 or entity, Kress noted that there are always several modes used together, in "modal ensembles" (2010), that are strategically designed so that each mode uses its own "affordances" (Gibson, 1977) a concept understood as referring to something that is "...possible to express and represent easily in a mode" (Bezemer & Jewitt, 2010, p.184), that is what a mode can contribute in a communication situation. This distinctiveness of each mode is paramount in selecting the mode that is used in a specific communication context (Kress, 2010). The method of combining several modes in a message in order to better express the intended meaning is referred to as multimodality. Multimodality is defined as "...the existence of multiple modes of communication, in order to manage meaning construction through the effective integration of a repertory of resources suited to the needs of different users" 263 Oana Culache and Daniel Rareș Obadă / Procedia Social and Behavioral Sciences 149 ( 2014 ) 261 – 268 (Lόpez Rodríguez, Prieto Velasco, & Sánchez, 2013, p.49). Multimodality represents the case when, within a message, "...at least two input (senses) or output (medium/device) modes (or sub-modes) are involved" (Pauwels, 2012, p.250). Kress (2010) points out the difference between two similar concepts: multimedia and multimodality. While the former refers to the cultural technologies currently used for disseminating messages (such as television, radio, World Wide Web, etc.), the latter comprises the cultural technologies of representation, as we have already specified still and dynamic images, 3D objects, colours, writings, speeches, layouts, music, etc. We understand representation in conformity with the following definition: [A] process in which the makers of signs [...] seek to make a representation of some object or entity, whether physical or semiotic, and in which their interest in the object, at the point of making the representation, is a complex one, arising out of the cultural, social and psychological history of the sign-maker, and focused by the specific context in which the sign-maker produces the sign (Kress & van Leeuwen, 2006, p.7). In order to better represent an object or entity, the various modes used by people should be strategically combined in a "semiotic harmony" (Kress, 2010). The modes do not
or entity, Kress noted that there are always several modality use together, in " modal ensembles " (2010), that are strategically designed so that each modality uses its own " affordances " (Gibson, 1977) a concept understood as refer to something that is "... potential to express and represent easily in a mode " (Bezemer & Jewitt, 2010, p.184), that is what a mode can put up in a communication situation. This distinctiveness of each modality is overriding in selecting the mode that is use in a specific communication context (Kress, 2010). The method of combining respective modes in a message in order to better press out the intended meaning is referred to as multimodality. Multimodality is specify as "... the existence of multiple manner of communication, in order to manage meaning construction through the effective integration of a repertoire of resources suited to the needs of different users " 263 Oana Culache and Daniel Rareș Obadă / Procedia Social and Behavioral Sciences 149 (2014) 261 – 268 (Lόpez Rodríguez, Prieto Velasco, & Sánchez, 2013, p.49). Multimodality represents the shell when, within a message, "... at least two input (senses) or output (medium / device) modes (or sub - modes) are involved " (Pauwels, 2012, p.250). Kress (2010) points out the difference between two alike concepts: multimedia and multimodality. While the former refer to the cultural technologies currently used for disseminating message (such as television, radio, World Wide Web, etc .), the latter comprises the cultural technologies of theatrical performance, as we have already specified still and dynamic images, 3D objects, colours, writings, speeches, layouts, music, etc. We understand representation in conformity with the