's was founded in Mexico City College, history of what is now UDLA. At about the 50's was created Visual arts career which later changed to Graphic Arts in which some things were taught printmaking and design. Later, it changed to a degree in graphic arts and design. Around the 70's he founded the graphic design career in which he remained for a long time, until 2000, when he became Information Design. It was again renewed in 2006 and is now called Visual Information Design.

Information design was a historical process . One of the reasons that led to this new degree is the epistemological problem that has the graphic design: does not have an object of study . If we go back the etymological meaning of this design refers to the practice of drawing and signs. In itself, it has always been related to the design with paint and draw beautifully, which at one time was the real meaning of design, but it also had to be part of the historical process and that this way it was possible the rise of representation visual. Unlike graphic design, information design does not have an adjective but an object of study quite clear: information. Inthe

most universities where design provides a career is the confusion between technician and designer. Apparently technical production and reproduction of technology are the order of the day. This makes another major design differences between the UDLA and other universities. We did not design the graphic, design information and represent them by visual means as 90% of information comes in this way. You need a theoretical basis of what we do, one based on the study of language and the user in order to solve information problems that arise.

also for the first time, we explained what was the curriculum and why it is structured that way. I think if we would have said before, some teachers would have saved a lot of courage to try to convince us that the issues were seen not just by chance but were the true meaning of information design.

designer process information can be summarized in the following sections: Diagnosis

1. .
2. conceptual structure.
3. visual solutions.
4. Imprementación / production.
5. Evaluation.

The only graphic designer can be involved in visual processing solutions, it defines it quite unlike the designer of information, which may participate in the entire project development.