Peirce, Signs, and Meaning
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Survey of Semiotics Textbooks and Primers in the World
A hundred introductionsSign to semiotics, Systems Studies for a million 43(2/3), students 2015, 281–346 281 A hundred introductions to semiotics, for a million students: Survey of semiotics textbooks and primers in the world Kalevi Kull, Olga Bogdanova, Remo Gramigna, Ott Heinapuu, Eva Lepik, Kati Lindström, Riin Magnus, Rauno Thomas Moss, Maarja Ojamaa, Tanel Pern, Priit Põhjala, Katre Pärn, Kristi Raudmäe, Tiit Remm, Silvi Salupere, Ene-Reet Soovik, Renata Sõukand, Morten Tønnessen, Katre Väli Department of Semiotics University of Tartu Jakobi 2, 51014 Tartu, Estonia1 Kalevi Kull et al. Abstract. In order to estimate the current situation of teaching materials available in the fi eld of semiotics, we are providing a comparative overview and a worldwide bibliography of introductions and textbooks on general semiotics published within last 50 years, i.e. since the beginning of institutionalization of semiotics. In this category, we have found over 130 original books in 22 languages. Together with the translations of more than 20 of these titles, our bibliography includes publications in 32 languages. Comparing the authors, their theoretical backgrounds and the general frames of the discipline of semiotics in diff erent decades since the 1960s makes it possible to describe a number of predominant tendencies. In the extensive bibliography thus compiled we also include separate lists for existing lexicons and readers of semiotics as additional material not covered in the main discussion. Th e publication frequency of new titles is growing, with a certain depression having occurred in the 1980s. A leading role of French, Russian and Italian works is demonstrated. Keywords: history of semiotics, semiotics of education, literature on semiotics, teaching of semiotics 1 Correspondence should be sent to [email protected]. -
Notes on Peirce's Semiotics and Epistemology
DIAGRAMMATIC THINKING: NOTES ON PEIRCE’S SEMIOTICS AND EPISTEMOLOGY Luis Radford In this paper, I discuss the role of diagrammatic thinking within the larger context of cognitive activity as framed by Peirce’s semiotic theory of and its underpinning realistic ontology. After a short overview of Kant’s scepticism in its historical context, I examine Peirce’s attempt to rescue perception as a way to reconceptualize the Kantian “manifold of senses”. I argue that Peirce’s redemption of perception led him to a se- ries of problems that are as fundamental as those that Kant encountered. I contend that the understanding of the difficulties of Peirce’s epistemol- ogy allows us to better grasp the limits and possibilities of diagrammatic thinking. Keywords: Culture; Diagrammatic thinking; Kant; Peirce; Perception; Semiotics Pensamiento Diagramático: Notas sobre la Semiótica y la Epistemología de Peirce En este artículo se discute el papel que desempeña el concepto de pen- samiento diagramático en el contexto de la actividad cognitiva, tal y como es concebida dentro del marco de la teoría semiótica de Peirce y su subyacente ontología realista. Luego de presentar una visión general del escepticismo kantiano en su contexto histórico, se examina el esfuer- zo de Peirce por rescatar la percepción, esfuerzo que lo lleva a indagar de manera innovadora el “multiespacio de los sentidos” del que habla- ba Kant. Se mantiene que este esfuerzo lleva a Peirce a una serie de problemas que son tan fundamentales como los que Kant encontró en su propio itinerario epistemológico. Se sostiene que la comprensión de las dificultades intrínsecas a la epistemología de Peirce nos permite cernir mejor los límites y posibilidades de su pensamiento diagramático. -
Semiotics As a Cognitive Science
Elmar Holenstein Semiotics as a Cognitive Science The explanatory turn in the human sciences as well as research in "artifi- cial intelligence" have led to a little discussed revival of the classical Lockean sub-discipline of semiotics dealing with mental representations - aka "ideas" - under the heading of "cognitive science". Intelligent be- haviour is best explained by retuming to such obviously semiotic catego- ries as representation, gmbol, code, program, etc. and by investigations of the format of the mental representations. Pictorial and other "sub-linguisric" representations might be more appropriate than linguistic ones. CORRESPONDENCE: Elmar Holenstein. A-501,3-51-1 Nokendal, Kanazawa-ku Yoko- hama-shl, 236-0057, Japan. EMAIL [email protected] The intfa-semiotic cognitive tum Noam Chomsky's declaration that linguistics is a branch of psychology was understood by traditional linguists as an attack on the autonomous status of their science, a status which older structuralism endorsed by incorporating language (as a special sign system) into semiotics. Semiotics seemed to assure that genuinely linguistic relationships (grammatical and semantic relationships) were not rashly reduced to psychological or biological relationships (such as associations or adaptations). If it is looked at more closely in conjunction with the general development of the sciences in the 20th Century, the difference between Chomsky (1972: 28), who regards linguistics as a subfield of psychol- ogy, and Ferdinand de Saussure (1916: 33), for whom it is primarily a branch of "semiology", comes down to the fact that Saussure assigns linguistics in a descriptive perspective to universal semiotics, whereas Chomsky assigns it in an explanatory perspective to a special semiotics. -
