Amanda Johanson

eMAD

Reading Reactions

The reading about semiotics was a bit complicated to wrap my head around.  However, I did get a lot out of it.  The main concept of this reading is obviously that of signs.  Signs aren’t simply just the things you see that tell you where to go (ex. Stop signs, traffic lights.)  Signs can be anything:  a picture. A photograph.  Hand gestures.

More in-depth, this reading consists of HOW and WHY signs interact with everyone, everyday.  The reading goes deep into signs and the signifier and the signified.  This is the “form and content” (Chandler), and how the interpretation of signs can be construed differently depending on the person, the conversation, the atmosphere and the description of the sign.  I think the most important part of this reading was that signs are made apparent to us everywhere we go, but they are not always recognized for what they signify.  Also, it is important to recognize a signs meaning, sense and what it “stands for”.

The reading about semiotics can be translated directly into graphic art and design (and new media art).  New media art and design are much more conceptual than other types of art.  There tends to be much more of a deep thought process to get a point, or identity across.  New media art seems (to me) to be more about the IDEA behind the work, than the actual piece itself in many cases.  These signs perform as ways to get that point across to the viewer.

The author is Daniel Chandler, a well-known semiotician.  His work on signs and the studies within could help much more than just contemporary design.  His work has affected design because by bringing the idea of semiotics to the surface, it makes people notice these signs more clearly.  When looking at contemporary design, the viewer might be able to dissect the piece more smoothly after knowing the basis of semiotics.

I think I can build upon the ideas of semiotics, to make my works more meaningful… and to create a better connection with the audience and create a more in depth content of the actual piece.