Metamorfosi a Mondello. Presa della Battigia e tipi da spiaggia

Principi di semio-design. Forme dell’innovazione e teoria del progetto

Semiotica e design

Le pratiche semiotiche. La produzione e l’uso

Conclusioni

Segmentation, classification, rearticulation. This is the mental process that guides the activity of the semiotician when confronted with an object of meaning. Whether measured against a verbal text, such as a newspaper article or a novel, against a visual text, such as a painting or a photograph, or against a space, an object of use, the typical dish of a regional cuisine or any other kind of artifact, the path is always the same and involves, more or less explicitly, these three steps. The reason is simple, although it may seem to contradict common knowledge: meaning is not something mysterious, complex to decipher and therefore understandable only by a few, it is always already there, fo…

Che cos'è il food design

Introduzione

I-Pod, and you?

Open Space

Come intendere semioticamente un elemento architettonico come la porta? In che modo essa diventa segno e con quali possibili significati? Ammesso naturalmente – e dovremo discuterne – che la nozione di segno oggi sia adeguata a spiegare quei processi di significazione che, a ben pensare, sono ciò che ci serve conoscere. Il nostro obiettivo non è sapere cosa significa l’architettura (o un dato elemento architettonico, porta o colonna che sia) ma come significa, in che modo cioè produce determinati effetti di senso che vanno dal piacere estetico all’utilizzo pratico, senza che tra i due possa essere fatta una distinzione di principio (non c’è una significazione estetica e una pratica, il proc…

Forme dell'impronta: presupposti e prospettive

Ripubblicare a più di trent’anni dalla sua prima uscita Les formes de l’empreinte è un’operazione che ha un doppio valore: rendere noto uno dei primi scritti di un semiologo che ha segnato la storia della disciplina e mostrare quanto quella specifica riflessione possa dire ai contemporanei. Anche se Floch non poteva prevedere la rivoluzione digitale che avrebbe investito la fotografia, nonché le trasformazioni nella produzione e fruizione delle immagini che si sarebbero prodotte, il suo approccio ci offre oggi preziosi strumenti per affrontare tutto questo in maniera originale ma soprattutto efficace. Il motivo per cui ciò si verifica è legato proprio al metodo che il semiologo utilizza, al…

La macchina fotografica. Forme dell’interazione.

LOMO sapiens: de la photographie

Une des questions les plus fréquentes, dans les recherches sur la photographie, est liée à la valeur de médiation de l’image et donc au rapport qu’elle entretient avec la soi-disant réalité. D’un côté, la certitude de la présence devant l’objectif de ce que nous voyons représenté, une copie du monde excluant la nécessité d’un code pour être comprise, de l’autre, l’imposition d’un point de vue situé dans le temps et l’espace qui, par ces choix obligés, porte en soi le germe d’une stratégie de la communication. La sémiotique devient ainsi l’instrument pour analyser ces stratégies, pour rechercher des signifiés plus ou moins cachés, en démontant l’évidence supposée de l’image photographique. D…

LOMO Sapiens

Il senso del buono

Food design, the last among the stars of the design galaxy that holds very different fields under the notion of project, seems to be the answer to a world in which food has become a life philosophy. But what does “designing food” mean? And how can such an activity be theoretically supported? Ten theses to shed some light on a discipline whose implicit aim is to rethink food in relation to the human and social meaning it assumes: 1) There is no good except “good to think”; 2) Food design does not coincide with cuisine; 3) Food design does not consist in creating expedients but solutions; 4) Food designing always means re–designing; 5) Food design horizons are not objects but experiences; 6) …

La cucina oggi

The kitchen, it is known, is the heart of an house, the place where the culinary value of food and its important social meanings are both constructed. No wonder that kitchens (and cousine) have profoundly changed recently. First the walls that used to keep them separated from living rooms and sitting rooms fell down, after that, they were contracted and optimized going along the chronic lack of time and space of contemporary world. At the end of the process they became a single object, the all-in-one of which the Vorwerk’s Thermomix is the forefather. This paper starts from such an object, an industrial product that becomes and informant for us, that is the witness of a relevant change that…

Che cos'è la semiotica della fotografia

L'idea che la fotografia possa essere considerata un linguaggio è talmente diffusa che non ci facciamo neanche più caso, certi che quella miriade di immagini che scattiamo e guardiamo abbia a che fare con la nostra capacità di comunicare. Difficilmente quindi ci soffermiamo a riflettere su cosa ciò comporti, a chiederci "come" essa significhi, più di "cosa" voglia dire. È proprio di questo che parla il libro: utilizzando la semiotica contemporanea, scienza che studia i diversi sistemi di significazione, mira a ricostruire i meccanismi che caratterizzano la fotografia in quanto fenomeno di produzione di senso. Si scopre allora, fra l'altro, che non si tratta di un unico linguaggio ma di tant…

