Visual Pun in Visual Playability Fire Extinguisher Display

at Terminal 3 Soekarno-Hatta Airport

Wegig Murwonugroho

Faculty of Art and Design, Universitas Trisakti, Jalan Kyai Tapa No. 1 Grogol Jakarta Barat, Jakarta, Indonesia

Keywords: memorability, visual pun, playability, fire extinguisher display.

Abstract: The main issues in this journal are focused on how such work of art ultimately has a factor of memorability.

Fire extinguisher are displayed in punny ways reflected similar with various tubes (simile). These visual puns

actually raises a variety of narratives. Fire extinguishers have been punned with diving cylinder, helium tanks

with hot air balloons, and others. This style of display has read the process of creativity starting from how to

equate the shape of the tube and the next stage appears a visual narrative that has a correlation with the function

of other tubes which are no longer as fire extinguisher. From all the puns of the fire extinguisher to various

tubes, it raises the level of distinction in which illustrations are most memorable. This research is using the

Roland Barthes’ semiotic method. Data analysis shows that the most memorable illustration is the illustration

that humorous or punny. The punny level is influenced by the unusualness of the story and the depiction of

character expressions. In addition, the personal pragmatic experience of each person also evokes a memorable

past. This study contributes the finding of a correlation between visual forms with pun. If the illustration only

has a narrative that is limited to being informative and not using much puns, it does not have much effect on

fame. Playability factor is the finding in this study. Playability will feel more exciting when illustrated wordy

puns as well, comical, whimsy, and unusualness of the story.

1 INTRODUCTION

Airports in each country other than functioned as the

access in and out of each individual traveling using

air transportation modes, are often used as icons of

that country. Each country competes to make various

improvements both in terms of design, facilities, and

or facilities and infrastructure at the airport. Its main

function as check in place, boarding and landed.

There are supportive facilities, for passengers as well

as for the families (café, book store, department store,

among others). In addition, the airport is also a transit

place for many people from various parts of the

world. The airport is known as one of the places

where the memory is formed and then attached.

The airport atmosphere confirms what identity is

being pinned on someone. So that the airport becomes

a place for someone to actualize himself or a place to

interact. It needs a constructive atmosphere and

comfortable nuance.

Figure 1. Illustration of a couple who will become separated

at the airport. Source: http://bit.ly/2QXCaE4

Thus interior design is one of the supporting

factors of an airport that has the power to create space

experiences, and later forming a memorable memory.

The well-arranged visual ornaments greatly help the

process of forming a memorable memory. The place

association and event or experience will

automatically be formed with the aid of eye-catching

signifier and signified. Beside of that, an airport has

several standards of eligibility that must be met. One

of them, the placement of Fire Extinguishers at

certain points.

296

Murwonugroho, W.

Visual Pun in Visual Playability Fire Extinguisher Display at Terminal 3 Soekarno-Hatta Airpor t.

DOI: 10.5220/0008763702960301

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 296-301

ISBN: 978-989-758-450-3

The placement of these Fire Extinguishers must

be at a clear visibility and an easily accessible points.

So far there has been no innovation in the installment

of Fire Extinguishers in public spaces so that they are

far from being tedious and scary. Until Angkasa Pura

2 combines mural artwork with punny visual themes

as a visualization of Fire Extinguishers that are

unique and carry such high attractiveness.

Issues we examine are: 1). How visual structure

carried its identity as a signifier, 2). How Visual Pun

Creates Meaning, and 3).How to make it memorable.

2 THEORETICAL BASIS

Visual Pun is the use of usually funny words by

shifting meaning in such a way as to suggest two or

more meanings or meanings of other words that are

similar in form and word or sound. Henri Bergson

defines pun as a word, sentence or utterance where

the same sentence appears to offer two independent

meanings, but it is only a form; in reality there are two

different sentences consisting of different words, but

claiming to be one and the same because both have

the same voice. (Augarde, 2003)

Considering the definitions mentioned above and

the study of empirical matter, we can come to the

conclusion that pun is a figure of speech consisting of

deliberate confusion of words or phrases that are

similar to a rhetorical effect, whether in the form of

funny or serious.

