Social distance, as a non-static cognitive attribute of acceptance among particular groups across different contexts, has been resemioticized during the coronavirus crisis and legalized worldwide to reduce global strain on healthcare systems and prevent deaths. Concerning this, brand designers have tried to persuade the brand community to benefit from products or services safely by staying away from others as much as possible instead of in-person contact. This research was conducted to discover the semiosis process of social-distancing resemioticization through creating values (...) of brands during the post-coronavirus crisis. The corpus consists of 124 brands – all sampled purposely from 2019 to 2021 – which was investigated via a mixture of qualitative and quantitative methods using an integrated model in a functional perspective. All the results highlight the fact that, although brand designers have attempted to creatively resemioticize social-distancing during the coronavirus crisis as a means of increasing or enriching brand values, still some semiosis layers of brand discourse have been overlooked. Pertaining to this, the authors try to apply a new perspective of marketing semiotics to appraise consumer investments in light of a socio-cultural setting by conducting an inquiry about the semiosis of individual brand discourses to manage consumer perceptions regarding brand equity. (shrink)

Most contemporary approaches to meaning presume the limitation of semiotics (Didi-Huberman, Gumbrecht, Belting). The question of what kind of “semiotics” is required has not been asked. However, without some general science of meaning it is impossible to reform theory without committing past errors or ignoring progress. In the interest of reconnecting contemporary interests in “presence” to long-evolving needs, I review the ossification and decline of one theory of semiotics that serves as the tacit model rejected today. I return to problems (...) of the nature of the sign – whether it is “digital” or “analog” and conceived as “communication” or merely “meaning.” I then reconstitute a workable visual cognitive semiotics based on phenomenological premises. (shrink)

Playing fields are “spaces where the communitas suspends its everyday life and structures” and “The internal logic of sporting games is connected to values from the social context”, Playing fields: Power, practice, and passion in sport, 127–144. Reno: University of Nevada Press). But what about the space in between? What kind of semiotics organisation can be detected in the membrane between player and liminal space where spectators are not allowed yet specific characters needed to carry out an event? We can (...) therefore identify a liminality that can be connected either to the controlled or the wild playing field and depending on which of the two is the case can be analysed according to the degree of regulated system of signs which they produce. This implies different pathways and rituals: as matches are played, a variety of bodily activities may be taking place concurrently. Furthermore, it is inevitable that these activities attract the attention of the audience or alternately lead a player to interact with a non-player. In this article, I will first try to identify certain semiotics features, especially connected to Eco’s Peircian concept of Encyclopedia, that characterize the status of liminal space around the playing field. Then I will focus on liminality in soccer, investigating what kinds of interaction exist outside the playing area. (shrink)

Debates on situated affectivity have mainly focused on tools that exert some positive influence on affective experience. Far less attention has been paid to artifacts that interact with the expression of affect, or to those that exert some negative influence. To shed light on that shadowy corner of our affective social lives, I describe the workings of an atypical socio-affective artifact, namely, sunglasses. Drawing on insights from psychology and other social sciences, I construe sunglasses as a social shield that helps (...) us block spontaneous emotional expressions, as well as affecting other social processes that heavily depend on the eye region: gaze direction detection, identity recognition, and the sense of intimacy afforded by eye contact. (shrink)

This article demonstrates the broad applicability of the concept of symbol in human communication, beyond but including verbal language. The starting point is Charles Sanders Peirce’s understanding of symbolicity as signification grounded on habits. The goal is to be able to conceptualize mediality in general and media interrelations, particularly in relation to symbolicity. Informed by a multimodal view on media, the author provides a systematic overview of symbolicity within the context of communication among human minds structured around two crossing parameters: (...) symbols being limited or widespread among people and symbols not being part of or being part of systems – languages. Based on this overview, I clarify the role of culture in language notions and conceptualize language in relation to mediality. I also suggest a way of more precisely describing similarities and differences between languages and media types, without either conflating or totally separating the two concepts. Finally, I investigate how the dependence of language and media type conceptions on culture affects the idea of intermediality. Together, these investigations and conceptualizations promote a more comprehensive understanding of symbolicity in general and a deeper knowledge of the role of symbolicity in human communication, including verbal language, and intermedial relations involving all kinds of different media types. (shrink)

