IN-SENCE
How communication theory works in the field of design
Within communication theory, communication is understood as a process of co-creating meaning, rather than a one-way transmission of information. Meaning does not exist independently of context or interpretation; it emerges through interaction and is continuously reconstructed over time.
Applied to design, this perspective reframes design as an active communicative agent rather than a purely visual solution. Form, structure, and technology function as communicative codes that shape perception and behavior. Meaning arises through the user’s engagement with a system, informed by experience and cultural context, rather than being embedded solely in form.
Communication theory offers several complementary perspectives. A semiotic perspective treats design as a system of signs, while a phenomenological perspective focuses on lived experience through interaction. Sociocultural and pragmatic approaches emphasize that meaning is produced through use, context, and relations of power. Together, these views show that design structures perception and interaction rather than merely conveying information.
From an interpretative standpoint, design becomes a space for forming individual experience. Meaning is not fixed or imposed but emerges through interaction, positioning the user as an active participant within a communicative system.
This logic is clearly reflected in the practice of the brand IN-SENCE.
IN-SENCE creates incense holders based on magnetic wave technology, using controlled fields to shape smoke into variable patterns. Smoke functions not as decoration, but as a visual measurement of invisible forces — unstable, non-repeatable, and time-based. The objects operate closer to instruments than to decorative accessories, revealing magnetic fields through observable behavior.
From a communication theory perspective, IN-SENCE objects function as systems of mediated meaning. The user does not consume a finished message but becomes a co-author of meaning, observing how form, material, and magnetic resonance interact. Meaning emerges through attention, duration, and interpretation, rather than through symbolic representation.
Thus, IN-SENCE communicates not through decoration or symbolism, but through designed conditions that structure interpretation and perception. Design here functions as an architecture of meaning, where interaction with a controlled system enables communication through process rather than image.
Presentation for a general audience
IN-SENCES is a brand of incense objects created for pause, slowness, and attentive presence. We work with form, smoke, and invisible forces as a temporal phenomenon—something that cannot be fully fixed, repeated, or reproduced in the same way twice.
IN-SENCES objects do not try to explain themselves or offer ready-made interpretations. They require no special knowledge. Only presence. The object exists next to you and reveals itself through interaction—through time, observation, and attention.
Each object is designed around how smoke moves through space. The form sets direction, not outcome. Built-in magnetic elements create subtle fields that influence the trajectory and character of the smoke flow. Smoke responds to air, light, movement, and these invisible forces—so every moment of use is unique and disappears as soon as it happens.
01 item
02 item
IN-SENCES does not show a «correct» effect and does not offer an ideal scenario. This is not an object for display and not decoration. It is an experience that remains personal, unpredictable, and temporary. It does not accumulate. It does not repeat. It simply happens.
IN-SENCES exists for moments when speed, productivity, and explanation stop mattering. Not for every day, and not for every mood—only for the moments you consciously choose to slow down and stay with what is happening.
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box for items
Objects without names:
IN-SENCES objects have no names. We use only numbers.
IN-SENCES / 01 IN-SENCES / 02
Names create expectations and direct perception. We intentionally refuse them, leaving space for personal experience. Everyone reads smoke differently—and that difference matters.
The name does not appear on the packaging. It appears in the moment—in how you perceive what is happening.
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Instruction:
IN-SENCES does not provide standard instructions and does not define a «right» way to use the object. Inside the box, there is only one sheet of paper with a short phrase.
«DO NOT RUSH»
instruction
The phrase does not explain the object or describe the process.
It does not tell you what to do. It does not promise a result. Its purpose is to slow attention and tune you into observation.
in interior
Presentation for a professional audience
waves visualization
IN-SENCES
IN-SENCES is a design brand focused on incense holders that function not only as utilitarian objects, but as communication systems shaping interaction between smoke, space, and perception. Rooted in communication theory, the brand treats meaning as something that emerges through use and observation rather than being embedded in a fixed message.
