21世紀是一個以知識為基礎的知識經濟時代,人們不再將重心放在有限的自然物質資源的利用與開發,而轉向於人類的智識與創新上。全球化增加了跨文化的產生,並提高經濟與文化活動之間相互依存的關係,文化產業成為知識經濟中的關鍵產業,促使文化的反思與人們的連結。所形成的文化經濟是一個具有象徵性概念的經濟模式,提供具有高度美學與符號意涵的產品。文化、社會與科技為符號文本,設計師在編碼的過程中文化資源被形塑、進入一個可供分享的文本符碼中後,再被閱聽人解碼(詮釋),為文創產品。 皮爾斯認為符號是人為建構的結果,亦經由人的思維觀念所詮釋,因而所詮釋的內容與符號以及意指物之間便產生一個緊密的符號三角關係,即表徵-客體-詮釋。不同於索緒爾的符號學模型建構於先驗知識、非直接經驗對象所存在的世界,皮爾斯的符號理論與所經驗的對象有關,其客體對象是存在於實質經驗中。文化是人類生活的總集,並非先驗存在的理型概念,因此本研究以皮爾斯符號三角形的符號分析模式為基礎,先延伸為產品符號三角形,釐清產品語意、產品語形與產品語用三個範疇。進一步延伸為文創產品符號三角形,釐清文化表徵、文化客體、文化詮釋三者的符號三角關係,並應用文創產品符號三角形於文化創意設計案的執行。 文創產品與一般產品的差異在於,一般產品為美學及使用意涵的文本載體,而文創產品則為文化傳遞與使用意涵的文本載體。工業經濟時代所重視的物質性與技術導向所追求的是統一性,而知識經濟重視創造力與知識應用的訣竅,因此文化在新經濟模式中為價值區隔的關鍵元素,創造出新識別的可能性。本研究透過建構文創產品符號三角形整合文化詮釋與生活經驗客體對象,並提供形塑為文創產品的設計模式,釐清抽象的文化概念如何成為具體產品文本的方法,以創造出設計的新價值。
The 21st century is the era of the knowledge-based economy. People no longer focus on the use and development of the limited natural material resources; rather, we focus on intellectual innovations. Globalization enhances cross-cultural phenomena, and further establishes the interdependent relationship between the economy and cultural activities. The culture industry has become a key element in the knowledge economy, as it promotes reflection on culture, and connects people together. A culture economy is a symbolic conceptual economic model. It produces highly aesthetic products with symbolic meanings. Culture, society and technology are the semiotic text. During the coding process, designers encode the culture resources, and enter them into a sharable text code. Readers then decode the text code (interpretation). This is called the cultural creative product. Peirce believes that signs are the result of artificial constructions. They are interpreted by human cogitation and concepts. The content being interpreted – the signs – and the referent form semiotic triangular relationship in which three parts are closely related to each other. These parts are representamen- object- interpretant. Saussure semiology is constructed on priori knowledge. It is not based on a world with objects with which people have direct experience. On the other hand, Peirce’s semiotic theory is related to objects that people are experiencing. The objects exist in one’s practical experience. Culture is a collective form for our life style, and it is not a modeling concept based on priori knowledge. My study is therefore based on the symbolic analysis model for Peirce’s semiotic triangle. I then extend this model to a product semiotic triangle by defining the three components: the product semantics, product syntactics, and product pragmatics. Further, I extend the model to a cultural creative product semiotic triangle by defining the semantic triangular relationship between cultural representamen, cultural object, and cultural interpretation. I applied the cultural creative product semiotic triangle in design projects that involve cultural creative. Cultural creative products and general products are different. General products are the information carriers for aesthetics and usage implications. Cultural creative products are the information carriers for cultural transmission and usage implications. In the era of the industrial economy, we value materiality. Being technology oriented, we focus on unity. The knowledge economy values innovation and the key for knowledge application. In the new economic model, culture is the essential element for a value segment. Culture helps the possibility of creating new recognition. In my study, I construct a semantic triangle for cultural creative products, and integrate cultural interpretation with objects that are associated with life experiences. I provide a design model to shape the cultural creative product, and I define a method to convert the abstract cultural concept into specific product information, in order to create a new value for the design.