This study examines the entanglements of natural disasters and cultural changes from an ecosemiotic point of view. Taking the case of Mt. Merapi’s periodic eruptions and the locals’ interpretations of such constant natural hazards, it is based on empirical data gathered through longitudinal qualitative fieldworks on the local communities surrounding this volcano. In order to adapt to the constant natural hazards in their environment, disaster prone societies develop unique sign systems binding cultural and natural processes. This study shows that traditionally, (...) unique sensorial-environmental sign systems have formed the basis of communication between human and environment, allowing the locals to perceive the eruption as a communication involving them and local environmental agencies. Recently, the eruptions have triggered the adoption of new livelihoods of local people, as well as the acceptance of new scientific signs for the interpretation of the activities of the volcano. The latter has been accompanied by significant cultural changes, including the adoption of the idea of progress and the transformation of the previous entanglements of local culture and its natural environment. The study concludes that natural disasters, entangled with ongoing social transformations, may play a fundamental role as triggers of semiotic change in a community. Such semiotic change can in turn modify the interpretation of the natural disaster itself, and in that way shift the way humans perceive and interact with their environment. (shrink)

The paper is devoted on the foundations of semiotics. It examines the specific features of Peircean and Saussurean traditions and demonstrates that the basis of all the differences is the different conception of the nature of sign: Peirce proceeds from the substitutive concept, Saussure from the bilateral one. The substitutive construction is atomistic by its nature: it is based on a (single) sign which replaces a (single) object, while bilateral is holistic: it is based on the sign system which is (...) divided into (single) signs. The differences of semiosis in atomistic and holistic approach will be pointed out. (shrink)

Multi-modal metaphor is a new perspective in metaphor research developed in modern times. Beyond the metaphor research of language, it combines text, image, sound, and other modes and provides new insights and perspectives for metaphor research. Food advertisements often combine sound, images, and other forms to promote the products and increase consumers’ desire to buy, and they often contain metaphors of multiple modes. However, under the perspective of cross-cultural research, when the same food brand is advertised in different countries, the (...) multi-modal metaphors are varied to appeal to different audiences. This article compares food advertisements in China and in the U.S. from the perspective of multi-modal metaphors, and analyzes the varied applications arising from different cultural influences. The research may act as a reference for advertising strategies on cross-cultural occasions. (shrink)

This article deploys Peircean approach to bodily skills, foregrounding motricity as a semiotically mediated and a “suprasubjective” process. By examining two contrasting skills – javelin and martial arts – I draw out the relevance of dynamic movement to the semiotics of sport and embodiment. These contrasting movements expose different epistemological assumptions since they emerge in distinct cultural traditions. To attend to the cultural dimension of movement practices – including the mediation of signs making certain movement forms seem reasonable or desirable (...) in the first place – I highlight ecological dimensions of each somatic tradition. This ecological focus aligns with Peirce’s project of tracking how semiotic signs are positioned and mediated. To make ecological factors of motricity more recognizable, I contrast somatic engagements that take place on synthetic, predictable substrates and somatic engagements that take place on variable, unpredictable ground. In a similar way to the classic gestalt figure-ground relations, where perception of a figure depends on the particulars of the ground, I suggest that the ground upon which somatic action occurs shapes the way we make sense of it epistemologically. These different grounds – both literally and figuratively – operate representationally via thirdness: they lead us to conceptualize movement in culturally and historically particular ways. (shrink)