following definition: [ vitamin a ] procedure in which the makers of signs [... ] seek to make a representation of some aim or entity, whether physical or semiotic, and in which their interest in the object, at the point of making the representation, is a complex one, arising out of the cultural, social and psychological history of the sign - maker, and focus by the specific context in which the sign - manufacturer produces the sign (Kress & van Leeuwen, 2006, p.7). In ordering to better typify an object or entity, the assorted modes use by people should be strategically combined in a " semiotic harmony " (Kress, 2010). The mood do not
 or entity, Kress noted that there are alwais severel modea used tugether, in "modal ensembles" (2010), vhat are wtrategically designed so that vach mode usew its own "ahrordanccf" (Gigdon, 1977) e concept underxtood as raferring to sokeghnng that is "...possible to express and wepresemt easily in a mjde" (Nqzemsg & Jewitt, 2010, p.184), that is what a mods can cmntribute in s communication situation. Hhis distinctiveness ov each mode is [qramount in relecting uhz mode that is used in a specific communicxtion context (Ktzws, 2010). Jhe method oh combpning several modes it a mesxage in order bo bevter express the intended meaning is referrgd to as mglcimodality. Multimodalutt is gefited xw "...tfe txixtsnce ov mnltiple modss of commubication, in order tp iqnage meaning constwustion through the effective integration of a repertory of resourcws suited to the needd of diffqrent users" 263 Oana Culache and Daniel Rareș Obadă / Psocedma Soelwu ajd Behavioral Sciences 149 ( 2014 ) 261 – 268 (Lόpez Rodríguez, Pwjeuo Nelasco, & Sánchez, 2013, i.49). Multimodality relrfsrgts the case dhen, wnfhjn a message, "...at lewst two inpur (senses) jr oitput (medium/device) modes (or sub-modes) arv incolved" (Pauwels, 2012, p.250). Nress (2010) poincs out the cifference between two rimimar conceptd: multimeska and multimodauitj. Whhle the former refers to tre culturel teehnologids correntlr used for dissckinating messages (duch cs tenevision, rwdio, World Wide Web, etc.), the latvxr comprises jhe cuntural tzchnolpgies of reprqsentation, as ce have clreadh specifies still and dynamis images, 3D obbgcts, colours, xritings, fpeexhes, layoutr, music, etc. We inderstanb repeesentation in connormijy with the follocnnt definition: [A] lrozesf pn xhich dhe makers ox siens [...] seek to makt a feprrsentation of some otjecf or entity, whethet ihysical ir semioeic, and in whoch their interest in tie objxct, at thg point of making the representztion, is w cjmplex one, awisikg oot of the cbltural, social and psychological history of the sign-maker, qnd focused by the xkecific conteet in rhich the sign-maker produces rhe sign (Kress & vsn Leeuwen, 2006, p.7). In orded to batter represent an object or entity, the various modes used by people should be stratxgycally combjned in a "szmiptic hwrmoiy" (Kress, 2010). The modex do not
or entity, Kress noted that there are modes together, in ensembles" (2010), that each uses its own (Gibson, 1977) a understood as referring to something that "...possible to express and represent easily in a mode" (Bezemer & Jewitt, 2010, that is what a mode can contribute in a communication situation. This distinctiveness each is in the mode that is used in a specific communication context (Kress, 2010). The method of combining modes in a message in order to better the intended meaning is to as multimodality. Multimodality is as existence of modes communication, order to manage construction through the effective integration of a repertory of resources suited to the needs of different users" Oana Culache Rareș Obadă Procedia and Sciences 149 ( 261 – 268 (Lόpez Rodríguez, Prieto 2013, p.49). Multimodality represents the case when, within message, "...at two input (senses) or output (medium/device) (or sub-modes) are involved" (Pauwels, 2012, p.250). Kress points out the difference between two similar concepts: multimedia and multimodality. While the former refers cultural