Under the direction of Guillaume Soulez & Kira Kitsopanidou

What are the different types of relations that exist between audiovisual forms and media ? In this issue, academics and professionals analyze the importance of "big forms" (conventions, genres, TV-formats or web-formats), which are central for contemporary media. Two aspects are particularly studied: the role of “formats” in contemporary cinema and television and the relationship between ...
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Under the direction of David Douyère, Stéphane Dufour & Odile Riondet
Under the direction of Anolga Rodionoff
Under the direction of Bernard Darras & Dannyelle Valente


#44 #45


Edit an upcoming MEI issue.

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COMMUNICATION AND ARCHITECTURE Under the direction of Patrizia Laudati & Hafida Boulekbache


To borrow a term from Lamizet (2007), a city is a polyphonic space, one which presents its particular architecture and therefore a number of systems of expression and meaning. The product of a variety of projects and the design expertise of a wide range of contributors from contrasting backgrounds, a city is founded on both individual and collective history, all of which is closely related to modes of appropriation and customs.
This issue of M.E.I. aims to provide an overview of research in communication applied to architecture and concerned with one or more of the following areas:

Written plans for the urban environment. The design process (from the very first sketches up to actual implementation) implies spatial, social and cultural mediation.

Technical and technological devices for representing spaces which take into account the exchange of information (normalized to varying degrees) between the various participants in the construction process.

The reading of urban spaces by their users. The ontological characteristics and composition of urban spaces refer to a multitude of perceptions and representations which constantly readjust the meaning attributed to them

The practices of and within urban spaces. Urban communication practices revolve around a mediation process which is twofold. It is both a spatial one, since the configuration of an urban space structures the practices associated with it, and a social one, because the social context gives meaning to the accepted common practice of the space.

- The methodological tools required to properly consider the urban phenomenon and the way users interact with it.

This issue comes within the scope of interdisciplinary research projects which call on communication and information sciences, urban architecture and engineering, spatial semiotics and cultural studies.


- Patrizia Laudati : Patrizia.Laudat [a] univ-valenciennes [dot] fr

- Hafida Boulekbache : hafida.boulekbache [a] univ-valenciennes [dot] fr


EXHIBITION & COMMUNICATION Under the direction of Nanta Novello Paglianti & Eléni Mitropoulou


Under the direction of :

A vast number of disciplines in the social sciences and humanities are interested in contemporary issues of exhibition, ranging from the history of art to archeology, philosophy, law, sociology, communications, anthropology, cultural studies, education, and design.
This special issue (number 42) of MEI, devoted to the theme of exhibition, is an invitation to think of both the production and reception of exhibitions as a communication mechanism with fundamentally “semiotic” stakes. We would like the proposed approaches to deal with current exhibition practices from a semiotic or semiological angle (both theoretical and methodological), as they are manifest in institutional or other settings. They should be attentive to observing the relationship between the potential of a collection (of contemporary art in particular, but not exclusively) and the mediation assured by exhibition(s) held in dedicated spaces (museums, art centers, etc.) and places of privilege (universities, art schools, etc.). The main focus of the issue is thus not the work of art itself, but rather the means of communication (human, material, spatial, temporal, etc.) used to disseminate, make known, promote, and/or interpret a given collection, artist, area of knowledge, or concept.

Under the direction of :

- Nanta Novello Paglianti : nanta.novello-paglianti[at] u-bourgogne [dot] fr

- Eléni Mitropoulou : eleni.mitropoulou [at] unilim [dot] fr

March 30, 2016


DESIGN & COMMUNICATION Under the direction of Bernard Darras & Stéphane Vial


Under the direction of Bernard Darras & Stéphane Vial

If the 20th century was the century that saw the emergence of communication theories, it also saw the emergence of design, seen both as a profession and a discipline. Such simultaneity cannot be a coincidence and invites questioning.