Oltre lo storytelling. Arte e pubblicità

With the advent of the Internet a profound change in advertising language carne up, accompanied by a profound mutation in formats. Alongside the well-known commercials have arisen what we may call superspots, films lasting severa! minutes that while echoing the advertising language of shorter forms - rapid editing, compact narration, high level of allusiveness, considerable demand for interpretive cooperation - articulate more complex discourses. lt is precisely such superior complexity that is at the heart of the analysis conducted in this paper, which considers the commerciai The One that I Wantdirected by Baz Luhrman for Chanel, from which the centrality of the concept of storytelling as…

Nature fotografiche

What does photography mean? This is the question Barthes asks himself He has already worked at length on this medium, indicating hidden meanings and forms of visual rhetoric. hidden meanings and forms of visual rhetoric, discussing the power of this particular type of strength of this particular type of image and the levels of reading it allows, but the project of this book is different. Its object is not "the" photographs, understood as artistic or social phenomena, but "the" photography, its "specific". its "specificity". What does photography mean? This is the question, although never fully explicit, that Floch poses with his Forms of the Imprint,10 in front of five specific images. spec…

Quando è design / When is design / Quand c'est du design

Ce numero d’Ocula est dedie a la memoire de Paolo Fabbri : au Centre International de Sciences Semiotiques de l’Universite d’Urbino, grâce a lui nous avons commence ce travail qui, ensuite, a evolue dans cette publication collective..

Forms of Animality: The Dog

Animals are not the object of zoosemiotics as discussed here, neither is their language nor any other system of signs that affects them directly as living creatures that communicate, but the forms of animality, forms through which the concept of animal itself is socially constructed and transformed over time. Now, if there is one place in which such forms are plain to see, it is in those areas that focus on their nutrition. Looking at feeding animals as a semiotic activity, this paper wants to focus on what I call a nutritional pact, an implicit agreement that binds humans and animals, and that is being continuously negotiated by cultures. A relationship that advertising deeply contributes …

Fake design. Forme della falsificazione nel disegno industriale

Introduzione. Il percorso della semiotica

Introduzione

Come cucinare il commensale. La neve al sole di Massimo Bottura

Ikea

Laboratori gastronomici e senso della cucina. Strumenti, spazi, tecnologie

Cameras: Forms of Interaction

This essay examines the material design of cameras. The author argues that design plays a central role in the interaction between Operator and Spectator (R. Barthes) and, furthermore, that it entails significant effects on photographic aesthetics. Finally, the author also considers some of the design differences between traditional emulsion cameras and digital cameras.

L’altra cucina. Oggetti e gastronomia

In una realtà sociale come quella in cui viviamo attualmente, così fortemente pervasa dai discorsi sulla cucina, viene spontaneo chiedersi se non si possa ribaltare la prospettiva pensando anche ai discorsi della cucina, quei racconti cioè che vedono come protagonisti gli oggetti grazie ai quali cuciniamo. Di che cosa parlano questi muti servitori? Che storie raccontano? In questi ultimi anni, l’offerta di pentole, coltelli ed elettrodomestici, si è arricchita a dismisura, secondo un meccanismo che sembra mimare quello della moda, cui il fenomeno della gastronomia è stato infatti accostato. Rispetto all’abbigliamento qui è al lavoro una doppia pertinenza: da un lato quella estetica, con un …

Semiotica e archeologia. Dialogo con Marcella Frangipane, direttore dello scavo di Arslantepe in Turchia

Azioni e distensioni. Ipotesi sul corpo e il tempo nel jazz

Semiotica del cibo

Good to think about. The possibility of a semiotics of food, as well as its cultural value, is all given in this famous expression with which Claude Lévi-Strauss summarizes the enormous anthropological question related to food. It is Gianfranco Marrone who clarifies the extent of the debt to the great scholar in the note to the introduction of a book that, not surprisingly, uses these same words as its title. Lévi-Strauss's idea is as simple as it is dense with consequences: the enormous differences found in the food systems of different peoples can only be explained if it is assumed that choices take place not on the basis of utilitarian criteria or variables external to the individual suc…

Lo strano caso di Susan Boyle. Ovvero, quando la comicità diventa virale

Era l’11 aprile 2009, quando Susan Boyle si presentò alle audizioni del celebre talent show inglese Britain’s got talent,. Allora non era che una strana signora di 47 anni con una storia al limite del disagio psichico alle spalle: non aveva lavoro, non era mai stata fidanzata – mai neanche baciato un uomo a sentir lei – e viveva con il gatto Pebbles in una specie di piccolo villaggio scozzese. Perché il sogno della Boyle si realizzasse sarebbero dovuti passare solo sette mesi, un record assoluto nell’industria discografica ormai in atavica crisi. Il 23 novembre del 2009, infatti, uscì il suo primo disco da solista. Un album che è stato uno dei maggiori successi dell’industria discografica d…