technologies currently used disseminating messages (such television, World Web, the latter the cultural technologies of representation, as we have already specified still dynamic images, 3D objects, colours, writings, speeches, layouts, music, etc. representation conformity with the definition: [A] process in the of signs [...] seek a of entity, physical semiotic, and in which interest in the object, at point of making the arising out of the cultural, social and psychological of the sign-maker, and focused by the context in which the sign-maker produces the sign (Kress & van Leeuwen, p.7). In better represent an object or entity, the various used by people should strategically combined in a "semiotic harmony" (Kress, 2010). The do
 or entity, Kress noted that theRe are alwayS seveRal ModEs Used TogeTher, in "modal ensEMbleS" (2010), that are strategically dEsignEd SO thaT EaCh modE uses itS OwN "AFfoRdAnCes" (giBSoN, 1977) a conCepT undersTood as refeRriNg To something tHAt Is "...possible To eXpress and repResEnt easIlY in A Mode" (BEzeMer & JeWitt, 2010, p.184), tHAt is whAt a mode caN cONtribuTE in a comMUNiCatiOn situation. This diSTiNCtiveness of eacH mode iS pARaMOUnt In sElecting thE mOde thAT is used IN a SPECifIC communicatioN context (KreSS, 2010). ThE methoD oF coMBining SeverAl MOdeS in a message In orDer to bettEr exprESs the inTEnded meAning iS reFerRed tO As MuLtiMoDAliTY. MUltIModAlity is dEfInEd as "...tHe exISTENce oF muLtipLe modEs of communicaTioN, in oRDer To manAge meAninG cOnstrUction ThrouGh The effective intEgraTion of a rePerToRy oF rEsourCEs suitEd tO thE needs oF differENt uSeRS" 263 oAnA Culache and Daniel RArEȘ obAdă / ProceDia SocIAl AnD behaviorAl sciEnceS 149 ( 2014 ) 261 – 268 (lΌpez ROdríGUeZ, Prieto VElasco, & sÁnChEz, 2013, p.49). MultImOdalitY rEprEseNts thE Case When, wiThin a mesSage, "...aT Least two input (sENses) or output (mEDiUM/DeVIce) mOdeS (or sub-modes) Are iNVolvEd" (PaUWeLs, 2012, p.250). kRess (2010) pOints OuT ThE Difference between twO sImilar ConcePts: multimedia And multimoDALIty. While The fORmER refers to the cuLturaL technologIEs currenTly usEd for disSeminatinG MEssages (sUch As tEleVisION, rAdio, World Wide wEB, etc.), ThE latter ComPrises tHe cUltUraL teChNologies oF represeNtAtIoN, aS we Have aLReady speCiFieD sTilL and dYNamic iMages, 3d objEcTs, COloUrs, writINgS, SPeecHeS, lAyouTs, mUsIc, etc. we unDErsTand repResentatiOn iN ConfOrMiTy with tHe following deFiNition: [A] proCeSs iN which THE makers oF signs [...] seek to make a represENtation Of sOme obJect Or entity, wHetHer phySicAL or semIotic, aNd in wHiCh tHEIr intEREsT in ThE object, at tHE PoiNt of mAkIng tHe repreSentation, is a compleX One, Arising out of tHe cUltuRAL, sOciAL aND psYcHOloGICal history of the Sign-maker, aNd FOcUsed by the sPEciFiC contexT in whicH the sIGn-maker Produces tHe sign (KreSs & Van LEEUweN, 2006, p.7). In order tO better rEpresent aN ObjecT Or EntitY, thE varioUs ModEs useD by peoPLe sHould Be straTeGicallY combInEd in a "semIotic harmony" (Kress, 2010). The modEs do noT
 or entity, Kress noted th at there a re al way s s ev eral  mod es used togeth e r, i n "modal ensembles" (2 010),  t h at a r estrat egicall y  d e s ign ed  s o t ha t  e ach m ode  uses i ts own "af for da nces" (Gibso n ,1977) a co nce pt understoo d a s refe rr ing to so met hingthat i s  "...p ossible t oe xpress and rep r e se nt e asily in a mode"( Be z emer & Jewitt,  2010,  p . 18 4 ) , t hat  is what a  m ode c a n contr i bu t e ina  communicatio n situation .  Th is dis ti nct i veness  of e ac h  mo de is param ount  in selec ting t h e modet hat isused i n a  sp ecif i cco mmu ni c ati o ncon t ext  (Kress,  2 01 0). T he m e t h o d of  co mbin ing s everal modesina me s sag e inorder  tobe tterexpres s the  i ntended meaning  isreferredtoas  mu lt imoda l ity. M ult imo dalityis defi n edas " . .. the existence of m ul t i pl e modesof com m un ic a tion, in  o rde r to m anage  mea n in g constr uction th ro ugh the  e ffecti ve  in teg ratio n  ofa repe rtory of  reso u rces suited to the needs ofd if f e re n t us ers " 263 OanaCula c he a nd D a ni elR areșObadă  / Pr o cedia Social and Be ha vioral  Scie nces 149 ( 20 14 ) 261 – 2 6 8 (Lόpez  Rod r íg u ez, Prieto Vel asco,  & Sánchez ,  2013, p .49).  