By presenting itself to sponsors as a ‘weapon of mass communication’ (Vial, 2014), design has indeed profoundly changed and influenced communication practices during the last fifty years. In Anglo-Saxon countries, one can also refer to communication design to designate the branch of design specialising in conceiving and developing messages and devices dedicated to communication. In France, since Roger Tallon, one has outlined three major domains within design: the ‘domain of spatial planning’ (architecture, urban planning), the ‘domain of production’ (objects, products) and the ‘domain of communication’ (signs, messages).

In addition, the project or act of design can be considered in itself as ‘an act of communication’: a well-designed artefact is an artefact that ‘speaks for itself’ to the user (Norman, 2002). The semiotics of objects (Darras & Belkhamsa, MEI 30-31, 2009; Beyaert-Geslin, PUF, 2012) and the semiotics of the project thus provide designers with analytical and systemic tools. This is confirmed by the international study into the relationship between semioticians and designers (Darras, SIGNATA Vol. 3, 2012), insofar as ‘the semiotician accompanies the designer’s work in organising the meaning (of the concept) and in ensuring the effectiveness of its communication” (Deni, 2009). Not only must design products be comprehensible to their users, but for Krippendorff (2006), one can even say that “design is making sense of things.”

Finally, over the last fifteen years, designers from all sectors have been faced with the need to integrate the dimension of communication into their work. Now, “the project is not complete until it is communicated” to the point where “the objective is often no longer to sell a particular product, but rather to sell yourself” (Colin, 2003). How is design communicated to the public, whether in the media, galleries or museums? How does design exhibit itself? What cultural mediation is there for design?

This issue of MEI intends to question the diversity of the points of contact between communication and design on one hand, and design and communication on the other. How do communication theories and practices relate to the challenges of design? To what extent and in what ways is design a subject for information and communication science? How does this sector accommodate design and address its issues? Does design work as a medium which materializes thought? And conversely, how do design theories and practices address the challenges of communication? To what extent is communication a design object? How does design culture relate to the challenges of information and communication science?

To this end, all forms of design are discussed and not only those, such as interactive design and digital design, that are directly related to information and communication technology or those, such as graphic design or information design, that are an integral part of communication design. Product design, architectural design, landscape design, urban design, eco-design, textile design, fashion design, design management, strategic design and social design, etc. are also concerned with the challenges of communication.

picto_fleche_droite  I want to contribute as an author 

Under the direction of Bernard Darras & Stéphane Vial

Abstracts of 300 words should be sent to the following addresses:
bernard.darras [at] and hello [at]

Abstracts will be submitted to peer review.

April 30, 2015





Under the direction of Michael Rinn

Research on public health seeks to save, to protect and to improve the well-being of the population. To do so, research follows two goals:

1. to study health issues in order to understand their epidemiological and sociocultural origins.
2. To intervene with the population at large and with vulnerable people to promote medical attention, measures of protection and prevention.

In public health, communication plays a role within the frame of the second goal. This role consists in conveying new behaviours adapted to health hazards, environmental hazards, to the prevention of accidents, to the education to “safer sex”, to the improvement of medical attention and living conditions, as well as to the implementation of new civic regulations.
This issue of the MEI journal attempts to demonstrate how the interaction between public health and communication sets up propaganda of a new hygiene ideology promoting self-care and social government which benefits the entire community. Hinging on key concepts of contemporary liberalism such as self-responsibility, free will and non-discriminatory universalism, public health communication covers several dimensions: customs (different cultural practices, representations, and sensibility ), types (definition of the at-risk-population and vulnerable people), political (promotion of the hygiene ideology), and state dimension (adoption of new social regulations).
This issue is inscribed in an interdisciplinary framework, embracing information sciences, visual semiotics, political science, and linguistics. The research corpus includes different Medias which are likely to influence public opinion: web sites, social networks, advertising TV campaigns, posters, adverts, leaflets, and brochures.

Michael RINN : mirarinn [ at ] wanadoo [ dot ] fr

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