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Pastangos suteikti vaizduotei kūną, pabėgti į kitą, kitokią, geresnę, kontroliuojamą realybę per amžius skatino technologijų raidą bei nuolatinę pažangą. Šiandien virtualios realybės įranga jau sudaro sąlygas juslinę patirtį įtraukti į vis virtualesnes tikrovės formas. Supažindindami su šia dar gana nauja sritimi, siūlome virtualios realybės kilmės ir svarbiausių bruožų aptarimą bei svarstymus, kas kūniškumo prasme yra virtuali realybė ir kokios dar tikrovės formos egzistuoja šiandien. For long centuries the efforts to embody the imagination and to escape to a different and controllable reality have promoted technological development and progress. Today the virtual reality equipment grants the possibilities to include corporeal experiences into increasingly virtual forms of reality. The paper employs the semiotic approach in order to reflect on the descent of virtual reality, its links to imagination, mimetic art and its techniques. The semiotic concept of the effect of reality is used in an attempt to understand how a disembodied reality might be treated as a real one. These reflections upon the efforts to grant corporeality to imagination, construct a controllable reality and find the ways of operating within it, as well as the relations of different forms of reality to corporeality are summarised in the semiotic square of the forms of reality. Since submersion and interaction are intrinsic to all forms of reality, each type is described in terms of substance, corporeal perception and the kind of space in which the body acts. The corporeal reality is the reality of presence, the experience taking place here and now and related with the dimension of the world perceived by the senses. Both the subject and the space are physical, and any activity is possible to the extent the limits and potential of a body permit. This kind of reality is self-contained, unmodelled and uncontrollable; imagination is the incorporeal dimension of this reality that can be exteriorised by material artistic means. This corporeal reality is the source, foundation and starting point for all the other forms of reality. [...]

Straipsnyje keliama hipotezė, kad žodiniam tekstui būdingas vaizdinei raiškai analogiškas plastiškumas, kai tikslingai pasirinktos semantinės ar gramatinės žodžių formos atlieka „potėpio“ vaidmenį, suteikdamos kuriamam vaizdui unikalių bruožų, lemiančių kalbėsenos savitumą (kaip potėpiai lemia tapysenos savitumą). Atidesnis įsižiūrėjimas į kelis Vytauto Mačernio „Vizijose“ kuriamus išoriškai statiškus, tačiau tarsi vibruojančius vaizdus leidžia išryškinti keletą iš daugybės žodinio teksto plastinio matmens aspektų, parodyti žodžių darybos teikiamas išraiškos galimybes sukurti vidinės dinamikos įspūdį, būdingą ir kai kuriems XX a. 3–4-ojo dešimtmečio lietuvių dailininkų darbams. Bendrą – ne tik su vizualumu susijusį – plastinės semiotikos pobūdį ir jusliškumo analizės galimybes atskleidė Greimo veikalas „Apie netobulumą“ (1989). Straipsnyje regimas bandymas patyrinėti žodiniu tekstu kuriamo vaizdo plastinius aspektus padeda išryškinti žodžių darybos implikuojamą plastiškumą, analogišką vaizdinių tekstų plastiškumui (spalvos sodrumui ar linijos intensyvumui): atskleidžiama, kad gana statiškų „Vizijų“ vaizdų vidinis dinamizmas sukuriamas savitai išnaudojant veiksmažodžių teikiamas galimybes. Akivaizdžiai figūratyvus vibracijos įspūdis kyla dėl vis pasikartojančių virpėjimo formantą turinčių figūrų (mirgėjimo, plevenimo, plazdėjimo, virpėjimo, dūzgimo ir kt.). Turinio lygmenyje su vibracija koreliuoja vitališkumas, žemės ir kraujo ryšio garbinimas. Virpėjimo, vibracijos įspūdį palaiko ir sustiprina procesualumą, tapsmą išryškinantys veiksmažodžiai ir jų dalyvinės formos. The paper raises a hypothesis that plasticity analogical to visual expression is characteristic of verbal text, when purposefully selected semantic or grammatical word forms perform the role of a “stroke” providing the image with unique features that determine the distinction of speech (like the strokes determine the distinction of painting). A closer look at several externally static yet as if vibrating images, created in Vytautas Mačernis’ “Vizijos” [Visions], allows pointing out several out of many aspects of the plastic dimension of verbal text, showing the opportunities of expression provided by word formation to create the impression of internal dynamics, which is also characteristic of some works of Lithuanian painters of the 1920s–1930s. The treatise “Apie netobulumą” [About Imperfection] by Greimas (1989) revealed the general nature of plastic semiotics, rather than related to visuality, and the possibilities of sensitiveness analysis. The attempt to examine the plastic aspects created by verbal text helps to point out the plasticity implied by word formation, which is analogical to the plasticity (colour depth or line intensity) of visual texts: the paper reveals that the internal dynamism of rather static images of “Vizijos” is created by peculiarly using the possibilities provided by verbs. The evidently figurative impression of vibration is caused by repeating figures that contain the vibration formant (glimmering, wavering, fluttering, vibrating, humming, etc.). On the content level, vitality and the worship of earth and blood relation correlate with vibration. The impression of vibration is sustained and enhanced by verbs and their participle forms that emphasise process and transformation.