THE PHENOMENON of ABSURDITY in COMIC a Semiotic-Pragmatic Analysis of Tahilalats Comic
THE PHENOMENON OF ABSURDITY IN COMIC A Semiotic-Pragmatic Analysis of Tahilalats Comic Name: Muh. Zakky Al Masykuri Affiliation: Universitas Pendidikan Indonesia Abstract Code: ABS-ICOLLITE-20183 Introduction & Literature Review • Comics as a medium of communication to express attitudes, opinions or ideas. Comics have an extraordinary ability to adapt themselves used for various purposes (McCloud, 1993). • Tahilalats comic has the power to convey information in a popular manner, but it seems absurd to the readers. • Tahilalats comic have many signs which confused the readers, thus encouraging readers to think hard in finding the meaning conveyed. • The absurdity phenomenon portrayed in the Tahilalats comic is related to the philosophical concept of absurdity presented by Camus. • French absurde from Classical Latin absurdus, not to be heard of from ab-, intensive + surdus, dull, deaf, insensible [1]. • Absurd is the state or condition in which human beings exist in an irrational and meaningless universe and in which human life has no ultimate meaning [2]. • Absurd refers to the conflict between humans and their world (Camus, 1999). • Comics is sequential images, intended to convey information and/or to produce an aesthetic response in the viewer (McCloud, 1993). 1 YourDictionary. (n.d.). Absurd. In YourDictionary. Retrieved August 21, 2020, from https://www.yourdictionary.com/absurd 2 Merriam-Webster. (n.d.). Absurd. In Merriam-Webster.com dictionary. Retrieved August 21, 2020, from https://www.merriam- webster.com/dictionary/absurd • Everything in human life is seen as a sign and every sign has a meaning (Hoed, 2014). • Semiotics is defined as the study of objects, events, and all cultures as signs (Wahjuwibowo, 2020). -
A Diagrammatic Approach to Peirce's Classifications of Signs
A diagrammatic approach to Peirce’s classifications of signs1 Priscila Farias Graduate Program in Design (SENAC-SP & UFPE) [email protected] João Queiroz Graduate Studies Program on History, Philosophy, and Science Teaching (UFBA/UEFS) Dept. of Computer Engineering and Industrial Automation (DCA/FEEC/UNICAMP) [email protected] © This paper is not for reproduction without permission of the author(s). ABSTRACT Starting from an analysis of two diagrams for 10 classes of signs designed by Peirce in 1903 and 1908 (CP 2.264 and 8.376), this paper sets forth the basis for a diagrammatic understanding of all kinds of classifications based on his triadic model of a sign. Our main argument is that it is possible to observe a common pattern in the arrangement of Peirce’s diagrams of 3-trichotomic classes, and that this pattern should be extended for the design of diagrams for any n-trichotomic classification of signs. Once this is done, it is possible to diagrammatically compare the conflicting claims done by Peircean scholars re- garding the divisions of signs into 28, and specially into 66 classes. We believe that the most important aspect of this research is the proposal of a consolidated tool for the analysis of any kind of sign structure within the context of Peirce’s classifications of signs. Keywords: Peircean semiotics, classifications of signs, diagrammatic reasoning. 1. PEIRCE’S DIAGRAMS FOR 10 CLASSES OF SIGNS In a draft of a letter to Lady Welby composed by the end of December 1908 (dated 24-28 December, L463:132-146, CP 8.342-76, EP2:483-491; we will be referring to this diagram 1. -
A Semiotic Framework to Understand How Signs in a Collective Design Task Convey Information: a Pilot Study of Design in an Open Crowd Context
Avondale College ResearchOnline@Avondale Administration and Research Conference Papers Administration and Research 2013 A Semiotic Framework to Understand How Signs in a Collective Design Task Convey Information: A Pilot Study of Design in an Open Crowd Context Darin Phare University of Newcastle, [email protected] Ning Gu University of Newcastle, [email protected] Anthony Williams Avondale College of Higher Education, [email protected] Carmel Laughland University of Newcastle, [email protected] Follow this and additional works at: https://research.avondale.edu.au/admin_conferences Part of the Architecture Commons Recommended Citation Phare, D., Gu, N., Williams, A. P., & Laughland, C. (2013). A semiotic framework to understand how signs in a collective design task convey information: A pilot study of design in an open crowd context. In M. A. Schnabel (Ed.), Cutting edge: 47th International Conference of the Architectural Science Association. Paper presented at the Architectural Science Association, Chinese University of Hong Kong, Hong Kong, 