Semantic turn : (Record no. 41040)

MARC details
000 -LEADER
fixed length control field 04900 a2200157 4500
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9780415322201
082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 745.4
Item number KRI
100 ## - MAIN ENTRY--PERSONAL NAME
Personal name Krippendorff, Klaus
245 ## - TITLE STATEMENT
Title Semantic turn :
Remainder of title a new foundation for design
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Name of publisher, distributor, etc CRC Press
Date of publication, distribution, etc 2006
Place of publication, distribution, etc New York
300 ## - PHYSICAL DESCRIPTION
Extent xiv,349p.
505 ## - FORMATTED CONTENTS NOTE
Formatted contents note Table of Contents<br/>Foreword xiii<br/>Introduction and Overview xv<br/>Chapter 1 History and aim 1<br/>1.1 Brief history of product semantics. 1<br/>1.2 Trajectory of artificiality5<br/>1.2.1 Products6<br/>1.2.2 Goods, services, and identities 7<br/>1.2.3 Interfaces 8<br/>1.2.4 Multiuser systems and networks 9<br/>1.2.5 Projects 10<br/>1.2.6 Discourses 11<br/>1.3 The changing environment of design 13<br/>1.3.1 Society.13<br/>1.3.2 Technology 15<br/>1.3.3 Manufacture 16<br/>1.3.4 Computer aided design (CAD) 17<br/>1.3.5 Design management 18<br/>1.3.6 Market research 19<br/>1.3.7 Philosophy's linguistic turn 20<br/>1.4 Redesigning design (discourse) 23<br/>1.4.1 Discourse 23<br/>1.4.2 Design 25<br/>1.4.3 Design discourse 32<br/>Chapter 2 Basic concepts of human-centered design 39<br/>2.1 Predecessors 40<br/>2.2 The axiomaticity of meaning 47<br/>2.3 Sense, meaning, and context 50<br/>2.3.1 Sense 50<br/>2.3.2 Meaning 52<br/>2.3.3 Context 59<br/>2.4 Stakeholders in design 63<br/>2.5 Second-order understanding 65<br/>2.6 Ethics in a design culture 70<br/>Chapter 3 Meaning of artifacts in use 77<br/>3.1 Interfaces 78<br/>3.2 Disruptions and usability 84<br/>3.3 Recognition91<br/>3.3.1 Categories91<br/>3.3.2 Visual metaphors95<br/>3.3.3 Attractiveness 102<br/>3.4 Explorations 104<br/>3.4.1 User conceptual models 105<br/>3.4.2 Constraints 108<br/>3.4.3 Affordances Ill<br/>3.4.4 Metonyms 114<br/>3.4.5 Informatives 117<br/>3.4.6 Semantic layers 129<br/>3.5 Reliance.132<br/>3.5.1 Scenarios 133<br/>3.5.2 Intrinsic motivation 136<br/>3.6 Principles for designing usability 140<br/>3.6.1 Human-centeredness 141<br/>3.6.2 Meaningful interfaces 141<br/>3.6.3 Second-order understanding 141<br/>3.6.4 Affordances 142<br/>3.6.5 Constraints 142<br/>3.6.6 Feedback 142<br/>3.6.7 Coherence .142<br/>3.6.8 Learnability 143<br/>3.6.9 Multisensory redundancy 143<br/>3.6.10 Variability — diversity 144<br/>3.6.11 Robustness 144<br/>3.6.12 Delegation of design 145<br/>Chapter 4 Meaning of artifacts in language 147<br/>4.1 Language 150<br/>4.2 Categories 152<br/>4.3 Characters 155<br/>4.4 Identities. 162<br/>4.5 Verbal metaphors 166<br/>4.6 Narratives 169<br/>4.7 Culture 175<br/>Chapter 5 Meaning in the lives of artifacts177<br/>5.1 Life cycles 179<br/>5.2 Stakeholder networks 180<br/>5.3 Projects 183<br/>5.4 Genetic meanings 184<br/>5.5 Critical sizes of supportive communities 187<br/>5.6 Whole life cycle accounting 189<br/>Chapter 6 Meaning in an ecology of artifacts 193<br/>6.1 Ecology 193<br/>6.2 Ecology of artifacts 194<br/>6.3 Ecological meanings 198<br/>6.4 Technological cooperatives202<br/>6.5 Mythology203<br/>Chapter 7 Design methods, research, and a science for design207<br/>7.1 Anew science for design.209<br/>7.2 Methods for creating spaces of possible futures 213<br/>7.2.1 Brainstorming 213<br/>7.2.2 Reframing214<br/>7.2.3 Combinatorics 217<br/>7.3 Methods for inquiring into stakeholders' concepts and<br/>motivations 221<br/>7.3.1 Narratives of ideal futures222<br/>7.3.2 Surveys and structured interviews223<br/>7.3.3 Unstructured interview223<br/>7.3.4 Focus groups224<br/>7.3.5 Observational methods225<br/>7.3.6 Protocol analysis226<br/>7.3.7 Ethnography226<br/>7.3.8 Triangulation of methods227<br/>7.3.9 Stakeholder participation in the design process228<br/>7.4 Human-centered design methods230<br/>7.4.1 (Re)designing the characters of artifacts232<br/>7.4.2 Designing artifacts that are informative (expressive)<br/>of their workings240<br/>7.4.3 Designing original artifacts, guided by narratives and<br/>metaphors 245<br/>7.4.4 Designing human-centered design strategies 254<br/>7.4.5 Dialogical ways to design258<br/>7.5 Validating semantic claims260<br/>7.6 Advancing design discourse 267<br/>7.6.1 Postdesign research269<br/>7.6.2 Design literature269<br/>7.6.3 Institutionalizations270<br/>7.6.4 Self-reflection270<br/>Chapter 8 Distantiations 273<br/>8.1 Semiotics273<br/>8.2 Cognitivism278<br/>8.3 Ergonomics279<br/>8.4 Aesthetics283<br/>8.5 Functionalism 285<br/>8.6 Marketing288<br/>8.7 TextuaUsm291<br/>Chapter 9 Roots in the Ulm School of Design? 297<br/>9.1 Bill's functionalism298<br/>9.2 Bense's information philosophy303<br/>9.3 Maldonado's semiotics305<br/>9.4 Chernyshevsky's political economy of aesthetics 308<br/>9.5 Rittel's methodology 310<br/>9.6 Barriers to considerations of meaning and some exceptions313<br/>References 323<br/>Credits 335<br/>Index. 337<br/>About the Author. .349<br/>
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    Dewey Decimal Classification     Faculty of Architecture   CEPT Library CEPT Library 11/02/2015 49 6045.17 33 42 745.4 KRI 013678 22/09/2024 29/07/2024 7680.16 09/02/2015 Book
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