This paper analyzes the narrative of the Lithuanian Independent Movement (Sąjūdis) in the history textbooks. The question is proposed whether the truth telling in such a narrative is based only on the representation of the historical truth, or it is organized to meet other criteria presupposed in the narrative of educational discourse, such as forming an identity, representing democratic and humanistic values, that are treated as the basis of the modern democratic republic. Veridiction and historiality terms are used to interpret historical-educational narrative and find such values in the text.

The aim of the following paper is to analyze the rewriting of the plastic features between Alan Moore's and David Gibbons’ graphic novel and Zack Snyder's film adaptation of the same title. Thus, the analysis addresses in what specific ways the medium affects the plastic dimensions of the graphic novel and the film adaptation. Applied theoretical basis allows to define the concept of media within the semiotic discourse and to highlight the causes of different plasticity between the graphic novel and the film adaptation. These differences are described as changes in the expression of identical plastic features, due to the change in media, which implies the assignment of different values in the communication process.

The aim of the following paper is to analyze what happens when fashion brand chooses to oppose itself to the conventional idea of beauty. Thus, at the same time, it attempts to raise a question about how the image of such fashion brand is constructed and how imperfection becomes a positive aesthetic value. The corpus consists of four different types of texts produced by “D.efect”: brand logotype, videos (created in 2014 and 2015), digital platform and photo shoots of fashion collections dated from 2013 to 2016. In the first part of the paper, the notion of aesthetics is being determined by examining some works of semioticians as well as in broader philosophical context. The second chapter of this part focuses on the phenomena of alternative aesthetics in Western culture in order to reveal the cultural context in which “D.efect” fashion brand as a cultural product exists. The second part is dedicated to the notion of fashion. First, some works of fashion theoreticians are being reviewed. Then, it is being attempted to define the possibilities of semiotic analysis of fashion discourse by examining the fashion-related works of semioticians. It is concluded that fashion can be defined by some substantive oppositions such as individuality vs universality, extravagancy vs tradition, innovation vs imitation, new vs old, aesthetic vs practical values, constant change vs established standard. It is specified that it is extremely important to examine fashion brands and products not only from the visual semiotics’ perspective but also focus on sociosemiotical approach while analyzing fashion utterances. The third part is devoted to the analysis of the texts produced by “D.efect”. First of all, the beauty of imperfection is declared on the verbal level. Second, on the visual level, imperfection or defect is associated with gap, interruption or deficiency. Moreover, the aesthetics of imperfection is constructed through openness or honesty on all possible levels: plastic as well as figurative and narrative. By this motive, the specific way of being is being established. This way of being is related to being honest to oneself and Other. Paradoxically, the clothes don’t become the main communication object. Minimalistic shape and cut are complemented by unexpected details which strengthen the value of uniqueness communicated by brand. The composition asymmetry which is noticed on plastic level matches the asymmetry of clothes. When the beauty or aesthetics of imperfection is declared, it is possible to talk about the change of beauty standard but not about denying it. In the case of “D.efect“ brand, the change is being established through its relation with existing standard. However, this change becomes a particular requirement, because communication receiver gets clear message about what is beautiful. Fashion brand reflects fashion definition itself through the opposition between change (which is figuratively expressed as a gap) and standard establishment. On the basis of typology offered by Jean-Marie Floch, it seems that the image of “D.efect” aims to propose the fact of style and not the fact of fashion. The image is based on “preserving oneself”-identity. Nevertheless, the analysis revealed that individuality and uniqueness also are universal qualities that can be in fashion.