13-16 November (pp. 473–482). Sydney, Australia: The Architectural Science Association. This Conference Proceeding is brought to you for free and open access by the Administration and Research at ResearchOnline@Avondale. It has been accepted for inclusion in Administration and Research Conference Papers by an authorized administrator of ResearchOnline@Avondale. For more information, please contact [email protected]. M. A. Schnabel (ed.), Cutting Edge: 47th International Conference of the Architectural Science Associa- tion, pp. 473–482. © 2013, The Architectural Science Association (ANZAScA), Australia A SEMIOTIC FRAMEWORK TO UNDERSTAND HOW SIGNS IN A COLLECTIVE DESIGN TASK CONVEY INFORMATION A pilot study of design in an open crowd context DARIN PHARE, NING GU, TONY WILLIAMS and CARMEL LAUGHLAND The University of Newcastle, Newcastle, Australia [email protected], {ning.gu, tony.williams, carmel.laughlan }@newcastlee.edu.au Abstract. -
The Commutation Test and Chris Bacon's Score for Source Code As
The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay. -
Messages, Signs, and Meanings: a Basic Textbook in Semiotics and Communication (Studies in Linguistic and Cultural Anthropology)
Messages, Signs, and Meanings A Basic Textbook in Semiotics and Communication 3rdedition Volume 1 in the series Studies in Linguistic and Cultural Anthropology Series Editor: Marcel Danesi, University of Toronto Canadian Scholars’ Press Inc. Toronto Disclaimer: Some images and text in the printed version of this book are not available for inclusion in the eBook. Messages, Signs, and Meanings: A Basic Textbook in Semiotics and Communication Theory, 3rdEdition by Marcel Danesi First published in 2004 by Canadian Scholars’ Press Inc. 180 Bloor Street West, Suite 801 Toronto, Ontario M5S 2V6 www.cspi.org Copyright 0 2004 Marcel Danesi and Canadian Scholars’ Press Inc. All rights reserved. No part of this publication may be photocopied, reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical or otherwise, without the written permission of Canadian Scholars’ Press Inc., except for brief passages quoted for review purposes. In the case of photocopying, a licence may be obtained from Access Copyright: One Yonge Street, Suite 1900, Toronto, Ontario, M5E 1E5, (416) 868-1620, fax (416) 868- 1621, toll-free 1-800-893-5777, www.accesscopyright.ca. Every reasonable effort has been made to identify copyright holders. CSPI would be pleased to have any errors or omissions brought to its attention. CSPl gratefully acknowledges financial support for our publishing activities from the Government of Canada through the Book Publishing Industry Development Program (BPIDP). National Library of Canada Cataloguing in Publication Danesi, Marcel, 1946- Messages and meanings : an introduction to semiotics /by Marcel Danesi - [3rd ed.] (Studies in linguistic and cultural anthropology) Previously titled: Messages and meanings : sign, thought and culture. -
Review: Marcello Barbieri (Ed) (2007) Introduction to Biosemiotics. the New Biological Synthesis
tripleC 5(3): 104-109, 2007 ISSN 1726-670X http://tripleC.uti.at Review: Marcello Barbieri (Ed) (2007) Introduction to Biosemiotics. The new biological synthesis. Dordrecht: Springer Günther Witzany telos – Philosophische Praxis Vogelsangstr. 18c A-5111-Buermoos/Salzburg Austria E-mail: [email protected] 1 Thematic background without utterances we act as non-uttering indi- viduals being dependent on the discourse de- Maybe it is no chance that the discovery of the rived meaning processes of a linguistic (e.g. sci- genetic code occurred during the hot phase of entific) community. philosophy of science discourse about the role of This position marks the primary difference to language in generating models of scientific ex- the subject of knowledge of Kantian knowledge planation. The code-metaphor was introduced theories wherein one subject alone in principle parallel to other linguistic terms to denote lan- could be able to generate sentences in which it guage like features of the nucleic acid sequence generates knowledge. This abstractive fallacy molecules such as “code without commas” was ruled out in the early 50s of the last century (Francis Crick). At the same time the 30 years of being replaced by the “community of investiga- trying to establish an exact scientific language to tors” (Peirce) represented by the scientific com- delimit objective sentences from non-objective munity in which every single scientist is able the ones derived one of his peaks in the linguistic place his utterance looking for being integrated turn. in the discourse community in which his utter- ances will be proven whether they are good ar- 1.1 Changing subjects of knowledge guments or not. -
Relational Categories
