Reception of "product Semantics" and The Semantic Turn
Since its coinage in 1984, the use of “product semantics” has mushroomed. In 2009, a Google search identified over 18,000 documents referring to it.
The semantics of artifacts has become of central importance in courses taught at leading design departments of many universities all over the world, among them at the Arizona State University; the Cranbrook Academy of Arts; The Ohio State University; the Savannah College of Art and Design; the University of the Arts in Philadelphia, USA; the Hochschule fűr Gestaltung Offenbach in Germany; the Hongik University in Seoul, Korea; the Indian Institute of Technology in Mumbai; the Musashino Art University in Tokyo, Japan; the National Taiwan University of Science and Technology; the University of Art and Design in Helsinki, Finland; and more. It has also permeated other disciplines, notably ergonomics, marketing, cognitive engineering.
Reviews can be found by writers on design theory, design history, corporate strategy, national design policy, design science studies, participatory design, interaction design, human-computer interaction, and cybernetics.
The Semantic Turn has been translated into Japanese and is currently being translated into German.
Read more about this topic: The Semantic Turn
Famous quotes containing the words reception of, reception, product and/or semantic:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“Junk is the ideal product ... the ultimate merchandise. No sales talk necessary. The client will crawl through a sewer and beg to buy.”
—William Burroughs (b. 1914)
“Watt’s need of semantic succour was at times so great that he would set to trying names on things, and on himself, almost as a woman hats.”
—Samuel Beckett (1906–1989)