The aim of this thesis is to analyse two constituents of a literary book, namely, the book cover and the literary work within a book, and to examine how they interact with one another. This is done by using semiotic theory of modalities to analyse a specific object: Balys Sruoga’s memoir Dievų miškas and covers of twenty-three books of this memoir. Semiotic modal theory has barely been used for a visual text analysis. Therefore, this thesis is also aimed at expanding the possibilities of modalities in semiotics. A hypothesis is raised that modal structures can reveal links between the two constituents of a book. Another hypothesis suggests that modal structures can also show the differences of distinct cultures. This is argued by comparing various book covers that represent translated versions of the same literary work. The first chapter of the thesis examines a book in the context of book publishing and marketing, especially when a book enters foreign markets. It also explicates the interaction between cultures in a translated version of a book. The two following chapters deal with theoretical problems related to the book as a semiotic object. The second chapter presents correlations and differences between visual and written texts, examines the ways such texts comprise a book as a single work of art. The third chapter introduces the main points of semiotic modal theory and how it will be used in analysis. The fourth and fifth chapters of the thesis present the actual analyses of Dievų miškas and the book covers, respectively. The analyses reveal that a literary work and a book cover representing it do not necessarily convey the same meaning. The diversity of semiotic subjects discovered in the literary work was not found in any of the book covers. Therefore, it is concluded that book covers represent literary works very briefly not only in figurative, but also in a modal level. It is then stated that such representation in book covers allows to shape ideology that might not be directly related to the literary work and affects the interpretation of it. Previously mentioned hypotheses are confirmed as modal structures were indeed helpful in comparing both the two constituents of a book and the different versions of the same book in different cultures. All this leads to a conclusion that the theory of modal structures can be used more often and in a much wider context than it has been used so far.

Baigiamajame magistro darbe analizuojamos dizaino strategijos, jų teoriniai modeliai bei strategijų taikymas organizacijose. Analizuojamos paslaugų dizaino, design thinking , design doing teorijos, jų strateginiai žingsniai. Atliekama mokslinių literatūros šaltinių analizė, internetinių šaltinių analizė apimanti kompanijų profilius ir tarptautinius žurnalus. Praktinėje dalyje pateikiami empirinių tyrimų (anketinės apklausos, giluminio interviu, ekspertų vertinimo) metu gauti duomenys bei SWOT analizės rezultatai, dizaino strategija UAB ACME organizacijai bei jos naudingumo analizė. Baigiamąjį magistro darbą sudaro 4 dalys : probleminė, teorinė, tiriamoji ir praktinė probleminėje dalyje aptariamas dizaino strategijų naudingumas verslui, teorinėje dalyje pristatomi dizaino strategijų teoriniai modeliai, tiriamojoje dalyje analizuojami empiriniai tyrimai praktinėje pristatoma ir analizuojama dizaino strategija. Master thesis is oriented into analysis of design strategies and into creating design strategy for "ACME" organization. Thesis includes analysis of theoretical models of service design, design thinking, design doing. An empirical research and SWOT analysis is presented. Empirical research includes survey, follow up interview and experts survey. Practical part presents design strategy created for organization, based on theoretical analysis and results collected during research. Master thesis is oriented into analysing theoretical models and creating design strategy, evaluation of benefits of design strategy, deep analysis of organization and presenting practical plan.

