摘要：How can we know what a photograph means？ What messages or codes exist semiotically that help us to interpret it？ The mass consumption of images is reflected in the large number of contests, scholarships, galleries, museographic exhibitions and especially in advertising： What are the semiotic parameters that can be established for a reliable and clear judgment to discriminate one photo from another？ For critics or judges, artists or the general public, this article seeks to answer these questions by proposing a semiotic analysis based on new advances in science, in psychology of perception and neurobiology of vision; said methodology, currently being applied intensively at ESAV and used in the postgraduate studies of the present author, seeks to facilitate the understanding of the meaning--to improve the hermeneutics---ofthe photographic image in a systematic and objective way.

摘要：Currently, The current flat design has become a mainstream approach is widely used in web design, computer and mobile phone systems, interface design. In graphic design, graphic symbol design is increasingly being taken seriously and use minimalist design symbols often appear in print design plane, PPT presentations, public areas, identity-oriented system like. This paper discusses the design of graphical symbols flat in graphic design use need to make the audience cognitive ability, graphic symbols standardized principles, design principles angles for effective information design to achieve efficient information communication. Materialized mostly graphic image symbols, and mostly flat graphic indicator; flat screen symbol by the proposed development materialized symbol interface evolved. Materialized the graphical interface and the graphical interface is flat coexist and cannot replace each other. During the design, the designer should be based on the advantages and disadvantages of the two styles complement each other interfaces, common graphical interface design services.

摘要：Landscape was considered as an image in the eye of human beings,and also an object for people experiencing physically and aesthetically on the basis of which landscape perception was regarded as a compound content,and focus of studies on this aspect has transferred from biology-based to social *** was proposed that landscape was not only a kind of space,but also a demonstration of human ideology,and for all viewers,landscape meant a kind of significance *** to Ferdiand de Sausure's "signifier" and "signified",and Charles Sanders Peirce's theory of categories,connotations of landscape symbols were discussed,landscape considered as a symbol text,and the relationship between "signifier" and "signified" borrowed to stress that landscape symbols expressed the significance accepted by audience via certain *** this basis,significance characterization of landscape symbols was classified into graphic symbols,indicative symbols and symbolic *** symbols were believed as the most complicated ones because corresponding cultural backgrounds of viewers were *** and openness of landscape significance was elaborated,as well as its relationship with cultural context design,to provide reference for future designs.

摘要：This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco＇s （1994） work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco＇s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains （and definitely makes such a difference possible）, is the time factor. The delay （lingering） part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience.

摘要：This article examines the complex interplay between abstraction and representation in the ontology of *** inhabit an in-between space as tangible artifacts that also convey intangible ideas and *** analysis synthesizes perspectives from across the history of philosophy to elucidate how images bridge abstraction and representation through their form and *** engages with ongoing epistemological and aesthetic debates concerning the dual nature of ***’s theory of ideal forms is outlined as an early attempt to define *** semiotic theories are discussed for their insights into how images create meaning through codes and *** offers an alternative approach by prioritizing the sensorial,affective impact of *** problematizes representation in the context of mechanical reproduction and *** diverse,these philosophical frameworks all grapple with the issues images pose between abstract essence and concrete appearance,conceptual ideas and sensory *** article reveals the richness of images as liminal constructs that collapse dualisms in their creative interfacing of material forms and immaterial *** concludes that this ontological ambiguity empowers images as mediators between imagination and perception,subjectivity and reality.