The semeiotic of Charles Sanders Peirce is irreducibly triadic, positing that a sign mediates between the object that determines it and the interpretant that it determines. He eventually holds that each sign has two objects and three interpretants, standardizing quickly on immediate and dynamical for the objects but experimenting with a variety of names for the interpretants. The two most prominent terminologies are immediate/dynamical/final and emotional/energetic/logical, and scholars have long debated how they are related to each other. This paper seeks (...) to shed new light on the matter by reviewing the numerous manuscript drafts where Peirce develops the latter nomenclature while attempting to introduce his pragmatism to a general audience. It then goes on to examine an additional set of interpretants, intentional/effectual/communicational, and shows that the three different trichotomies can be understood as complementary, rather than redundant or conflicting. (shrink)

In this paper I propose to read and understand gestures as logical tools within a synthetic paradigm of knowledge. This interpretation of gesture is drawn from a new pragmatist reading of reasoning in general, and synthetic reasoning in particular. Complete gestures are actions with a beginning and an end that bear a meaning. It is our regular way to embody vague ideas into singular actions with general meaning. The tool is forged by a dense blending of icons, indices, and symbols (...) and by a complexity of phenomenological characteristics as feelings, actual actions, general concepts and habits. The paper illustrates this new way to look at gestures and different kinds of complete and incomplete gestures. (shrink)

How should one describe the irreducible relationships in photopoetry observed in intermedial literary photobooks? According to most authors, in literary photobooks, the verbal sign system is linked to the photographic image as a bidirectional interaction, creating a coupled system that can be seen as a new sign system. Mutually modulatory influences link verbal text and photography. But the nature of such influences needs to be explained in detail and with accuracy. What kind of relation are we dealing with? Many authors (...) have tried to explain this phenomenon through several epistemic metaphors. The problem is that these metaphors are rarely subjected to any general theory of meaning. Surprisingly, this is not even mentioned as a problem. In this article, we propose a general semiotic model to describe the irreducible photography-poetry relation, derived from C. S. Peirce’s pragmatic theory of signs, and we also present some preliminary results of the analysis of Quarenta Clics em Curitiba, a photobook by Paulo Leminski and Jack Pires. Our purpose here is to introduce and explore this model to describe the photography-poetry relationship in coupled systems. This relationship is decomposed, in the functional roles occupied by poems and photographs, into a sign-object-interpretant relation. The triadic irreducibility that characterizes semiosis (à la Peirce) is the main property applied to photograph-poetry coupling in Quarenta Clics em Curitiba. (shrink)

Tout au long de sa vie et dès sa naissance, chaque personne doit attribuer du sens à tour ce qui l’entoure : objets, individus, paysages … Cette construction d’une signification corresponde à un décodage de l’environnement humaine et matériel qui repose notamment sur la mise en jeu du corps et sur ses manifestations motrices. À ce titre, les jeux et les sports représentent un domaine privilégié ou cette mobilisation des conduites motrices est au centre de la construction d’un sens et (...) de la décision du pratiquent. Ce décodage subjectif s’appuie sur les sonnées objectives de la logique interne de chaque activité ludosportive et des universaux correspondants. Inspiré par les avances de la linguistique et de la sémiologie, mais tout en soulignant ses mécanismes spécifiques, l’analyse sémiotrice explore les codages originaux des interactions ludosportives. Des sèmes particulaires, tels les gestèmes, praxèmes et els écosèmes sont identifiés. On note que les encodages et les décodages praxiques son plus ou moins rigoureux et ne possèdent jamais la double articulation qui caractérise toute langue. L’approfondissement de cette sémiotricité éclaire d’une nouveau jour les conduites de chaque acteur social, non seulement au cours des activités physiques mais aussi tout au long de sa vie. (shrink)

The semiosphere is arguably the most influential concept developed by Juri Lotman, which has been reinterpreted in a variety of ways. This paper returns to Lotman’s original “anthropocentric” understanding of semiosphere as a collective intellect/consciousness and revisits the main arguments of Lotman’s discussion of human vs. nonhuman semiosis in order to position it in the modern context of cognitive semiotics and the question of human uniqueness in particular. In contrast to the majority of works that focus on symbolic consciousness and (...) multimodal communication as specifically human traits, Lotman accentuates polyglottism and dialogicity as the unique features of human culture. Formulated in this manner, the concept of semiosphere is used as a conceptual framework for the study of human cognition as well as human cognitive evolution. (shrink)