Gentner, D., & Kurtz, K. (2005). Learning and using relational categories. In W. K. Ahn, R. L. Goldstone, B. C. Love, A. B. Markman & P. W. Wolff (Eds.), Categorization inside and outside the laboratory. Washington, DC: APA. Relational Categories Dedre Gentner and Kenneth J Kurtz Relational Categories This chapter is concerned with the acquisition and use of relational categories. By relational category, we mean a category whose membership is determined by a common relational structure rather than by common properties. For instance, for X to be a bridge, X must connect two other entities or points; for X to be a carnivore, X must eat animals. Relational categories contrast with entity categories such as tulip or camel, whose members share many intrinsic properties. Relational categories cohere on the basis of a core relationship ful- filled by all members. This relation may be situation-specific (e.g., passenger or accident) or enduring (e.g., carnivore or ratio). Relational categories abound in ordinary language. Some are restricted in their arguments: For example, car- nivores are animals who eat other animals. But for many relational catego- ries, the arguments can range widely: for example, a bridge can connect two concrete locations, or two generations, or two abstract ideas. As with bridge, the instances of a relational category can have few or no intrinsic properties in common with one another. Research on categories has mostly ignored relational categories, focusing instead on entity categories-categories that can be characterized in terms of intrinsic similarity among members, like those shown in Figure 9.1. Further, as Moos and Sloutsky (2004) point out, theories of categorization have often oper- ated under the assumption that all concepts are fundamentally alike. -
Semiotics of Food
Semiotica 2016; 211: 19–26 Simona Stano* Introduction: Semiotics of food DOI 10.1515/sem-2016-0095 From an anthropological point of view, food is certainly a primary need: our organism needs to be nourished in order to survive, grow, move, and develop. Nonetheless, this need is highly structured, and it involves substances, prac- tices, habits, and techniques of preparation and consumption that are part of a system of differences in signification (Barthes 1997 [1961]). Let us consider, for example, the definition of what is edible and what is not. In Cambodia, Vietnam, and many Asian countries people eat larvae, locusts, and other insects. In Peru it is usual to cook hamster and llama’s meat. In Africa and Australia it is not uncommon to eat snakes. By contrast, these same habits would probably seem odd, or at least unfamiliar, to European or North American inhabitants. Human beings eat, first of all, to survive. But in the social sphere, food assumes meanings that transcend its basic function and affect perceptions of edibility (Danesi 2004). Every culture selects, within a wide range of products with nutritional capacity, a more or less large quantity destined to become, for such a culture, “food.” And even though cultural materialism has explained these processes through functionalist and materialis- tic theories conceiving them in terms of beneficial adaptions (Harris 1985; Sahlins 1976), most scholars claim that the transformation of natural nutrients into food cannot be reduced to simple utilitarian rationality or availability logics (cf. Fischler 1980, 1990). In fact, this process is part of a classification system (Douglas 1972), so it should be rather referred to a different type of rationality, which is strictly related to symbolic representations. -
MEANING, SEMIOTECHNOLOGIES and PARTICIPATORY MEDIA Ganaele Langlois
CULTURE MACHINE VOL 12 • 2011 MEANING, SEMIOTECHNOLOGIES AND PARTICIPATORY MEDIA Ganaele Langlois Summary What is the critical purpose of studying meaning in a digital environment which is characterized by the proliferation of meanings? In particular, online participatory media platforms such as YouTube, Facebook, Wikipedia and Twitter offer a constant stream of user-produced meanings. In this new context of seemingly infinite ‘semiotic democracy’ (Fiske, 1987), where anybody can say anything and have a chance to be heard, it seems that the main task is to find ways to deal with and analyze an ever-expanding field of signification. This article offers a different perspective on the question of meaning by arguing that if we are to study meaning to understand the cultural logic of digital environments, we should not focus on the content of what users are saying online, but rather on the conditions within which such a thing as user expression is possible in the first place. That is, this article argues that we should focus less on signification, and more on the question of regimes of the production and circulation of meaning. By expanding the question of meaning and using it to explore commercial participatory media platforms, this article offers a new framework for looking at online communication: one that decentres human subjects from the production of meaning and that acknowledges the technocultural dimension of meaning as constituted by a range of heterogeneous representational and informational technologies, cultural practices and linguistic values. Online participatory media platforms offer an exemplar of the new conditions of the production and circulation of meaning beyond the human level: they offer rich environments where user input is constantly augmented, ranked, classified and linked with other types of content.