Expresión metodológica de las relaciones dialógico-semánticas en el diseño

Abstract

This article presents a synthesis of the reflections and principles about a hermeneutical-semiotic project of design based on the views of philosophical reason about meaning and dialectical critical reason also known as inter-language or, from the hermeneutical semantic field, dialogical reason. The relevance or methodological legitimacy of this proposal lies in the adequacy of visuality to the functions or dimensions of critical language: descriptive, interpretive, and evaluative. The first indicates what is perceived of reality, the formal code, its lexicon, and syntax, the second discovers other nuances because it is related to the content, it questions the object to be interpreted whose understanding is found in the structure itself and requires knowledge and means of deciphering from what is often described as an attempt to strike up a conversation. The third is a consequence since all dialogue precedes any interpretation and this precedes the valuation that entails and certifies the effects of meaning as an iconic character of reality that transforms the sign by expanding its symbolic, indicative, and appellative dimensions. One of the principles that are formulated is that design is understood from the project process in whose stages actions that define the mentioned sense are manifested. This process, in addition to being projectual, is communicative and in that random sequence dialogical and semiotic moments are involved in semiosis bonds in which circumstances of meaning or dialogical intercommunication are constituted. The intended representation involves the designer and the designed and manifests itself in the analogy or notion of similarity, recognizing what is represented because it resembles the object of which we have perception or reading. The historical variety of similarity highlights the importance of intersubjectivity based on morphological, signic, and semantic relevance.