Pun, recognized as a rhetorical device and

communicative strategy, is widely used both in

literature and in everyday life and gradually receives

attention from a more scientific side. As a figure of

speech, puns have been widely used in

advertisements, jokes, puzzles, literary works and the

like, to make language come alive and impress and

produce funny, and or sarcastic effects.

Pun as a linguistic phenomenon has increasingly

attracted the interest of researchers over the past few

decades. Review and analysis of various conference

books, articles, and materials devoted to this subject.

It should also be noted that almost all the works

mentioned above relate to the sentence form of words

that are expressed verbally. Thus, puns are very

dominant in their character so people tend to forget

that they may be visual (pictorial) as well and

therefore make more attraction through the eyes than

the ears.

In addition, Salvatore Attardo (2005) believes that

puns can be considered a form of verbal humor. He

talks about Pepicello and Weisberg's linguistic theory

of humor and believes the only form of linguistic

humor is limited to puns. This is not entirely

appropriate given that the idea of words is limited to

special languages, because the visual representation

of an image can create ambiguity which is considered

a central figure in creating word play. The conclusion

characteristic of “pun” are: figuratively, wordplay,

ambiguity or intentional confusion, puzzles, as if to

be serious, or as if it would be funny or humorous.

The only difference that lies between verbal and

visual utterances is that visual playability plays a dual

meaning that is possible in certain types of images.

Verbal punctuation is a pun of various possible

meanings of words or phrases. While visual puns are

triggered by uniqueness in verbal form. In visual

language, this is often done to replace one image with

another, or one symbol for another - not only for

humor purposes, but also for increasing meaning. In

simple terms it can be concluded that puns are "wordy

plays" while visual puns are “image plays." Visual

Pun is an Imaging with funny meaning, both

intentional and/or not

From the perspective of advertising design, the

application of visual games in advertisements

resembles the use of keys. Advertisers who use puns

combine images and "lock" some product

information into advertisements, and then let

consumers find the key to unlock information.

Although this method is creative, it does not present

product characteristics that encourage high

rationality. Beside of that, high advertising

skepticism is characterized by the effect of cynicism.

Therefore, advertisements that contain visual puns for

products that lead to high rationalities are not trusted

by people with high skepticism about an ad. The role

of advertising for products that encourages low

involvement-rationality is to help consumers

compare various products but does not influence

consumers' decisions to buy products (Vaughn,

1986).

Consumers feel happy when they see

advertisements that contain puns and process related

information. As a result, consumers have a positive

attitude towards products that are advertised in such a

way (Mulken et al, 2005). In this study, it can be

concluded that people with low advertising

skepticism usually do not reject messages; therefore,

consumers with low advertising skepticism find the

creative use of humorous visual puns, thus it can be

concluded that this approach is effective in providing

such peripheral instructions to consumers, thus

encouraging the formation of positive acceptance of

messages. The experimental results also show that for

people with low advertising skepticism, visual

Visual Pun in Visual Playability Fire Extinguisher Display at Terminal 3 Soekarno-Hatta Airport

297

wordplay in advertising for products that causes high

involvement-rationality is very persuasive

(Hempelmann & Samson, 2007); this is still

considered significant even though the average

difference between the two types of products is small.

Literature states that consumer cognitive and

advertising exposure can moderate the attitude

responses of ad viewers. This can be proven by

research that viewers' understanding of advertising

gradually rises to touch a certain level of exposure.

Beyond the level of exposure, the effects that were

generated on the advertising audience and attitude

brand began to decline. According to Krugman

(1972), exposure to the first advertisement leads to

curiosity, ambiguity and lack of recognition about

advertising, called the "what is" stage. At the third

advertisement exposure, the ad that was watched at

the same time was evaluated. According to Cacioppo

and Petty (1979), the relationship between

advertisement viewers and brand attitude increasing

significantly when ads are viewed three times will

greatly benefit the next exposure.

The next theory that can be applied in this

discussion is the semiotic theory of Roland Barthes.

