Aesthetic distance overlaps and waiting horizon In producing the meaning of reading fabric and fashion designs

Abstract

When the presentation of fabric and fashion designs ends, the recipient may seem overrated in search of its overall meaning according to multiple, and perhaps contradictory readings, sometimes reaching endless diversity and openness in a way that makes design mean anything, or quite the opposite. That is, it may seem that it does not mean anything. When the recipient finds that the design is ambiguous and does not reveal its secrets easily and easily, he will take upon himself the task of generating proposed meanings and adding them to the design, except that most of these readings are nothing more than possible assumptions, and whether these readings represent Realistic or imagined hypotheses, their effectiveness depends on how closely they relate In the appropriate environment for the movement of meaning, and that comes through suggesting appropriate criteria for dealing with signs within the proposed aesthetic distance, and then reaching through this distance to the meaning of the presentation and its semantic displacements, starting from that the communicative function is always conditioned by intentionality.
Fabrics and fashion designs, tools, and components that constitute its material and moral entity, and they transmit private and general meanings, suggestive, abbreviated and intense because of their aesthetic distance in reality, but rather like the raw materials and fabrics that are organized in the design structure, to produce the proposed general meaning, forming a procedural starting point for the approach Reading, fabrics and fashion designs pump the recipient with continuous suggestions, which is a permanent process, as soon as the recipient calculates that he has captured its meaning until it escapes from it, and every attempt made by the recipient will be adding a small unit of building the general meaning structure that the design seeks to suggest lines of its general features his mom.
 The language of fabrics and fashion designs penetrates, through their allegorical and metaphorical signs, that photography, literal transmission, and direct quotes of reality, despite our sensors that control our critical vision, confirming that there are other possible and multiple readings of the design language itself, which represent a set of open meanings that can be adopted And defending it, even though it may contradict readings and other meanings that are also capable of adoption and defense, as modern methods of criticism, which simulate and identify with modern theories and approaches of literary criticism, especially post-constructive approaches, aspire to explain openness of meaning and multiple readings, which are attempts E reveals the fact that it is not possible to reach a meaning completely, accurately, directly, and away from ambiguity, and this fact is the one that opened the door wide for the recipient to enter into spaces of plurality of meanings, investing reading and receiving approaches in interpreting the speech of designs of fabrics and costumes, and proposing reading approaches to find language loads. Form a design speech. As a result of this interaction between what is authorized and what is silent about it in the entirety of that speech, our current research came to try to answer the following question / What is the way the designer of fabrics and fashion establishes through that aesthetic distance in which the act of reading overlaps between the design speech and the waiting horizon of receiver?