Making Meaning Visual Literacy AAD4002

Making Meaning Visual Literacy AAD4002
Dr Angela Tinwell

Looking at theories and terms, visual signals and concepts
Making Meaning Visual Literacy AAD4002 The aim of this module is to explore the mechanics of our visual language Looking at theories and terms, visual signals and concepts Today we will consider: visual communication in imagery; colour theory; signs and semiotics. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

What is their relationship? What has she just said?
Making Meaning: Visual Communication in Imagery Visual Literacy AAD4002 What is happening here? What is their relationship? What has she just said? What may he say in response? What is going to happen next? How do you know? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Is the person in Picture 1: Happy Sad Agitated Calm Aggressive?
Making Meaning: Visual Communication in Imagery Visual Literacy AAD4002 Is the person in Picture 1: Happy Sad Agitated Calm Aggressive? How about Image 2? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

So, how about Graphical Images? Do they carry multiple messages?
Making Meaning: Visual Communication in Imagery Visual Literacy AAD4002 So, how about Graphical Images? Do they carry multiple messages? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Line Drawings Making Meaning: Visual Communication in Imagery
Visual Literacy AAD4002 Line Drawings In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

What do you see? Some are harder than others…
Making Meaning: Visual Communication in Imagery Visual Literacy AAD4002 Ink Blots In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs. What do you see? Some are harder than others…

Making Meaning: Visual Communication in Imagery
Visual Literacy AAD4002 Maurits Cornelis Escher ( ) is one of the worlds most renowned graphic artists. Playing with visual communication was an obsession. At first this seems like a realistic building, but take a closer look… In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs. Ascending and Descending, lithograph print, M. C. Escher, 1960

Escher experiments with perspective and vanishing points.
Making Meaning: Visual Communication in Imagery Visual Literacy AAD4002 Escher experiments with perspective and vanishing points. How many vanishing points can you identify? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs. Ascending and Descending, M. C. Escher, 1947

Making Meaning: Colour Theory Visual Literacy AAD4002
Major issue with colour is poor selection It is important to consider if a particular colour is appropriate in the context of the given design problem Colour can make or break an artefact and can say a lot about the product without the need for text It can convey emotion and tell us a lot about an object without reading text In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Colour can also show emotion through its symbolism Let’s take a look at some colours and consider their effect… In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Yellow depicts sunlight and is an uplifting colour. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Because of its associations with fire red is perceived as a warm colour. It may also be used to communicate a warning. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Blue reminds us of the sea and sky and may be perceived as a cool colour. It can have a restful effect and is often used as a background colour. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Green is associated with grass and foliage so is perceived as a fresh ‘healthy’ colour. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

The web site at the link below has the same text content, but with different CSS style sheets applied to it: The different colour schemes allow us to see how content and wording become irrelevant (as it is the same for each site) and it is the colour and imagery that primarily defines the ‘look and feel’ of the site. For each different example consider: What first impressions does the site make from colour alone? Is this an effective colour palette? Does it work with the images used on the page? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Semiotics means ‘the study of signs’.
Making Meaning: Signs and Semiotics Visual Literacy AAD4002 Semiotics means ‘the study of signs’. Taken from the Greek word for sign, Sema. What do we mean by ‘Sign’? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Making Meaning: Signs and Semiotics Visual Literacy AAD4002
Signs are everywhere and help us read messages when there isn’t time to actually read reams of text. Road signs are the obvious example Semiotics therefore is the study of visual signs and can expand to the following: Drawings Painting Photography Words Sounds Body language In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Discourses that Semiotics may apply to:
Making Meaning: Signs and Semiotics Visual Literacy AAD4002 Discourses that Semiotics may apply to: In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Making Meaning: Signs and Semiotics
Visual Literacy AAD4002 Humans have the ability to read this meaning without the need to have the experience of the object itself. Semiotics is influenced by culture manipulated by: Religion; Government; Education etc. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Making Meaning: Signs and Semiotics
Visual Literacy AAD4002 “Something which stands to somebody for something in some respect or capacity” Charles S. Peirce on Semiotics, 1955 In this definition the sign needs to be interpreted and we use sign and signification of objects in three main ways: ICON -Pictorial representation of an object, used heavily in multimedia (we will explore these further) INDEX – Indirect linkage like smoke to signal fire SYMBOL – Direct linkage (i.e. text). ‘Dog’ allows us to visualise just that. In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Making Meaning: Signs and Semiotics Visual Literacy AAD4002
Multimedia uses a vast array of imagery to make representations, both photographic and abstract. We use three different methods in multimedia based semiotics: Icons – represent an idea symbolically Picons – take this further and make a clearer representation, mostly through photography Micons – move into animation (animated gifs, flash etc) Semiotics may occur to understand a navigation system In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Learning Activity Icons:
Making Meaning: Signs and Semiotics Visual Literacy AAD4002 Learning Activity Icons: Self Assessment Question Exercise Problems Key Information Supplementary Information References to Set Text Suggested Reading WWW Research Internal & External Links In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Icons may be associated with branding.
Making Meaning: Signs and Semiotics Visual Literacy AAD4002 Meaning? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs. Icons may be associated with branding.

Making Meaning Visual Literacy AAD4002 Now, consider how you as a designer may use these concepts in your work! How may you implement the principles of colour theory, signs and semiotics and our visual perception of images in the design decisions that you take? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Thank you for listening, any questions?
Making Meaning Visual Literacy AAD4002 Thank you for listening, any questions? In defining how an object may elicit an uncanny sensation and appear frightening to the viewer, Freud (1919) made reference to the author, Jentsch (1906), who first introduced the subject of the uncanny into contemporary thought. Jentsch described the uncanny as a mental state where one cannot distinguish between what may be real or unreal or judge objects as being alive or dead, providing examples of objects such as wax-work figures, artificial dolls and automata that may appear eerie or creepy to the viewer. Freud characterised the uncanny as a seemingly familiar object behaving in an unfamiliar and strange manner, evoking an uncomfortable feeling to the extent of an anxiety that one had lost the capability to detect what is the truth or what may have been created at the hands of a madman’s imagination. In 1970, the roboticist Masahiro Mori made associations of the uncanny with robot design. Mori observed that as a robot’s appearance became more human-like, a robot continued to be perceived as more familiar and likeable to a viewer until a certain point was reached, approaching fully authentic human-likeness, when the robot was regarded as more strange than familiar. Subtle discrepancies from the human norm with the robot’s appearance and behavior evoked a negative response from the viewer. Figure 1 depicts a visualization of Mori’s theory showing familiarity increasing steadily as perceived human-likeness increases, then decreasing sharply, at about 80-85% human-likeness causing a valley-shaped dip. Mori gave examples of objects such as zombies, corpses and lifelike prosthetic hands that lie within the valley and predicted the phenomenon would be even more exaggerated with movement. Mori recommended that for robot designers, it was best to aim for the first valley peak and not the second, developing humanoid robots with human-like traits and to avoid full android designs.

Making Meaning Visual Literacy AAD4002

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