1. 1 Introduction to Innovative Design Thinking CDI MING

2. 2 Lecture 6 1.On Interpretation 2.Semiology 3.Free Association

3. 3 On interpretation What is interpretation? To interpret, as Wittgenstein said, is to think. But obviously not all thinking is interpreting.

4. 4 On interpretation To interpret is, in this sense of classifying, to classify, but since not all classifying appears to be interpreting, the question becomes - what kind of classifying of a work of art is to be identified with interpreting it?

5. 5 On interpretation ‘Obvious” is a relative term: ‘It’s obvious” can be always be countered by “To whom?” A distinction needs to be drawn between something being obvious and something seeming obvious.

6. 6 On interpretation To interpret is, not knowing the Truth but guessing or imagining. Obvious and known are contradictive conditions against interpretation. Obvious & Known = IS Interpretation = AS

7. 7 On interpretation * If it is obvious to a person that x is F (the figure in a painting is a woman, the novel is long), then that person is not interpreting x as F (the figure in the painting as a woman, the novel as long).

8. 8 On interpretation 1. If it is obvious to A that x is F, then A knows that x is F and A knows that s/he knows this.

9. 9 On interpretation 2. When A knows that x is F, and A knows that s/he knows it, then it is not epistemically possible for A to be mistaken about x being F.

10. 10 On interpretation 3. Unless it is epistemically possible for A to be mistaken about x being F, A cannot interpret x as F.

11. 11 On interpretation Therefore, 4. If it is obvious to A that x is F, then A is not interpreting x as F.

12. 12 On interpretation A person might fail to see the impossibility of interpreting x as F for oneself when it is obvious to one that x is F, if s/he does not keep in mind the distinction between something’s seeming obvious to one is being obvious to one.

13. 13 On interpretation The fact is that you believe that you know x to be F, or find it obvious that x is F, it does not follow that you know x to be F, or that it obvious to you that x is F.

14. 14 On interpretation ‘Interpreting’ is not equivalent to ‘taking a given thing in the some way’, but to ‘taking a given way rather than another’.

15. 15 On interpretation Taking x to be F rather than G, where F and G may be equally plausible ways of taking x, or where each way of taking x is at least plausible from a reasonable point of view.

16. 16 On interpretation Interpretation and the known: 1. A’s knowingly knowing that x is F is sufficient for A’s not interpreting x as F for oneself, and

17. 17 On interpretation 2. It is obvious to A that x is F is sufficient for A’s knowingly knowing that x is F.

18. 18 On interpretation Although it is obvious to A that x is F is also sufficient for A’s not interpreting x as F for oneself, it looks as if it is not needed as a separate requirement for it.

19. 19 On interpretation There is no s, such that: 1.It is obvious to A that x is sufficient for s. 2.S is sufficient for A’s not interpreting x as F for oneself. 3.S is not sufficient for A’s knowingly knowing that x is F.

20. 20 On interpretation Re-examining the work at some later time, A comes to believe that other features are puzzling, and concludes once again the work is enigmatic.

21. 21 On interpretation A comes to believe, but not to know, the work to be enigmatic, then A can, on that occasion, be interpreting the work as enigmatic despite the fact that A has already, on the earlier occasion, got to the conclusion that it is.

22. 22 On interpretation What is obvious to a critic prevents the critic from interpreting for oneself because what is obvious to one is what one knowingly knows.

23. 23 On interpretation One’s knowingly knowing eliminates the possibility of one’s making a certain kind of mistake, yet without this possibility of mistake one cannot be interpreting for oneself.

24. 24 On interpretation Interpretation depends on speech, and it count on the proficiency of language of oneself. However, interpreting is different from describing.

25. 25 On interpretation Conditions for describing: 1.A knows that x is F; 2.A is classifying in ways already generally known or easily knowable by anyone with minimum knowledge and skill;

26. 26 On interpretation 3.A is classifying in ways that stay within entrenched reference classes; 4.A is not making some claim about the meaning of x; 5.A is not explaining x; 6.A has evidential support for A’s belief that x is F;

27. 27 On interpretation 7.A does not believe that any further decision about whether x is F is required, and that x is F can be univocally established on the evidence available.