Fencing for the blind and visually impaired is an emerging sub-discipline of fencing that creates unusual conditions for meaning-making through interaction between embodied endowments and worldly affordances. With the rules of fencing slightly adjusted to the needs of the blindfolded participants – regardless of their sightedness – the discipline requires the fencers to engage in a duel by relying on other than visual cues. This article explores what an autoethnographic account of experiences of participation in fencing for the blind and (...) visually impaired brings to debates on the embodied, and specifically sensory difference. The discussion of these experiences intersects with debates on affect, affordance, and habit, with all three having important roles in related semiotic processes. Presented vignettes draw upon the author’s lived experiences of participation in fencing for the blind and visually impaired and are analyzed as part of a mixed-method autoethnographic study, accompanied by sensory methodologies, with a focus on an inquiry beyond the visual. The vignettes elucidate how we make sense of our surroundings through a complex engagement with the ecology of sensory and affective processes. In addition to exploring the role of affective and pre-conceptual aspects of our experiences, the article seeks to understand how semiosis occurs through both exposure to as well as the active pursuit of specific environmental signs available to us. The article also derives from biosemiotics to examine the complex relationship between meaning-making processes and habits. Finally, the autoethnographic account provides an insight into how we habituate the world and our embodied differences and thus enable meaning-making processes. (shrink)

Neuroscience has established several brain pathways that process visual information. Distinct neural circuits analyze body appearance and movement providing information about the person’s cognitive and emotional states. The activity of the pathways depends on the salience of visual stimuli for the organism in the given circumstances. Since ballet performances are not among the crucial events for the viewer’s organism, not all viewers perceive and interpret bodily signs that express the mental state of the dancer. Treatment of the dancer as close (...) other activates the neural circuits that elaborate emotions, this enables the viewer to feel the internal state of the dancer and enrich the interpretation of the scenic action. (shrink)

During the mid-1970s the extraordinarily dangerous style of free solo climbing emerged in the collective practice of a small community of “Stonemaster” climbers actively developing new climbing routes and the new “free” style of roped climbing in what is now Joshua Tree National Park, California. While its emergence might be interpreted as an affectively-driven, macho embodied social semiotic or ethnomotricity, in actuality the evolution of free soloing in the case of Stonemaster-era climbing at Joshua Tree may be more accurately understood (...) as the logical consequence of an intensive regime of practice in which climbers developed a near absolute bodily familiarity with certain climbing routes. Eventually, the reasonableness of climbing with little and even no protection on a subset of these routes became self-evident and conventional. Free soloing, in the semiotic perspective of the later Peirce, manifested as a Normal Logical Interpretant in the Joshua Tree landscape. It embodied the living definition of self-controlled conduct, and the Symbols it cultivated testified persuasively to the growth of a creative corporeal intelligence actualizing near absolute degrees of free will. (shrink)

The traditional sporting games correspond to a set of signs full of meanings, which come to life through the motor behaviors of the players as they participate in its semiotic semantics. As a result of this exchange, interpersonal conflicts may emerge because of each person’s semiotic interpretation of the sociomotor dynamics of the game. This research aimed to analyze the comments of intense negative emotions that arise in conflicts of a praxical nature in a TSG, in its different parts, and (...) in the motor interventions of its protagonists. A total of 160 university students participated in a competitive sociomotor traditional sporting game of cooperation-opposition: the Marro. At the end of the practice, all answered the validated GES-II questionnaire. Subsequently, a content analysis of 480 comments was performed using ATLAS.ti 8.4 software. The conclusion of this work verifies the existence of different levels of meaning in the semiotic experience that originate interpersonal conflicts in traditional sporting games. Considering the multidimensional network of signs and meanings that emerge in any game will help to understand the meaning of the protagonists’ conflictive motor conducts. (shrink)