Per un approccio semiotico alla musealizzazione di un sito archeologico. Il caso Arslantepe

A museum, whatever kind it is, is a complex machine machine that operates on a multiplicity of dimensions. A object of total communication one could define it, meaning that that if on the one hand it is built to show something and give show something and give information about what it shows, at the same time it is at the same time it is itself an entity that communicates. Not by chance contemporary museums are often ultra-expensive projects, housed in prestigious buildings designed by important architects and they are managed in every way as machines to produce profit, real places of hyper-consumption. It is perhaps the most strident contrast in the case of the museum: on the one hand, it i…

L’occhio semiotico. Il senso del vedere secondo Charles Goodwin

Città: istruzioni per l’uso. Testo urbano e segnali stradali

How Sicily Made Its Sweet Symbols: Glocal Identity and Food

Food is an effective symbol capable of strongly evoking a cultural identity. In the case of Sicily, this role is mainly played by pastry, and in particular by two sweets: cannolo (the singular of cannoli) and cassata. But how does it happen that just these two preparations, rather than others, take on this value? What are their meanings and what determines them? Are cannolo and cassata the expression of a remote and spontaneous tradition as we generally like to believe? Semiotic analysis not only leads us to understand the complexity of these two pieces of a gastronomy, but also to reflect on the whole notion of symbol, rethinking its limits and possibilities.

Il supermercato del futuro è già presente- Pochi prodotti alimentari, di alta qualità, e molte esperienze legate al cibo

Among the many exercises of futurology today, one of the most pressing concerns pressing concerns the supermarket. What will this commercial machine look like daughter of the industrial revolution revolution and urbanization in the age of the Internet? This is where design finally comes into play, when you set out to design not so much an an "object" - even when it is as complex as a place of consumption - but commerce trade itself, that is, a way of doing and being of the consumer. consumer.

COMMUNICATING ARSLANTEPE. FOR A SEMIOTIC APPROACH TO THE MUSEALIZATION OF AN ARCHAEOLOGICAL SITE

Musealizing the remains of architectural artefacts, like the palace complex at Arslantepe, means creating a semiotic machine, no less. It is not only a matter of showing what it must have looked like in the past or placing it in its historical setting, but of making its value topically relevant, making the structure effective in terms of communication, and reconstructing the meaning that it can have today. This is the only way a museum can aspire to being valid from both the cultural and economic points of view. It follows from this that every decision that has to be taken must express a precise strategy, of which semiotics is the key. The purpose of this article is to offer the reader the …

Self-design. Autobiografie di architetti

Food design chez Bras

AbstractIt is not easy to say what food design is. Contemporary design finds in food a playground that gives new incitements but, at the same time, presents relevant challenges. Of course, there are several “objects” involved in food consumption and preparation, but more frequently food design means also working on edible substances and on the communication artifacts that come with them. The question then is: can we think about food as the result of a project? Analyzing the artifacts – from the logo to the dishes – that Michel Bras has constructed and through which he has raised his identity as a chef, in this paper I will advance the thesis that not only a theory of food designing is conce…

Poli-te-ama. Passioni, azioni, identità

Il senso del design

We are surrounded by all kinds of objects: lamps, tables, cars, household appliances, cell phones, and more. Yet for only a few of them are we willing to use the word design. To be “design” an object must not only be industrially projected and produced, it must have something more. But what does this quid consist of? How do we recognize design? Here is where a seemingly merely technical question such as design becomes a semiotic problem in an instant. To address it we will start with a design object that everyone recognizes as such and try to move backwards, deconstructing it so as to see how the traits it manifests can create precise meaning effects. The point is not what it means, but how…

Introduzione

Obiettivo tatuaggio

Pervasività e complessità del fenomeno del tatuaggio sono sotto gli occhi di tutti. Basta passeggiare su una spiaggia per rendersi conto che il ribaltamento si è ormai prodotto: “strano” è chi non ha neanche un piccolo segnetto su una spalla o sulla natica, non chi mostra la sua pelle intonsa.È a questo punto che entra in scena la fotografia. Perché se è vero che il corpo è il “museo” che celebra la pelle dipinta (o è la pelle dipinta che fa del corpo un museo?), di quest’ultima si finisce presto per cercare una nuova esaltazione, magari soltanto per sottrarla al tempo che passa, capace di scolorire inesorabilmente anche il più intenso dei tattoo.Per quanto ci riguarda, è il modo in cui il …

Il logo Unipa. Fra strategie comunicative e tratti grafici

The image effort made by the University of Palermo is accompanied by the request made everyone to share and respect its spirit. What what we believe matters, in the end, is that behind an idea graphic idea, as well as behind the political idea that inevitably puts it into being, there is a project. E for this to be clearly defined, escaping the senseless logic of the to the senseless logic of the taste of a few, it appears increasingly evident that humanistic and technical disciplines and technical disciplines, Communication Sciences and Design, must work together.

