Communication is an essential element of human culture. Communication is the way to transmit the accumulated knowledge and interpret any context, guiding the decisions in our lives. Spoken language (or its graphical transcription as writing) is perhaps the primary mechanism of this communication, but it is supplemented by all available means, using all our senses and experience to guide interpretation. When interacting with an object, users create interpretations based on its shape and functionality, or more complex responses that incorporate evaluations, judgments and cultural associations. In the absence of an addresser that guides the interpretation of the message, the importance of the sensitive characteristics of the object is highlighted.
All objects are interpreted and therefore communicate, but some of them are specifically designed for supporting communication. The communication through the product (mediation) can be achieved in several ways: using language that consumers can read as part of a sign system in which consumers construct meaning, acting as an instrument of persuasion and argumentation, as a social interaction component, or as a message or medium in the communication process between sender and receiver. They are complementary perspectives which enrich each other. Although the product is always designed with the intention to produce a certain response, it exists independently of its creator, and the consumer has to interpret without direct access to the designer's intentions, unable to negotiate or clarify their understanding with him. Therefore, the design can be stated as a process of mediated communication, and products as means of communication, where it's virtually impossible to separate the medium from the message.
In this special issue, MasD wants to focus on the relationship between Design and Communication, especially Design as a mediator of communication. It is certainly a broad field, but we can make a (never exhaustive) list with the multiple fields where the importance of this relationship becomes clear. Definitely graphic design has always focused to the field of communication in its most classic two-dimension form, but also the scenography or museography are valid examples of three-dimensional design elements for communication, not to mention the architecture and urbanism which, among others, contribute to the scenery which surrounds much of our lives, or the visual arts in all their dimensions, which give substance to such scenarios. Speaking of design as a mediator, we can make another classification depending on the type of addresser or content, then speaking of corporate image, advertising, media, scientific and technical disclosure, not to mention the entire field of education and culture. Finally, the new communication technologies have led to an explosion of audiovisual media, adding to the traditional written language a whole range of new possibilities that are just beginning to be explored.
In short, in its multidisciplinary tradition, MasD invites all academics and researchers to contribute their research and thoughts on this huge subject in the hope of gathering enough diversity of perspectives, mutually enriching. Original research, review and reflection articles will be accepted with a maximum length of 8,000 words. Similarly, the Tribuna section is open to anyone wishing to share his experience as a professional designer, with articles up to 3,000 words.
Call for papers 2015-1
Deadline: May 15, 2015.
Original research works written in Spanish or English will be accepted.
Manuscripts shall meet the conditions specified in Author Guidelines.
They shall be sent to the following e-mail address: email@example.com