The concept of semiosphere coined by Lotman in analogy of Vernadsky’s biosphere can be considered as a starting point for the new model in the semiotics of culture that enables us to conceptualise the human culture in its great diversity, as well as a certain single system as a part of this diversity. Present article will clarify some points of dissonance between Lotman and Vernadsky, as well as consider the dual influence of Vernadsky and Prigogine on the workings of the (...) semiosphere in relation to the cultural dynamics. As a conclusion, the article entertains the idea that if we take the comparison with Vernadsky a bit further, the concept of semiosphere could be reinvented rather as a main transformative force of the (human) environment. (shrink)

The average weight and height of National Basketball League players is decreasing year by year ; Curcic, Dimitrije. 2021. 70 years of height evolution in the NBA [4,504 players analyzed]. RunRepeat. https://runrepeat.com/height-evolution-in-the-nba ). The trend in basketball is to privilege the tallest and strongest. If so, then to what does the body modification of NBA players respond? Will these changes reformulate the corporeity of what is understood as an NBA player? This text seeks, from the postulates of Jacques Fontanille and (...) José Finol, to point out that the process of body modification arose both from the introduction of a new rule and the recognition to new corporealities. From data regarding players’ corporeality, shooting tendency and a body modification scheme, a new corporeality of the NBA player is proposed, one that is no longer determined entirely by height. (shrink)

The necessity of wearing masks in response to the spread of the Covid-19 took Europe and the USA by surprise. Legislation needed to be enacted to enforce the obligation on citizens not used to such practices. The authors investigate the semiotic function of masks, legislations enacted to enforce their usage in public places, and the mask-related discourse with a view to seeing how societies reacted to this imposition. A broad semiotic perspective is provided to analyze different attitudes and types of (...) MRD that have emerged in Poland, France, and the USA. (shrink)

In the framework of the theory of the semiosphere elaborated by Juri Lotman in the 1980s, the notion of translation acquires a new, broadened meaning and is used to describe a general mechanism of cultural dynamics. This is a direct consequence of the understanding of the semiosphere as a “continuum of semiotic systems” of which heterogeneity and polyglotism are constitutive features. If the “smallest functioning semiotic mechanism” is not an isolated system, but always a (at least) binary system, translation will (...) play a central role in communication not only between different cultures, but also within every single culture.The article focuses on the different places of translation within the semiosphere as a system of systems and its relations to the notion of border. It argues that in Lotman’s theory, translation can function both as a homogenizing and a heterogenizing semiotic force, depending on its position at the center or the periphery of a given semiotic system. The first part of the article develops a theoretical argument on the relation between translation processes and cultural borders, which acquire different meanings and functions within Lotman’s theory of the semiosphere corresponding to differently oriented kinds of translation. The second part of the article develops a close analysis of Giacomo Leopardi’s poem “L’Infinito,” where the tension and dialogue between the different functions of the Lotmanian borders and the different kinds of cultural translation become devices for the generation of new meanings. Finally, the article briefly considers the significance of Lotman’s semiospheric understanding of the relation between borders and translation for contemporary translation and border studies. (shrink)

Many caricaturists get the idea for their caricature from current issues of society. The philosophy of the caricature lies in the opinion it presents, which discusses society’s goals, culture, and crises, and it is represented in an ironic way to deliver its visual message. The fight for women’s rights, inequality, and discrimination are examples of issues concerning Saudi women that have been represented by several caricaturists. Hence, the aim of this paper is to investigate female and male caricaturists’ linguistic and (...) semiotic representation of Saudi women’s challenging issues. Following (Kress and Van Leeuwen. 2006. Reading images: The grammar of visual design, 2nd edn. London: Routledge), a social semiotic multimodal approach to the analysis is adopted in this study, which is drawn from Halliday’s social semiotic theory. Twenty caricatures were carefully selected based on the content and the issues that are being discussed in the caricatures with a consideration of their relation to the aim of the study. The present study contributes to enriching Saudi women’s rights in relation to Saudi Vision 2030. The research is significant in that, in examining women/male caricaturists’ representations of the challenges and opportunities of Saudi women empowerment prior/after Saudi Vision 2030 in the workplace, social life, it contributes to understanding the supportive caricature discourse, basic social values for Saudi women, the pressures they undergo, and the success they have achieved so far in attaining their rights. The study findings show that both the semiotic and verbal elements of the caricatures were significant in delivering the messages for women’s rights in the new Saudi. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, (...) south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)