Città di sabbia. Pratiche di costruzione del senso in una località balneare

Mondello is Palermo city’s inhabitants favourite seaside resort, a long white sand strip that assumes different meanings depending on the season: during summer, when it is invaded by lido’s facilities that make an urban system of it; and during winter, when some of them are removed and it becomes a savage land, where the contact with nature can be experienced. The most important among the devices that perform this resemantization is the “capanna”, a small wooden cabin rented for the entire season to extended families with which the sandy surface is splitted, organized, oriented. A system made of streets and squares, but more than this on social relationships, those typical of a small commun…

L'orologio di Francesco e altre parabole

“Fratelli e sorelle buonasera”. È con queste parole, divenute celebri, che Jorge Bergoglio ha iniziato il suo papato la sera del 13 marzo 2013. Sono semplici, colloquiali, e il Papa le pronuncia accompagnandole con un sorriso aperto. In un attimo il nuovo Papa viene accolto nelle case, e non come il venerando capo della Chiesa, eroe vittorioso in una selezione difficile come quella del conclave, ma come un ospite che arriva salutando calorosamente. È quel calore a dare il segno tangibile e immediato che qualcosa è cambiato, e non solo ai fedeli. Una capacità che è stata riconosciuta e analizzata in più occasioni, evidenziando non solo l’abilità del Pontefice a parlare a pubblici diversi, mo…

Come si riconosce il design? Piccola guida all’uso della società del progetto al tempo dell’iPhone e di Android

L’anima del commercio alimentare. Pubblicità, brand, comunicazione

Premessa

Il progetto del cibo

There's nothing wrong with combining food and design and design together; there's nothing wrong with thinking that you can design food, or perhaps the restaurant where we eat it, or the pack in which it is stored. In all of these cases, more or less directly, the same variables are always handled. the same variables. As long as it is clear what we are planning, what we are dealing with. Because otherwise the project becomes naive decoration, a garnish that serves to amaze or make people laugh but which, in either case lasts only as long as a smile.

Brand language. Methods and models of semiotic analysis

There are several reasons why scrutinizing brands from a semiotic point of view is mandatory. Some of them are technical, and relate to the fact that brands are above all pieces of communication; others pertain to a recent and pervasive cultural phenomenon whereby brands have migrated from marketing to everyday social life. A brand is a mark, a sign that, by producing various possible meanings, generates pragmatic effects on subjects and objects: it identifies, transforms and gives them value(s). A wide roster of social phenomena are rooted in brands as signs: communication strategies, production and reception of discourses, inter-subjective dynamics, changes in a collective imaginary, iden…

Gastrosfera e food design

Zeta printing. Storytelling mon amour

Storytelling, or "storytelling." This is the the watchword of contemporary communication, the key concept on which to work in order to to be successful, to fascinate crowds and become memorable memorable, and even to convince them to buy a product, whatever it is. a product, whatever it is; this is the discovery, the discovery, communicative innovation, the ace up the sleeve of today's advertiser. As simple as the ubiquitous minimalism, as effective as that "subliminal message that "subliminal message" of hidden persuaders, whose idea communicators of every kind caress as Number 1 does with his white cat (the archenemy of agent 007 of agent 007 who commands the Spectre, ed.). Storytelling i…

Dalla brace nella padella. Per una semiotica dei sistemi di cottura

Il progetto del senso. La musealizzazione del sito archeologico di Arslantepe in Turchia

Archeologia del contemporaneo. Sociosemiotica degli oggetti quotidiani

Politiche della natura: il caso Mondello

Politiche del reale. Sulla testimonianza fotografica

Not only, as Barthes has shown, are photographs photographs are complex objects, endowed with a high degree of depth and of depth and considerable semantic possibilities but, as Floch has Floch argued, the testimonial one is only one effect of meaning among the many that they can produce. From this derives a twofold necessity. The first has to do with the caution that must characterize the approach to images. approach to images. A photograph is not a fact, it means it, and like every process of signification it presupposes a point of view a point of view, and therefore an ideology, which is revealed only when it becomes possible to only when it becomes possible to reconstruct what is missin…

Forme dell'impronta