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In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes.

theme 2 memory strand 1 design histories: tradition, transgression and transformations abstract author(s) keywordsThe expression 'memória gráfica' (literally, 'graphic memory') has been used in Portuguese and Spanish-speaking countries in Latin America, more and more frequently, in the last years, in order to refer to a line of studies that intends to review the significance and value of visual artifacts, and in particular of printed ephemera, in the establishment of a sense of local identity through design. This paper intends to review the contexts in which this expression has been used within the field of research on visual artifacts in Latin America, and to discuss the relationships between the concept of 'graphic memory' and those of 'print culture,' 'visual culture,' and 'material culture,' setting up a proposal of how it can be applied as an approach to the history of graphic design in non-hegemonic countries.visual design, design history methods, Latin America, 21 st centuryOn graphic memory as a strategy for design history Priscila L. Farias prifarias@usp.br University of São Paulo 1 While the sequence of characters is exactly the same for writing memoria grafica in Portuguese, Spanish, and also Italian, there are slight differences in orthography due to the use of diacritics in the first two idioms (acute accents over 'o' and the second 'a' in Portuguese, and only over the second 'a' in Spanish). I will therefore use the expression without diacritics to refer to the use of this expression in both Portuguese and Spanish.

1Este artículo es producto de una investigación realizada gracias al apoyo del Consejo Nacional de Desarrollo Científico y Tecnológico de Brasil (CNPq). Una versión anterior del mismo fue presentada en el III Congreso de Historia Intelectual de América Latina, en 2016 (Ciudad de México). ResumenEn Brasil, desde principios del siglo XXI, la expresión memoria gráfica ha sido usada, cada vez con más frecuencia, para denominar una línea de estudios que busca comprender la importancia y el valor de los artefactos visuales, en particular, los impresos efímeros, para la creación de un sentido de identidad local a través del diseño. Tales artefactos han sido invisibilizados por mucho tiempo por las corrientes dominantes sobre lo que sería el diseño y, en consecuencia, de lo que debe hacer parte de la historia del diseño. Otras historias del diseño que incluyan tales artefactos aún deben ser descubiertas y narradas.Este artículo propone una reflexión acerca de los contextos en los que ha sido utilizada la memoria gráfica en el campo de la investigación de los artefactos visuales en Brasil, partiendo de una discusión sobre las conexiones posibles con conceptos más conocidos, como los de cultura de la impresión, cultura visual y cultura material, dando ejemplos de investigaciones realizadas, y llegando a una propuesta de cómo la idea de memoria gráfica puede ser adoptada como una estrategia para abordar el descubrimiento o la construcción de historias de diseño gráfico y visual en países no hegemónicos.Palabras clave: diseño gráfico, historia del diseño, cultura, Brasil. AbstractIn Brazil, since the early 21st century, the expression graphic memory has been used, more and more frequently, in order to refer to a line of studies that aims to understand the significance and value of visual artefacts, in particular of printed ephemera, in the establishment of a sense of local identity through design.Such artefacts have been, for a long time, ignored by the dominant currents of thought on what design is, and, as a consequence, on what should be part of design history. Other design histories, which include such artefacts, are still to be uncovered and narrated. This paper proposes a reflection on the contexts in which this expression has been used within the field of research on visual artefacts in Brazil, departing from a discussion on the possible connections between the concept with better known concepts, like those of print culture, visual culture, and material culture, setting up a proposal of how the idea of graphic memory can be applied as a strategy to the discovery or construction of histories of graphic and visual design in non-hegemonic countries.Keywords: graphic design, design history, culture, Brazil. ResumoNo Brasil desde princípios do século XXI, a expressão memória gráfica tem sido utilizada, cada vez com mais freqüência, para denominar uma linha de estudos que busca compreender a importância e o valor de artefatos visuais, em particular impressos efêmeros, na criação de um sentido de identidade local através do...