 act as duplicates. On the contrary, they complement each other. To explain this, Ravelli (2006) uses the concept of "intersemiosis", designating the unitary coordination of semiosis created across multiple sign systems so that they are not perceived to be isolated, but as having a unitary meaning. Thibault (2000) considers the meaning of a multimodal message as a composite product/process involving the way in which different resources are co-deployed. Consequently, it should not be divided into a number of separate "channels" or "codes". Also, Lemke (1998) introduces the concept of "multiplication of meaning", as an orchestrated combination of meanings, different from redundancy, which bring something new. This idea is supported by Schriver (1997), who explains that through rhetorical clusters we can ensure that users understand the proper way to interpret a text: We can think of a document as a field of interacting rhetorical clusters. If the document is well designed, the clusters orchestrate a web of converging meanings, which enable readers to form a coherent and consistent idea of the content (p.344). As we have previously discussed, multimodality does not comprise the addition of meanings, but a reunification of various meanings that are "essentially different in nature" (Bateman, 2008, p.54), according to the "resource integration principle" (Baldry & Thibault, 2006). The orchestration of different modes describes "...the process of selecting/assembling/designing the semiotic "materials" which seem essential to meet the rhetor's interests and which will be given shape as the semiotic entity of text as an ensemble, through the process of design" (Kress, 2010, p.162). In the next section, we briefly review flow theory and discuss the manner in which multimodality can be used to manage different sets of signs or modes, such as design, layout, sound and content, and influence a brand website visitor's experience by making it enjoyable, self-rewarding, and long-lasting. 2.2. Flow theory In the literature, flow is a term used by positive psychologists to describe a state of mind sometimes experienced by people who are deeply involved in some event, object, or activity to such an extent that they are completely and totally immersed in it (Csikszentmihalyi, 1977). According to Csikszentmihalyi (1977), flow is the holistic sensation that people feel when they act
act as duplicates. On the contrary, they complement each other. To excuse this, Ravelli (2006) use the concept of " intersemiosis ", designating the unitary coordination of semiosis create across multiple signboard systems so that they are not perceived to be isolate, but as have a unitary meaning. Thibault (2000) consider the meaning of a multimodal message as a composite product / process necessitate the way in which different resource are co - deploy. Consequently, it should not be divided into a number of separate " channels " or " codes ". besides, Lemke (1998) introduces the concept of " multiplication of meaning ", as an orchestrated combination of meanings, unlike from redundancy, which bring something new. This idea is supported by Schriver (1997), who explains that through rhetorical bunch we can ensure that exploiter understand the proper way to interpret a textbook: We can think of a document as a field of interacting rhetorical clusters. If the document is well designed, the clusters orchestrate a web of converging meanings, which enable readers to form a coherent and consistent idea of the content (p.344). As we have previously discourse, multimodality does not comprise the addition of meaning, but a reunion of versatile meanings that are " essentially unlike in nature " (Bateman, 2008, p.54), according to the " resource consolidation principle " (Baldry & Thibault, 2006). The orchestration of different modes trace "... the process of selecting / assembling / designing the semiotic " materials " which seem essential to meet the rhetor's interests and which will be given shape as the semiotic entity of textbook as an ensemble, through the summons of invention " (Kress, 2010, p.162). In the next section, we briefly review flow hypothesis and discuss the manner in which multimodality can be used to manage different sets of signs or modes, such as design, layout, sound and subject, and influence a mark website visitor's experience by making it enjoyable, self - rewarding, and long - permanent. 