以符號消費觀點探討產品設計中情感聯想的模式研究─以隨身碟為例

A Study of Emotional Design through Semiotic─Taking USB Flash Drive as An Example

陳朮洲(Chen Chu Chou)

指導教授 ： 粱桂嘉

國立臺灣師範大學/藝術學院/設計研究所在職進修碩士班/碩士(2009年)

摘要

「要成為被消費的對象，物必須要先成為符號。」布希亞 (Baudrillard，1997)在《物體系》中所定義的這句話，簡單明瞭的道出物品最重要的特徵，也揭示符號消費社會的來臨。在現今豐衣足食、生產過剩的後現代社會中，商品的價值除了使用功能外，還必須要有象徵價值，而且是具有個性、差異化的文化內涵象徵性。其象徵的價值甚至已經超過物品本身的使用性。而商品如同鏡子般，消費者藉由購買屬於自我風格的商品來獲得自我認同。本研究以符號消費的觀點，探討在符號消費下設計者該如何將所希望表達的情感聯想符號，透過產品的呈現傳達給消費者。其中情感聯想的符號正是尋找多變風格背後的特徵，依據此特徵設計出符合讓消費者感同深受的「風格」產品。在本研究中以隨身碟產品為例，藉此說明如何運用分析整理後的「產品情感聯想的設計模式」進行探討。最後研究歸納結論如下： 1. 在文獻探討中瞭解到任何事物皆可用符號學的觀點去解讀，對於產品而言，能指代表的是產品的造形、質感與功能，所指代表的則是其傳達出來的象徵意義。設計者透過從符號學衍生出來的產品語意的觀念瞭解，除了賦予產品適當的操作提示功能及背後的象徵意義給使用者外，如何引發消費者潛在的有趣、好玩或產生驚喜及回憶的情感，更是設計者所必須思考的。本研究以專家討談的方式，試圖瞭解隨身碟風格認知的特徵點，並以此作為情感聯想設計創作的依據參考。 2. 經由隨身碟產品的案例分析後，可發現皆是運用隱喻及類比的表現手法，如擬人、仿生、仿物、文化(傳統紋飾及材質)、使用情境上、紋飾上(表情改變)、動作行為、仿虛擬之形態及色彩的聯想。藉此多樣性的表現以符合符號消費中各個不同風格族群的需求。

關鍵字

符號消費 ； 符號學 ； 產品語意 ； 隱喻 ； 類比

並列摘要

“To become an object of consumption, the object must first become a symbol.” This sentence, coined by Baudrillard in Le Système des Objets (1997), clearly and simply points out the most important characteristic of objects and announces the arrival of a society of symbolic consumption. In today’s affluent post-modern society of over-production, every commodity has not only functional values but also symbolic values, which distinguish the commodity from others with certain personality, differentiation, and cultural content. In fact, a product’s symbolic values even exceed its functional ones. Like a mirror, consumers
gain their self-identity through the purchase of commodities that display their personal styles. From the point of view of symbolic consumption, this study investigated how designers should convey symbols associated with emotions to consumers by means of products. The symbols associated with emotions are precisely the characteristics behind the varying styles and can be used to design “stylistic” products that consumers identify them with. This study used USB drives as an example to illustrate how to apply “the product-emotions association design model” after it has been analyzed and organized. The
final conclusions of the study were as follows:
1. Through literature review, it was found that anything can be interpreted through semiotics. In terms of products, it considers form, texture and function, and represents
the symbolic meaning it conveys. Through product semantics stemming from semiotics, designers understand that apart from endowing suitable functional operation instructions and intrinsic symbolic meanings to the user, it is even more
important to consider how to entice consumer’s interest, his sense of fun or evoke sentiments of surprise or memory. Through expert interviews, this study explored the
characteristics of styles of USB drives and used them as a reference for emotion associated design.
2. The analysis result of USB drives showed that metaphoric and analogical methods, such as personifications, bionic and object simulacra, and use of cultural elements (patterns and textures), usage context, ornaments (changing facial expressions),movements and actions, virtual simulation, and color association, were commonly used. Diversified use of these expression methods could help designers satisfy demands of customers seeking varying types of styles of symbolic consumption.

並列關鍵字

symbolic consumption ； semiology ； product semantics ； metaphor ； analogy

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