The aim of this paper is to introdu

The aim of this paper is to introduce a cognitive semiotic
approach, which offers a clearer understanding of how interactive design
products communicate their meaning to users.
The ongoing shift in contemporary design towards making user
interfaces aesthetically more engaging (tangible, intuitive, etc.) challenges
traditional design semiotics on a number of its basic assumptions about
meaning construction. One major problem being that design semiotics often
restricts its idea of semiosis to object oriented recognition where ‘cognitive
models’ are unambiguously matched against a visual form. As has been
pointed out on several occasions this does not capture the cross modal
interaction between body movement and vision, emotion and vision that
plays such a crucial role when we make sense of interaction design.
In order to achieve this I will argue that design semiotics can benefit
largely from picking up models from morphodynamics and neurocognitive
research into how our brain, body and mind mutually shape one another. By
applying these models in an analysis of a case example, the paper intends to
demonstrate that these models provide an explanation of how conceptual
meaning in responsive environments is anchored in morphologies and
structures in perception. What I call the aesthetic interplay between form
and meaning.

結果 (英文) 3:

本文的目的是介绍一种认知符号学方法，它提供了一个更清楚地了解如何互动设计产品传达给用户的含义。当代设计中正在进行的转向，以使用户界面美观更吸引人的（有形的、直观的，等等）的挑战传统设计符号学在其基本假设上的若干问题意义建构。一个主要问题是设计符号学经常制约其思想符号来面向对象识别的认知模型'是明确匹配的视觉形式。一直以来指出在几次，这并没有捕捉到跨模态身体运动与视觉、情绪与视觉的相互作用在我们做交互设计时，起着至关重要的作用。为了达到这个目的，我会说，设计符号学可以受益主要从提取地形地貌和神经认知模型研究我们的大脑，身体和精神相互塑造的另一个。通过应用这些模型在一个案例的分析，本文拟表明，这些模型提供了一个解释的概念在响应环境中的含义是锚定在形态和知觉结构。我所称的形式之间的审美互动和意义。