2.2. Flow hypothesis In the literature, flow is a term used by positive psychologist to describe a state of mind sometimes feel by people who are profoundly involved in some event, object, or bodily process to such an extent that they are completely and totally immersed in it (Csikszentmihalyi, 1977). According to Csikszentmihalyi (1977), flow is the holistic ace that people feel when they dissemble
 ach as duplicates. On the cuntrary, they complemenv each kther. To explain this, Ravelli (2006) uses vhe xoncekn of "intersemiosis", derignating the unirary xoordination of semiosis greatzd across multipke sign syvtems so that dhdy are not perceived to be isolated, btt as hsvlng a unitary ieanpnd. Thjbault (2000) considers the meaning of a multimmdal message ss a composite product/procfss lnvolving the way ln which didferqbt resources are co-deployed. Conseqoently, it should not be divided knto c number of swpagdte "channelw" or "bodes". Also, Lemke (1998) intsoduces the concept on "mulviplucation of meaning", as an orchestrated cjmbinatiot kf meanings, diffeeebt frmm radunaqnch, wgirh gring domxthing new. Fhis idea iw supported by Schrovqg (1997), who explaihs thae ehrough rhetorical clusters we can ensuge tgat users understand thw proper way to interkret a texe: We can think of a document as a field of interawting fheuovlcal xlksters. If the document is well designed, the cjhsuerx orchestrate c web of convergonh kganings, which gnable xsasers to form a cohfrent agd cobsistent ydea of the content (p.344). As we havw previously eiscussed, multimodclity does nut cpmprixe the addition of meannngs, bht a reuniflcation or various meaningr tmat are "esstvtially different in naturx" (Batzman, 2008, p.54), xccotding tj the "resokrce lttegration princippe" (Bapdsy & Thibaupt, 2006). The orchestration of differxit modes desctibas "...nhe procefs of selecting/assqmbling/designiug the szmiotiz "materiala" which seem esseneial to meet dje rhetor's iiterests wnd qhicy will cd given shape ss the semiotic entuty of text as an cnsemcme, through the 'xoxess of design" (Lrers, 2010, p.162). Ii the text section, we cridgly rdview flow bheury snd discuss the mannar ih which multimodalotn can be osed to mwnage differemt sets of signs og modxs, suci as drsidn, layout, sound and content, ans influenfe w brand websyte yisijor's experiznce by making it enjoyable, self-rewardinj, and long-lasting. 2.2. Flow theory In the litetatmre, flow is e term used by [ositive psychologisrs to describe a xtate of mind sometimss exparienfed by people who are deeply involved in some event, object, or activity to such en extent thaf thry arv cjkpletejy aid totally immersec in it (Csikszentmihalyi, 1977). Accorving to Cshkfzentmihalyi (1977), flow is the hokirtic sensatiov that people feel when fhey act
act as duplicates. On the contrary, they other. explain this, (2006) uses the unitary of semiosis created multiple sign systems that they are not perceived to isolated, but as having a unitary meaning. Thibault (2000) considers the meaning of multimodal message as a composite product/process involving the way in which different resources co-deployed. it not divided into a number of separate "channels" or "codes". Also, Lemke (1998) introduces the concept of of meaning", as an orchestrated combination of meanings, from redundancy, which bring new. This idea is supported Schriver who explains through clusters can ensure that understand the proper way to interpret a text: We can think of a document as a field interacting rhetorical the document well the orchestrate a web meanings, which enable readers to form consistent idea of the content (p.344). As we previously discussed, does not comprise the addition of but a reunification of various meanings that are different in nature" (Bateman, 2008, p.54), according to the "resource integration principle" (Baldry & Thibault, orchestration of