Roland Barthes states that semiology is the goal of

taking various sign systems such as substance and

boundaries, images, various kinds of movements,

various sounds of music, and various objects, which

are integrated in a significant system. Roland Barthes

is the successor to Saussure's thinking. Saussure was

interested in the complex way of forming sentences

and the way in which sentences determine meaning,

but was less interested in the fact that the same

sentence could convey different meanings to people

with different situations. In the Saussure analysis,

which is used quite often by Barthes; the difference

between the signifier and the signified is very

important. The signifier is a picture used to state

something else, while what is signified is what stands

for (a real thing or, in a more perfect sense; a sensible

impression). Which is indicated sometimes has

existence outside of language and social construction,

but the signifier does not. Furthermore, the

relationship between the two ultimately changes.

There are many different ways that certain signs can

be expressed in language, or different objects divided.

None of these methods is ultimately superior to the

others.

3 METHODOLOGY

The research method used in this journal is Signifier

and Signified from Roland Barthes. Communication

systems for delivering messages are called myths, so

myths are not "objects", "concepts", or "ideas", but

modes of signifier, a "form" (Barthes, 1983: 109).

Myth is not defined by the material object of the

message, but by the way in which the object conveys

the message. Myths can be derived from writing

modes (written discourse, written coverage, books,

etc.) or pictorial representation modes (photos, films,

sports, or performances).

To be able to read a myth, we do not have to

bother to dissect the "signifier" relations and

"signified" at the linguistic level / denotative sign

(first sign), but enough to know the meaning of

denotative signs in general, because from this sign the

myth will be discussed. Denotative signs only

become signifier - "meaning" and "form" - which are

associated with signified / concepts in the level of

myth. As a total of linguistic signs, "meaning-myth"

has its own value; it relates to historical experience

and assumes certain types of knowledge and

comparative levels of facts.

4 DISCUSSION

4.1 Visual Form Similarity Analysis

In the discussion of analysis of Visual Form

Similarities, structurally the appearance of Fire

Extinguisher has a similar visual form to other

objects. When referring to Figure 2, it can be seen that

the Fire Extinguisher is hanging on a white wall

decorated with pictures of people who are taking

photographs. So far, what is commonly used as an

object of selfie is of course interesting and valuable

objects, for example: good food, expensive items that

have just been purchased, traveling to a place, etc. It's

rare for us to selfie with safety apparatus such as Fire

Extinguisher because we don't consider them to be

objects of interest. The cartoon image of a woman on

the wall with her hand placed right on the lever of a

Fire Extinguisher while taking pictures with her

friends indicates that the Fire Extinguisher can also

be an interesting, artistic, instagrammable object, and

plays an important role in safety. The target audience

becomes aware of the existence of Fire Extinguisher

which so far have only been considered as

complementary safety standards in the building.

In visualizing the Fire Extinguisher design in

Figure 3, it can be seen that the Fire Extinguisher is

punned into an astronaut oxygen tube. The image of

an astronaut as a scientist who is not only a genius but

also brave, relies heavily on the advanced equipment

attached to him. The equipment on the back of the

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astronaut supports his life and activities while in

space. The visualization of the Fire Extinguisher

which is punned into an oxygen tube indicates that the

Fire Extinguisher is a vital apparatus for astronauts. If

an astronaut just depends on a Fire Extinguisher in its

activities in space, then we also should not ignore the

existence and function of the Fire Extinguisher in the

building.

In Figure 4, the visualization of the Fire

Extinguisher is punned as well as being a gas balloon

cylinder. Balloon sellers in peddling their wares

depend on the supply of helium gas to fill the balloon.

Although the balloon seller might be able to fill the

balloon with a blow of air from the mouth, but it is

not effective and efficient. Filling air from the mouth

cannot caused the balloon to fly. In addition, blowing

air will certainly drain the balloon seller's energy.

Therefore, the helium gas cylinder is very helpful for

the balloon seller's business. The analogy with the

Fire Extinguisher is that if a fire occurs then the

manual method will not be effective and efficient to

extinguish the fire. Then the Fire Extinguishers

function is very vital in overcoming fire problems.