28. 28 On interpretation Conditions for interpretation: 1.A does not know that x is F; 2.A is classifying in ways not already generally known or easily knowable by anyone with minimum knowledge and skill;

29. 29 On interpretation 3.A is classifying in ways that go outside entrenched reference classes; 4.A is making some claim about the meaning of x; 5.A is explaining x; 6.A has evidential support for A’s belief that x is F;

30. 30 On interpretation 7.Either A believes that a decision about whether x is F is required given the evidence A has, or that x is F cannot be univocally established on the evidence available, further deliberation and decision being required.

31. 31 On interpretation

32. 32

33. 33 On Semiology Semiology is a notion introduced by Roland Barthes in 1960’s. It is a notion about the power of sign with refer to languages.

34. 34 Terminologies: 1.Communication 交流 2.Signification 意指 3.Language 語言 4.Parole 言語 On Semiology

35. 35 5.Schema 圖式 6.Norm 規範 7.Usage 用法 8.Code 符碼 9.Message 信息 On Semiology

36. 36 10.Sign 符號 11.Signal 信號 12.Index 徵象 13.Icon 象符 14.Symbol 象徵 15.Allegory 寓象 On Semiology

37. 37 Semiotic play an important role in-between the object, the referent and the underlying message, which is known as the signification. On Semiology

38. 38 An object has its specific function and meaning. However, when an object is used to communicate with others, the object may have another meaning. On Semiology

39. 39 This is known as a signification process. The object is now serves as a sign, which translate a message (signifying) to the referent. The object then transcend to a signifier. 意 謂 On Semiology

40. 40 Rose as an example: Exemplification of rose as an object : Quality of thing itself = Beauty On Semiology

41. 41 When rose is placed in a vase, it posses certain quality and some are selected. Rose is used for showing forth (performing) based on its qualities such as colour, shape, texture, contour, form, smell, etc. On Semiology

42. 42 On Semiology Rose Signification Referent Given on bended knee I love you Message Vehicle for a message Object is reduce to the minimum necessary to communicate the message

43. 43 On Semiology Rose Signification Referent Given on bended knee I love you Message Vehicle for a message Object is reduce to the minimum necessary to communicate the message Rose chocolate I like you Second order sign Sign of sign The object vanishes as such rose is replace by a sign of the object

44. 44 References On interpretation - A Critical Analysis, Annette Barns, 1988 Elements De Semiologie, Roland Barthes, 1985

45. 45 Free association Free association is a method generally used in literature and Art creativity. It depends on the ability in mapping information or ideas which are freely display to the creator.

46. 46 Free association There is no fixed rule in free association. It depends on the imitation of the problems and the alternative solutions.

47. 47 Free association D C B Pick up information whatever come to mind A

48. 48 Free association Issue 1 Issue 4 Issue 3 Issue 2 Arrange the order of the issues based on the author’s wish

49. 49 Free association Issue 1 Issue 4 Issue 3 Issue 2 If the issues are not related to each other, what can we do?

50. 50 Free association Issue 1 Issue 4 Issue 3 Issue 2 How can we link up the relationship between each issue?

51. 51 Free association Map out possibilities of the issues Issue 1 Issue 2

52. 52 Free association Works out the “Best” solution Issue 1 Issue 2

53. 53 Free association Add “appropriate” element whenever necessary Issue 1 Issue 2

54. 54 Free association March up all the possibilities and create a linkage of the issues Issue 1 Issue 2 Linkage

55. 55 Free association Issue 1 Issue 4 Issue 3 Issue 2 There is no limitation on the number of linkage. But too many linkages may spoil the originality of the issues. Linkage

56. 56 Free association We can create linkage by: 1.Similarity 2.Opposite 3.Metaphor 4.Jokes 5.Visual images 6.Semiotic

57. 57 Free association Are you ready? Let us try. Remember, be free and have fun.

58. 58 Next Week Lecture 7 1.Tao’s Thinking 2.The use of nothingness 3.Application of Tao in Design 4.To Design a design project 5.Cultural barriers

59. 59 Next Week Lecture 8 1.High Technology Vs Creativity 2.On school policy 3.Building up creativity in your school 4.Arouse creativity amount students 5.Question and Answer

60. 60 Thank You Ming