The objects combine minimalist form, precise spatial geometry, and an invisible physical component — magnetic fields — which subtly influence the movement of smoke. This positions IN-SENCES within contemporary design practice, where the object operates as a mediator between material form, environmental conditions, and user interpretation.
waves visualization
Conceptual framework
IN-SENCES is built on the principle that form sets direction, not outcome. The brand does not promise a predefined visual effect or a «correct» result. Each interaction depends on contextual factors such as airflow, light, spatial scale, and time, reinforcing the idea that meaning is co-produced between object, environment, and observer.
Integrated magnetic elements generate controlled yet soft fields that influence smoke trajectories without increasing interaction complexity. This allows the system to remain structurally repeatable while producing variable experiential outcomes — a balance central to communication-based design.
waves visualization
Objects without names
IN-SENCES objects are intentionally unnamed and identified only through numerical indexing (IN-SENCES / 01, / 02). This strategy removes imposed semantic framing and avoids directing interpretation. For audiences attuned to contemporary design culture, numbering supports series logic, collectability, and brand recognition without narrative labeling.
Meaning is not assigned through naming, but emerges during interaction.
website
Non-instructional interaction
IN-SENCES rejects traditional instruction manuals. Each object is accompanied by a single sheet containing a short phrase that sets a rhythm of attention rather than explaining function or promising a result.
This approach reinforces the brand’s communicative stance: the object does not explain itself, but creates conditions for perception.
Product line and scalability
IN-SENCES operates as a modular product system, where variation is achieved through geometry and magnetic configuration rather than changes in core production logic. Different models introduce distinct interaction scenarios while maintaining conceptual consistency.
The system supports:
sequential series development (01–0N) seasonal or contextual adaptations limited or time-based releases collaborative editions
This structure enables scalability without compromising authorship or conceptual clarity.
store
Spatial and B2B applications
IN-SENCES is designed for environments where attention, pause, and atmosphere are central values.
Boutique hotels and hospitality spaces Wellness and contemplative spaces Cultural and public spaces
For B2B partners, forms and magnetic configurations can be adapted to spatial scale, airflow, and desired intensity while maintaining brand coherence.
modes
Communication, visual identity, and positioning
IN-SENCES communicates through minimal language, pauses, and the absence of promises. The visual system prioritizes silent geometry, balanced proportions, process over outcome, and real-time interaction over representation.
The brand operates within the premium segment of contemporary design, where value is defined by experience, interaction, and long-term relevance rather than decorative appeal or rapid consumption. IN-SENCES demonstrates how communication theory can be translated into product design by treating objects as frameworks for meaning rather than carriers of fixed messages.
Communication theory as basis for the presentations
Principles aligned with Equity Theory informed the brand’s tone and interaction model. The exchange between brand and user is presented as balanced and non-extractive, supporting trust and long-term engagement through proportional interaction.
Rather than relying on archetypal targeting, the project adopts interpretative openness as a communicative strategy. By removing names, instructions, and narrative cues, IN-SENCES enables meaning to emerge through personal reference points rather than imposed identity categories.
Together, these frameworks translate design intentions into a coherent communication architecture. Engagement unfolds as a sequence of encounter, interaction, evaluation, and attachment, shaped by experiential consistency rather than symbolic instruction.
Both presentations function as communication systems first and aesthetic statements second, demonstrating a deliberate application of communication theory in design practice.
The general audience concept for IN-SENCES is based on an experience-driven communication logic, where meaning emerges through interaction rather than instruction. Instead of defining the audience or prescribing emotions, the presentation positions the object as a condition for pause and attention, allowing individual interpretation to form within a non-directive system.
The professional presentation follows a process-oriented benchmarking logic informed by Interdependence Theory. Value is evaluated through internal expectations related to system clarity, repeatability, scalability, and relevance within contemporary design discourse. Commitment develops when interaction with the object meets these internal benchmarks, even in the presence of alternatives.
In the academic reasoning, communication theory is applied through a critical view of design as a non-neutral mediator. Influenced by perspectives associated with the Frankfurt School, the project treats visual and material communication as active forces shaping perception and behavior. IN-SENCES questions dominant norms of decor and wellness by refusing fixed meaning, predefined outcomes, and instructional authority.
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