Table 1. Comparison of interest of 30 respondents to the

attraction of narrative visualization.

Fire

Extinguisher 1

Visualization

Selfie with Fire

Extinguisher

Fire

Extinguisher 2

Visualization

Astronaut

Oxygen

Cylinder

Fire

Extinguisher 3

Visualization

Balloon

seller’s

Helium

Cylinder

4.2 Narrative Analysis

In the discussion of narrative analysis, each Fire

Extinguisher visualization tells the narrative relating

to everyday life. In Figure 2, selfie visualization with

Fire Extinguisher builds a narrative in which the Fire

Extinguisher becomes a selfie-able and Instagram-

able object. The Fire Extinguisher is considered as a

"contemporary" object so that it attracts people to take

selfies and upload them to social media. Fire

Extinguisher are visualized in such a way as to

encourage the interaction of the target audience to

interpret the Fire Extinguisher. Murals in the form of

pictures of photographers stimulate the target

audience to do the same. If in our daily lives we often

take pictures and upload photos to Instagram about

interesting objects, now the target audience is also

taking pictures with Fire Extinguishers.

The visualization of the Fire which became the

oxygen tube of astronauts in figure 3 builds a

narrative of how vital and important the Fire

Extinguisher is for the life and safety of the human

soul. Fire Extinguisher are considered a sophisticated

tool that supports human life at critical times. In this

mural astronauts are facing a problem where he is

being attacked by aliens. The Fire Extinguisher keeps

the astronauts alive to stay alive and survive in critical

conditions. Visualization of Fire Extinguisher

stimulates the target audience to interpret them as

vital equipment in the face of fire. The Fire

Extinguisher is no longer underestimated, because its

function is very important during fire emergency.

In the figure 4, the visualization of the Fire

Extinguisher which is a Helium balloon seller

cylinder. The narrative that wants to be appointed is

the Fire Extinguisher to be the best solution in dealing

with critical situations. The balloon seller might be

able to inflate the balloon without a tool or through

the air, but obviously it will not be efficient. Using a

helium cylinder makes the balloon expand faster.

This visualization stimulates the meaning of the target

audience to understand the effectiveness and

efficiency of using Fire Extinguisher in fire

situations. If there is a small fire inside the building it

might be possible to use a manual method to

extinguish it, but it is not as effective and efficient as

using a Fire Extinguisher.

4.3 Humor Analysis

In the discussion on Humor Analysis, the appearance

of Fire Extinguisher that usually look tedious, serious,

and signal danger, are now visualized by a more

humanistic, humorous appearance. When referring to

Figure 2, where the Fire Extinguisher is visualized as

a selfie object, it makes it a tool that is no longer

related to terrible or dangerous situations, but rather

as a unique and dominant object to take pictures.

Figure 3, the Fire Extinguisher is visualized as an

astronaut oxygen cylinder. Figure 4, the Fire

Extinguisher is visualized as a helium cylinder

balloon seller. Of the three examples of visualization,

the Fire Extinguisher is seen as a humanist object with

the impression of being friendly with everyday

human life. Fire Extinguishers become tools or

objects that are close to the lives of the target

audience.

Every day thousands of people come to the airport.

Both those who travel using airplanes, those who

work there, to those who come to take or pick up

relatives and or family. The airport is one of the

busiest places in an area with a very high

concentration point.

Visual Pun in Visual Playability Fire Extinguisher Display at Terminal 3 Soekarno-Hatta Airport

299

Figure 2. Fire Extinguisher visualization that is punned into

a selfi-able and Instagram-able object Source:

http://bit.ly/2QYJMpV

For those who live far away from relatives and /

or family, the airport can be a place that can awake

the feelings of sadness. Because this is where they

separated from their loved ones. The visual puns of

Fire Extinguishers at Soekarno-Hatta Terminal 3 is

able to present a cheerful, pleasant and entertaining

atmosphere. The visual puns of the Fire Extinguisher

was originally intended for children but ultimately

attracted the attention of the adult community as well.