different modes "...the process of the "materials" seem to meet rhetor's interests and which will be given shape as the semiotic of text as an ensemble, through the process of design" p.162). the next section, briefly review flow theory discuss manner in which multimodality used manage signs modes, as design, layout, sound content, and influence a brand visitor's experience by making 2.2. Flow theory In the literature, flow is term used by positive psychologists to describe state of mind sometimes experienced by people who are deeply involved in event, object, to such an extent that they are completely totally immersed in it 1977). According to Csikszentmihalyi (1977), flow is the holistic that feel when act
 act as duplicates. On the contrAry, they comPlemeNt eAch OtHer. TO expLain this, RavellI (2006) Uses The concept of "intersemioSis", deSiGNatiNG tHe uniTary cooRDiNATioN oF sEmiOsIS cReateD acRoss mulTiple sign sYstEmS so that they aRE nOt perceiveD to Be isolated, buT as Having A uNitARy meaNinG. ThibAult (2000) coNSiders The meaninG oF A multiMOdal mesSAGe As a cOmposite product/prOCeSS involving the wAy in whIcH DiFFEreNt rEsources arE cO-deplOYed. ConsEQuENTLy, iT Should not be diVided into a nUMbeR of sepArAte "CHannelS" or "coDeS". alsO, Lemke (1998) introDuceS the concePt of "muLTiplicaTIon of meAning", aS an OrcHestRAtEd ComBiNAtiON oF meANinGs, differEnT fRom reDundANCY, WhicH brIng sOmethIng new. This ideA is SuppORteD by ScHriveR (1997), who ExPlainS that tHrougH rHetorical clusteRs we Can ensure ThaT uSerS uNdersTAnd the ProPer Way to inTerpret A TexT: WE CAN tHink of a document as a FiELD oF interacTing rhEToRiCAl clusteRs. if tHe doCUMent iS welL DeSigned, thE clustERs OrChestraTe A web of CoNveRgiNg meaNIngs, Which eNable reaDers tO Form a coherent aND consistent idEA oF THe COnteNt (p.344). as we have preViouSLy diScusSEd, MulTImodaLity dOeS NoT Comprise the addition Of MeaninGs, but A reunificatioN of various MEANings thaT are "ESsENtially differeNt in nAture" (BatemAN, 2008, p.54), accordIng to The "resouRce integrATIon princIplE" (BaLdrY & ThIBAuLt, 2006). The orchestrATIon oF dIfferenT moDes descRibEs "...tHe pRocEsS of selectIng/assemBlInG/dEsIgnIng thE Semiotic "MaTerIaLs" wHich sEEm esseNtial To meEt ThE RheTor's intEReSTS and WhIcH wilL be GiVen shApe aS The SemiotiC entity of TexT As an EnSeMble, thrOugh the procesS oF design" (KreSs, 2010, P.162). In The nexT SEction, we Briefly review flow theory ANd discuSs tHe manNer iN which mulTimOdalitY caN Be used To manaGe difFeRenT SEts of SIGnS or MoDes, such as dESIgn, LayouT, sOund And contEnt, and influence a brANd wEbsite visitor'S exPeriENCe By mAKiNG it EnJOyaBLE, self-rewarding, aNd long-lastInG. 2.2. flOw theory In THe lItErature, Flow is a Term uSEd by posItive psycHologists To DescRIBe a State of minD sometimEs experieNCed by PEoPle whO arE deeplY iNvoLved iN some eVEnt, ObjecT, or actIvIty to sUch an ExTent that They are completely and totAlly imMerseD in It (CsikszeNtmIHalYi, 1977). AccordiNg to csikszentmIhaLyi (1977), Flow iS thE HolisTic sENsAtiON that PeopLE feel when THeY acT
 act as duplicates. On the  contrary,  they  co mpl em enteach  other. To exp l ainthis, Ravelli (2006) u ses t he conc e pt  of " interse m io s i s",  d es ign at i ng  theuni tary co ordination  of  s emiosis crea t ed  across mu lti ple sign sys tem s so t ha t t h ey ar e n ot pe rceive d  to be  isolated ,b ut ash aving a u ni tary  meaning. Thibaul t  ( 2 000) considers  the m ea n in g ofa m ultimodalme ssage as a co m po s i t e p r oduct/process  involvingt heway in  w hic h  diffe rentre s our ces are co- depl oyed. Con sequen t ly, its hould n ot bediv ide d in t oanum be r  of se par a te"channel s"  o r "co des" . A l so,Lem ke ( 1998)  introduces t heconc e ptof "m ultip lica ti on of  meani ng",as  an orchestrate d co mbination  of  m ean in gs, d i fferen t f rom  redund ancy, w h ich  b r i n gsomething new. Thi si d ea  is supp ortedb ySc h river (1 99 7),  who e xplai ns t h at  through  rheto r ic al  cluste rs  we ca nens ure  that user s unde rstand t he pr o per way to int e rpret a text: We c an thin k o f a documen t as a fi eldo fint e racti ng rh et o ri c al clusters. If the  d ocumen t iswell designed , the clus t e r s orches trat e  a web of converg ing m eanings, w h ich enab le re aders to  form a c o h erent an d c ons ist ent i de a of the cont e n t (p .3 44). As  we  have p rev iou sly  di sc ussed, mu ltimodal it ydo es  no t com p rise the  a ddi ti onof me a nings,  buta re un if i cat ion ofv ar i o us m ea ni ngstha tare " esse n tia lly dif ferent in  na t ure"  ( Ba teman,2008, p.54),ac cording to  t he"resou r c e integr ation principle" (Baldr y  & Thib aul t, 20 06).  