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Cognitive Semiotics COGNITIVE SEMIOTICS Multidisciplinary Journal on Meaning and Mind Issue 5 . Fall 2009 PETER LANG Bern · Berlin ' Bruxelles ' Frankfurt am Main · New York · Oxford · Wien COGNITIVE SEMIOTICS EDITORS-IN-CHIEF Per Aage Brandt and Todd Oakley CO-EOrTORS Ana Margarida Abrantes, Tim Adamson, Une Brandt, Riccardo Fusaroli, and Jes Vang EDITORIAL ASSISTANT (official address and address for unsolicited submissions) Larimee Cortnik Department of Cognitive Science Center for Cognition and Culture Case Western Reserve University College of Arts & Sciences Crawford Hall, 612D Cleveland, Ohio, 44106-7179 USA Phone: (+1) 216 368-6538 · Fax: (+1) 216 368-3821 [email protected] COORDINATING EDITOR (general address for solicited submissions and editorial contact) Jes Vang · [email protected] EDITORIAL ADVISORY BOARD Liliana Albertazzi, Bernard Baars, Enrique Bernárdez, Peer Bundgaard, Roberto Casati, Christopher Collins, Seana Coulson, Ian Cross, Terrence Deacon, Merlin Donald, Shaun Gallagher, Barend van Heusden, Robert Innis, Jana M. Iverson, Mark Johnson, Torben Fledelius Knap, Kalevi Kull, Ronald Langacker, Michael Leyton, Ricardo Maldonado, Juana Isabel Mann-Arrese, Erik Myin, Frederic Nef, Pierre Ouellet, Jean-Luc Petit, Jean Petitot, Martina Plümacher, Roberto Poli, Ernst Pöppel, Andreas Roepstorff, Bent Rosenbaum, Maxine Sheets-Johnstone, Chris Sinha, Linda B. Smith, Göran Sonesson, Frederik Stjernfelt, Eve Sweetser, Leonard Talmv, Evan Thompson, Colwyn Trevarthen, Reuven Tsur, Mark Turner, Patrizia Violi, Wolfgang Wildgen, Dan Zahavi, Lawrence Zbikowski, Jordan Zlatev, and Svend Ostergaard. MANUSCRIPT SUBMISSIONS For style guide and other directions for authors go to the journal's website: www.cogniavesemiotics.com PUBUSHING DETAILS © by Verlag Peter Lang AG, Hochfeldstrasse 32, CH-3012 Bern Tel. +41 31 306 17 17; Fax +41 31 306 17 27; E-Mail: [email protected]; Internet: www.peterlang.com All rights reserved. The journal and its parts are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the editor, is forbidden and liable to prosecution. ISSN 1662-1425 Printed in Switzerland COVER DESIGN AND GRAPHICAL LAYOUT Jes Vang COGNITIVE SEMIOTICS ISSUE 5 · FALL 2009 AESTHETIC COGNITION EDITED BY PEER BUNDGAARD &. JEAN PETITOT 4 Editorial Preface 7 Jean Petitot Non-Generic Viewpoints as a Method of Composition in Renaissance Paintings 42 Peer F. Bundgaard Toward a Cognitive Semiotics of the Visual Artwork - Elements of a grammar of intuition 66 Wolfgang Wildgen Geometry and Dynamics in the Art of Leonardo da Vinci 93 Ivan Darrault-Harris Non-Genericity as an Invariant of the Readability of Pictures 103 Zoï Kapoula, Qing Yang, Marine Vernet &. Maria-Pia Bucci Eye Movements and Pictorial Space Perception: Studies of paintings from Francis Bacon and Piero della Francesca 122 Alessandro Pignocchi What Is Art? A methodological framework for a pluridisciplinary investigation 136 Ellen Dissanayake The Artification Hypothesis and Its Relevance to Cognitive Science, Evolutionary Aesthetics, and Neuroaesthetics OFF-ΤΉΕΜΕ ARTICLE 159 Michael Kimmel Analyzing Image Schemas in Literature Editorial Preface The present issue of Cognitive Semiotics is devoted to the study of meaning making in art. Artworks and aesthetic experience have long since been privileged objects of investigation within the humanities and philosophy. There are very good explanations for this. Perhaps the main reason being that aesthetic (and proto-aesthetic) activities reflect the most important examples of human semiotic behavior. Through millennia, and across cultures, people have pervasively constructed meaning in aesthetic matter and by aesthetic means. Thus, nothing seems more natural than to systematically explore this domain. However, the fact that aesthetic objects, aesthetic experience, or aesthetic communication are obviously different from normal objects, everyday experience, or plain communication, scholars often consider aesthetic meaning construction as something essentially different from other types of meaning making: either because of its content (a type of insight that only artists have access to), or because of its vehicle (the use of expressive means that only characterize aesthetic communication). However vast, the continent of aesthetic meaning making has by and large been considered a continent apart. In the heading we have chosen for this volume, the word "cognitive" suggests a somewhat different approach to artistic objects, their meaning and the experience of them. Indeed, the contributors to this volume display, in different degrees, what could be considered a "naturalizing" approach to aesthetic meaning construction (both from the producer's and the receiver's perspective). Naturalizing