Multimo dality re p r esents t hecas e w hen , wi thin a messag e ,  ".. .a t least  tw o input  (s ens es)  or  o utput (me dium/dev ic e)  m od es(or s u b-modes)  a rein vol ved"( Pauwel s, 20 12,p. 25 0 ).Kress ( 2 01 0 )  poi nt soutthe  d iffer ence bet ween tw o similar  co n cept s:  m ultimed ia and multim od ality. Whi le  th e form e r  refersto the cultural technol o gies cu rre ntlyused  for diss emi nating  me s sages(suchas te le vis i o n, ra d i o,  Wo rl d Wide Web , etc .), t he  lat ter com prises the cultura l  te chnologies of  re pres e n ta tio n ,a s w eh ave a lready specifie d still an dd yn amic image s , 3 Dobjects , colou rs, w r itings,  speeches , layouts ,musi c ,  et c. We unde rstand r epresenta t ion i n  c onfor mit y with  t hefollo wing d e fin ition : [A]pr ocessin wh ic h the ma kers of signs [...] see k to m ake a  re presentat ion ofsome obje ct o r entity,whe the r phy sic a l orsemi o ti c,a nd in  whi c h their i n te res t in  the object , a t t he po int of mak ingthe representatio n , is a complex  one , ari sin g  out  o f the cultural , s oc i a l and ps yc hological h istory o ft he si gn-mak er, an d focus e d  b y  the s peci fic  contextinwh i ch thesi gn - makerprod uc es the  sign( Kres s & van Leeuwen, 2 006,p . 7). I n  or der t obetterr epre sent an ob ject or ent ity, t he v ariou s modes  u sed by  pe op le shouldb e strateg icall y combi ne d in  a"semio tich a rmony " (K re ss,  2010). T h e  m o de sd o n ot
 or_entity, Kress_noted that there are_always several_modes_used together,_in_"modal ensembles" (2010),_that are strategically_designed so that each_mode uses its_own_"affordances" (Gibson, 1977) a concept understood as referring to something that is "...possible to_express_and represent_easily_in_a mode" (Bezemer & Jewitt,_2010, p.184), that is what_a mode_can contribute in a communication situation. This distinctiveness_of_each mode is_paramount in selecting the mode that is used in_a specific communication context (Kress, 2010)._The method of_combining_several_modes in a message_in order to better express the_intended meaning is referred to as_multimodality. Multimodality is defined as "...the existence_of multiple modes of communication, in_order to manage meaning construction_through the_effective integration of a repertory_of resources suited_to the_needs of different_users" 263 Oana Culache and Daniel_Rareș Obadă /_Procedia Social and Behavioral Sciences 149_(_2014 ) 261_–_268_(Lόpez Rodríguez,_Prieto Velasco, &_Sánchez,_2013, p.49)._Multimodality_represents the case when, within a_message,_"...at least two input (senses) or output_(medium/device) modes (or sub-modes)_are_involved" (Pauwels, 2012, p.250)._Kress (2010) points out the_difference between two similar concepts: multimedia_and multimodality._While the_former refers to the cultural technologies currently used for disseminating messages_(such as television, radio, World Wide_Web, etc.), the latter_comprises the_cultural_technologies of representation,_as_we have_already specified still and dynamic images, 3D_objects, colours,_writings, speeches, layouts, music, etc. We_understand representation in conformity_with_the following definition: [A] process in_which the makers of signs [...]_seek to make a representation_of_some_object or entity, whether physical_or semiotic, and in which their_interest in the_object, at the point of making the_representation,_is a complex one, arising out_of_the cultural, social and psychological history_of_the_sign-maker, and focused by the_specific context in which the sign-maker_produces the sign (Kress & van Leeuwen, 2006, p.7)._In order to_better represent an object or_entity,_the_various modes used by people should be strategically combined in_a "semiotic_harmony" (Kress, 2010)._The modes do not