Šiame darbe palyginami dviejų šalių – Lietuvos ir Olandijos kultūriniai kontekstai. Darbo siekis išsiaiškinti priežastis kodėl Olandija tapo grafinio dizaino šalimi ir ko trūksta Lietuvai norint tobulėti šioje srityje. Darbe kultūra apžvelgiama iš istorinio konteksto, kuris padėjo pagrindus tautų mentalitetui, o tuo pačiu kaip rezultatas atsispindi ir grafiniame dizaine. Aptariamas kultūros bei dizaino rėmimas, kuris yra vienas pagrindinių variklių dizaino palaikyme. Taip pat nagrinėjamas meno sektorius, jo bruožai ir svarba visuomenėjea. This research compares two countries - Lithuanian and Netherlands cultural contexts. Intension is to find out the reason why the Netherlands has become a graphic design country and what is missing in Lithuania to lead in this field. The research examine historical context, which laid the foundation for the nation's mentality, but at the same time as a result is reflected in the graphic design field. Discusses the support of culture and design, which is one of the main impulse on design supporting system. Research also examines the art sector, its features and importance in society.

Tipografika ir muzika: sujungus šias dvi sritis gimė tipografinis projektas „Aerofont”. „Aerofont” - tai erdvinės muzikinės raidės, kurias galima perskaityti, išgirsti ir jomis pagroti. Erdvinių muzikos raidžių funkcionalumas imituoja „aerofonų” (pučiamųjų) instrumentų šeimos sintezatoriaus veikimo principą, nes jomis galima perduoti intertekstinio pobūdžio žinutes. Šiomis raidėmis yra siekiama perteikti estetinę muzikos žinutę be paties autoriaus/atlikėjo, kitaip tariant, kiekvienas, naudodamasis „Aerofont” raidėmis, tampa atlikėju, nes tiek raidžių naudojimas, tiek ir garso skleidimas sukuria sąryšį tarp subjekto ir objekto arba leidžia perteikti ir sintezuoti estetinius bei kultūrinius potyrius. Typography and music: by connecting these two fields, a typographic project „Aerofont” was born. „Aerofont” is a set of spatial musical letters, which one can read, hear and play. The function of these spatial letters imitates the principles of a synthesizer from an aerofone (wind) instrument family, because it is possible to send out inter-textual messages by using them. The purpose of the letters is to convey the aesthetical message of music without the author/performer. In other words, everyone becomes a musician using the „Aerofont” letters, because the usage of letters and broadcast of sound creates cohesion between the subject and the object and allows the aesthetical and cultural experience to be conveyed and synthesized.

Šiame darbe aptariamos kinetinės tipografikos atsiradimo prielaidos: klasikinis modernizmas, šrifto įtaigos įteisinimas, kinas. Analizuojami ryšiai tarp kinetinės tipografikos ir naujųjų medijų. Kalbama apie kinetinės tipografikos vizualinę ir stilistinę raišką, estetinius siekius, atsižvelgiant į tipografikos modifikacijas. Įvardijami skirtumai tarp kinetinės tipografikos ir spausdintinės eksperimentinės tipografikos, išryškinama kinetinės tipografikos komunikavimo specifiką. This work discusses about the main assumptions of kinetic typography: classical modernism, validation of the font suggestion,film. This work analyzes the connection between kinetic typography and new media. It is about visual and stylistic expression of kinetic typography, aesthetic aspirations, considering to modifications of typography. This work identifies the differences between the kinetic typography and printed experimental typography, it highlights the communication specifics of kinetic typography.