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  1. Jun 2025
  2. openlab.citytech.cuny.edu openlab.citytech.cuny.edu
    Exceprt_1.1_The-work-of-representation-Stuart-Hall.pdf
    3
    1. josephatn1 30 Jun 2025
      Why do we have to go through this complex process to represent our thoughts? If you put downa glass you are holding and walk out of the room, you can still think about the glass, even thoughit is no longer physically there. Actually, you can’t think with a glass

      we need complex mental processes to represent our thoughts. It points out that even if an object, like a glass, isn’t physically in front of us anymore, we can still think about it. That’s because we don’t literally think with the glass itself — we use mental images or concepts of the glass in our minds. So, to think about things, especially when they’re not present, we rely on mental representations, not the physical objects themselves.

    2. josephatn1 30 Jun 2025
      Think, for example, of our concepts of war, or death, or friendship orlove. And, as we have remarked, we also form concepts about things we have never seen, and possiblycan’t or won’t ever see, and about people and places we have plainly made up.

      we don’t just form concepts based on what we experience directly, like objects we can see or touch. We also create ideas about things that are abstract, like war, death, love, or friendship, as well as about things we've never seen and might never see sometimes even completely imaginary people or places. Our minds can form concepts beyond just physical reality.

    3. josephatn1 30 Jun 2025
      Before we move on to look at the second ‘system of representation’, we should observe that whatwe have just said is a very simple version of a rather complex process. It is simple enough to see howwe might form concepts for things we can perceive

      i think this is saying that the explanation just given about how we form concepts for things we can see or sense was a simplified version of a more complicated process. In other words, while it may seem easy to understand how we create mental images or ideas based on what we perceive, the full process of representation—how we form and communicate meaning—is actually much more complex.

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    openlab.citytech.cuny.edu/spevackcomd3504fa24/files/2024/02/Exceprt_1.1_The-work-of-representation-Stuart-Hall.pdf
  3. openlab.citytech.cuny.edu openlab.citytech.cuny.edu
    Untitled document
    3
    1. josephatn1 07 Jun 2025
      the sign Panzani givesnot simply the name of the firm but also, by itsassonance, a additional signified, that of'Italianicity'.

      This explicitly shows the dual function of language in the ad—both naming the brand and evoking cultural associations.

      Rhetoric
    2. josephatn1 07 Jun 2025
      Thus there are four signs for this image and we will assume that they form a coherent whole (for theyare all discontinuous), require a generally cultural knowledge, and refer back to signifieds each ofwhich is global (for example, Italianicity), imbued with euphoric values

      Demonstrates how visual elements (colors, produce) are culturally coded to connote Italian identity.

      Rhetoric
    3. josephatn1 07 Jun 2025
      eprived of all knowledge, I continue to'read' the image, to 'understand' that it assembles in a common space a number of identifiable(nameable) objects, not merely shapes and colours

      Highlights the perceptual, non-symbolic layer where objects are recognized without cultural mediation.

      Rhetoric
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    openlab.citytech.cuny.edu/spevackcomd3504fa24/files/2022/11/Barthes_PanzaniUpdatedImage.pdf
  4. designopendata.wordpress.com designopendata.wordpress.com
    Graphic Design Theory : Readings From the Field
    3
    1. josephatn1 03 Jun 2025
      The same digital technology that empowers a collective authorship andenables a new kind of universal language is also inspiring a sharpened criticalvoice within the design community. Designers are actively engaging theirsocieties politically and culturally, increasingly thinking globally inside atightly networked world

      I wonder what could be the many factors of why designers face the challenges that they do today, How does digital technology promote both collaboration through collective authorship and standardization through universal communication?

      Semiotics
    2. josephatn1 03 Jun 2025
      A different kind of design theory reader would have drawn ideas fromoutside the field—from cognitive psychology, for example, or from literarycriticism, structural linguistics, or political philosophy

      What are the potential benefits and limitations of incorporating non-design disciplines into design theory? How might concepts from cognitive psychology help inform user-centered design practices.

      Semiotics
    3. josephatn1 03 Jun 2025
      Design programs around the world haverecognized the need for such critical reflection, and countless designersand students are hungry for it. This book, carefully curated by emergingscholar and designer Helen Armstrong, is designed as a reader for historyand theory courses as well as an approachable volume for general reading.Armstrong developed the book as graduate research in the Graphic Designmfa program at Maryland Institute College of Art, which has produceda series of collaboratively authored books

      Why is critical reflection becoming increasingly important in design programs globally

      Semiotics
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    designopendata.wordpress.com/wp-content/uploads/2014/05/graphicdesigntheory_helenarmstrong.pdf