The slick impression is displayed through mural

artwork with the theme of the meaning of the Fire

Extinguishers themselves. The general impression

that often appears in the display of Fire Extinguishers

in general is that they are serious, rigid and tend to be

tedious.

Indeed, the placement of Fire Extinguisher is

intentionally installed at a certain points to meet the

standards of building security requirements in the

event of a minor incident such as a small fire

emergency. In order not to seem tedious and rigid,

Fire Extinguishers at Soekarno-Hatta Terminal 3

were combined with the elements of art. There has

never been a display of Fire Extinguishers that were

as attractive as those at Soekarno-Hatta Terminal 3,

causing enthusiasm for the public. Even considered to

be the one of the most instagrammable spots. The old

impression of the airport that is gloomy now

becoming obscured by the existence of this unique

display system. Associations of places and events that

arise are positive and pleasant impressions.

Figure 3. The Visualization of Fire Extinguisher was

punned into an astronaut oxygen cylinder Source:

http://bit.ly/2QQ2xvA

The camouflage of the Fire Extinguishers are

combined with this mural art did not rule out the main

function of the display of the Fire Extinguishers. Even

with this unique collaboration, visitors become more

aware of the existence of the Fire Extinguishers. The

eye-catching design is sure to attract attention, not

even a few visitors are then interested in taking photos

with the background of these Fire Extinguishers. If

usually the Fire Extinguishers are ignored wherever

they are. This did not happen at Soekarno-Hatta's

Ultimate Terminal 3. Visual pun style display is a

special attraction for airport visitors. Which then

creates a beautiful memory that is attached to visitors.

Another effect that arises from the display of APAR

tubes in the style of visual slides is none other than

the increasing image exposure of an international

standard airport which is one of Indonesia's iconic

pride. Visual pun initiated by: 1). illustrative imagery;

2). Ambiguity and humor; 3). Creates interactive

response.

Figure 4. Visual playability principle. Initiated by: 1).

Illustrative imagery; 2). Ambiguity and humor; creates 3).

Interactive response.

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5 CONCLUSIONS

The use of visual puns on the Fire Extinguishers

display at Soekarno-Hatta Terminal 3 proved

effective. Which in the beginning was intended to

attract the interest of young children, in fact, adults

also like. The uniqueness and novelty of ideas is one

of the aspect that makes this work of art can be

categorized as a successful work of art. Artwork

which was then used as a communication medium

that had the effect of building memory that was fixed

in the mind.

Figure 5. The Fire Extinguisher visualization was set into a

balloon helium gas cylinder Source: http://bit.ly/

2QUXB8D

Memory arises due to the association of places

and memorable events. The visual display of the Fire

Extinguisher is seen as beautiful, unique and

instagrammable. The last category, instagrammable,

is a category that is almost mandatory in today's

public space. The association of places and events is

assisted by the presence of artsy and photogenic

angles. Fire Extinguisher whose existence is often

overlooked because its function should only be used

in emergency situations, is now more prominent and

interesting to see, as well as easily accessible during

fire emergency.

The indicators of Visual Playability success are:

1). Narratives strength that has been built; 2). The

strength of the correlation of human figure characters

with the similarity of Fire Extinguishers; 3). Strength

to build fantasy; 4). Responded to whether or not by

the public so they’re willing to take selfies in front of

the illustration.

The success of the visual display of Fire

Extinguishers at Soekarno-Hatta Terminal 3 is

feasible as an example for other airports in the whole

archipelago. Maybe not using the same idea as the

existing visual puns. But it can be with other shifting

meanings that are also unique and interesting..

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Augarde, Tony. The Oxford Guide to Word Games, 2nd

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Barthes, Roland.1983. Mythologies. New York: Hill and

Wang.

Kurniawan. Semiologi Roland Barthes. Magelang:

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Vaughn, R. How advertising works: A planning model

revisited. Journal of Advertising Research, 26(1), 57-

66, 1986

Vaughn, R. How advertising works: A planning model.

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