methodologies, of course, come in many different and sometimes mutually exclusive variants, but a common trait between them correlating aesthetic meaning making and aesthetic cognition, does not constitute a genus of its own (sustained by some autonomous aesthetic module in the mind), but should be considered, characterized, and if possible, explained in the light of what we know about (the evolution of) everyday cognition and human semiotic behavior in general. Such an approach is probably so much more promising when the task consists in defining the way artists actually shape their meaning intentions, and why these means are particularly efficient. Painters can convey meaning to the beholder thanks to their motifs and the iconographical (commonplace) values attached to the latter. However, paintings are visual media, and if we are to take seriously the existence of some sort of visual or aesthetic semiotics, then it must be possible to track down the ways in which something in a painting can take on a perceptual (and not simply a conceptual or iconographical) signification. Otherwise, painters can depict or reproduce already established meanings and values, but not form them on their own, or even from scratch. In regard to this there is nothing new under the sun: the craftsmanship of painting consists, as Rudolf Arnheim stated it back in 1950, in conveying to the eye what the motif represents to the mind. EDITORIAL PREFACE | 5 In other words, the focus in this issue of Cognitive Semiotics is on aesthetic semiosis; the construction of perceptual signification in the artwork. Therefore, a natural way of proceeding for many of the contributors would first be to ask: what are the features, relations, and qualitative properties of the phenomenal world to which the visuo-cognitive system is geared to respond to in specific ways? And then to move on with the next question: how can such features, relations, and so forth, be exploited by the artist as a tool for perceptual meaning construction? If this relation between natural signification in everyday perception and aesthetic meaning construction can be convincingly laid down, it becomes possible to establish the general devices by means of which painters encode meaning in shape, colors, strokes, and relations between the latter (composition). In his paper, Jean Petitot considers composition as a way of constructing perceptual meaning properly. If you want to construct morphological or broadly spatial counterparts to symbolically or iconographically significant entities in a painting, you must be capable of selecting certain spatial relations as outstanding and thereby endow them with a given semantic function. In a detailed analysis of Mantegna's The Madonna of Victory and Raphael's St. George, Petitot shows how painters semiotize spatial relations by adopting non-generic, unique and critical vantage points, or by constructing such non-generic configurations or morphological correlations. Such a procedure is a key element of compositional meaning making to the extent that it exploits humans' inbuilt sensitivity to rare or critical phenomena. In the same vein, Peer F. Bundgaard attempts to lay down some of the prin- ciples which rule meaning making in visual artworks. In his paper, he shows how artists exploit features which are intrinsically significant for the visuo- cognitive system in plain, everyday perception, thereby transforming the automatisms of perception into a rhetoric of aesthetic intuition. The central concern is to demonstrate how purely spatial relations can become significant, or, in other words, how conceptual meaning can be anchored in perception. Wolfgang Wildgen makes a case for Leonardo da Vinci's contribution to a "semiotics of art". In an analysis of the Last Supper, Wildgen first shows how the concepts of "geometry" and "dynamics" can be used to lay bare the compositional meaning of the painting. In the second section of his paper, he aims to characterize the configurational and gaze-dynamical structures in some of Leonardo's paintings (Virgin in the rocks, St. Anne) as morphological counterparts to valence patterns (case frames, scenes) in sentences or short narratives. Finally, these patterns are related to models from dynamic systems theory. Iran Darrault-Hams' article is a case study of the use of non-genericity as a meaning generator in a concrete artwork, here a diptych by Cranach the Elder picturing Lucrece committing suicide and Judith after the murder of Holo- phem. 6 I P. BUNDGAARD & J. ΡΕΠΤΟΤ Zoi Kapoula et al. present an empirical eye-tracking study of aesthetic expe- rience, with particular focus on the difference between eye movement patterns in observers trained in experiencing art and observers who are
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