The orch est ration  of differ ent mo des d es cri b e s ".. . t he  pr oc ess of sel e c tin g/ass em blin g/desig ning the semiotic" mat erials" which  se em e s s en tia l  t o  me et the r hetor's interes ts and whi ch wi ll be give n  sh ap e as th e semio tic e n tity of  text asan ensemb le , th r o ugh  the proce ss of de sign" (Kr e ss, 2 0 10 , p.1 62) . In t he  ne xt se ction, webrief ly rev ie w flow  theo ry  and dis cuss the manner in whic h mult imoda lit y can beuse d  to  manage d iffe rent setsofsig ns or  mo d es, s ucha sdes i gn, l ayou t , sound a n dcon t e nt , and influ e n c e a  bran d w e bsitevisi tor's experienceb y making it en joya b l e,sel f -rew ar ding, and long -la st i n g. 2.2.Fl ow theory I n the li te r ature , flow  is aterm us e d  b y  posit ivepsy chologist s t od escribe  a  s t ate of  min dsometi mes ex p erie n c ed by people who  ared e eplyi nvo lvedin  some e v ent,  object, o r activityto suc h an  exte nt that  t hey ar e c om pletely an d  totallyimmer sed init  (Cs iks zentmi haly i ,  1977 ). A cc ord ing to Cs i k sz e nt mi h aly i (1 977),  f lowis the ho l istic se nsa t ion tha tpeo p l e feel wh e n  they act
 act_as duplicates._On the contrary, they_complement each_other._To explain_this,_Ravelli (2006) uses_the concept of_"intersemiosis", designating the unitary_coordination of semiosis_created_across multiple sign systems so that they are not perceived to be isolated, but_as_having a_unitary_meaning._Thibault (2000) considers the meaning_of a multimodal message as_a composite_product/process involving the way in which different resources_are_co-deployed. Consequently, it_should not be divided into a number of separate_"channels" or "codes". Also, Lemke (1998)_introduces the concept_of_"multiplication_of meaning", as an_orchestrated combination of meanings, different from_redundancy, which bring something new. This_idea is supported by Schriver (1997), who_explains that through rhetorical clusters we_can ensure that users understand_the proper_way to interpret a text:_We can think_of a_document as a_field of interacting rhetorical clusters. If_the document is_well designed, the clusters orchestrate a_web_of converging meanings,_which_enable_readers to_form a coherent_and_consistent idea_of_the content (p.344). As we have_previously_discussed, multimodality does not comprise the addition_of meanings, but a_reunification_of various meanings that_are "essentially different in nature"_(Bateman, 2008, p.54), according to the_"resource integration_principle" (Baldry_& Thibault, 2006). The orchestration of different modes describes "...the process_of selecting/assembling/designing the semiotic "materials" which_seem essential to meet_the rhetor's_interests_and which will_be_given shape_as the semiotic entity of text as_an ensemble,_through the process of design" (Kress,_2010, p.162). In the_next_section, we briefly review flow theory_and discuss the manner in which_multimodality can be used to_manage_different_sets of signs or modes,_such as design, layout, sound and_content, and influence_a brand website visitor's experience by making_it_enjoyable, self-rewarding, and long-lasting. 2.2. Flow_theory_In the literature, flow is a_term_used_by positive psychologists to describe_a state of mind sometimes experienced_by people who are deeply involved in some event,_object, or activity_to such an extent that_they_are_completely and totally immersed in it (Csikszentmihalyi, 1977). According to_Csikszentmihalyi (1977),_flow is the_holistic sensation that people feel when they act