Résumé Dans les situations sociomotrices, l’engagement des participants n’est pas seulement réductible aux communications directes. Il est surtout lié à l’émergence de systèmes de signes assurant la dynamique globale du jeu. Nous proposons d’appréhender la communication comme un système d’interaction global constitué de plusieurs canaux. On y retrouve les communications directes mais aussi quatre systèmes de signes : celui des praxèmes, des gestèmes, des gestes et des communications verbales. Ce travail interroge la place de chaque canal communicationnel dans deux sports (...) et deux jeux traditionnels. Nous recrutons trois groupes de 20 étudiants pour participer aux jeux mentionnés. Les communications sont filmées, décryptées, triées et catégorisées. On constate une forte prévalence des praxèmes dans les sports collectifs, tandis que la répartition des communications est plus équilibrée dans les jeux traditionnels. La quantité, la variabilité et l’organisation des signes sont sensibles à la logique interne. Globalement, cette recherche tend à montrer que les jeux sont un formidable laboratoire in vivo pour comprendre l’organisation des systèmes de signes. Spécifiquement, elle apporte des informations sur le pouvoir socialisant de la sémiotricité de chaque jeu et sur le renouvellement des pédagogies qu’elle peut engendrer. (shrink)

The wide range of semiotic possibility, through networks of motor communications, reveal processes for decision-making with playful meaning. We describe a physical education experience according to a sequence based on five motor games, corresponding to five networks of motor communications, with the purpose of revealing the signs to interpret a fully comprehension of playful communication. A total of 180 high school students were part of this pedagogic experience. Events were obtained through the systematic observation of three game conducts, to be (...) compared through the five games and thus offer indicators of motor complexity regarding decoding. Through the game sequencing studied, three blocks with different networks of motor communications were shown: their exclusivity and stability, their instability, and ambivalence, in addition to signs based on relationships of opposition, reidentification, and relativization. We propose that these signs should be transferred to a significant pedagogy with curricular interest for the physical education class. (shrink)

Résumé Depuis 1959, Pierre Parlebas tente de développer une éducation physique scientifique centrée sur la personne qui se meut et non plus sur le mouvement produit ou observé. La pierre angulaire de ce virage copernicien est un concept plein de résonances sémiologiques: la conduite motrice, entendue comme « organisation signifiante du comportement moteur ». En fait, sa proposition pédagogique est toujours allée de pair avec un projet épistémologique dont le noyau dur est une sémiologie de la motricité, c’est à dire (...) une « semiotricité ». Si l’action motrice est le fer de lance de l’éducation physique la sémiotricité, c’est le fer de lance de la praxéologie motrice. Cinquante ans après son démarrage, nous proposons revisiter les fondements de cette conception de l’éducation physique qui reste aujourd’hui révolutionnaire. La sémiologie de la motricité est née sous l’égide de la Sorbonne du milieu du XXe siècle. Les principes du sémiologie linguistique de Saussure inspirent les concepts et les modèles de « un champ du signe discordant » qui bénéficie également des contributions d’autres auteurs pertinents du moment. Cependant, à cette époque, le pragmatisme et la sémiotique américains étaient bien connus. Une question se pose aussitôt: à quoi ressemblerait une sémiotricité triadique? Les processus de communication praxique déclenchent phénomènes d’anticipation et préaction motrices basés en une continuelle interprétation des intentions d’autrui. Paradoxalement, autant ces phénomènes communicatifs que les signes propres des situations ludomotrices peuvent être plus facilement conçus et analysés avec un modèle plus complexe, voire triadique, que nous aimerions partager avec sémioticiens et praxéologues. (shrink)

This article proposes a semio-rhetorical epistemology for visual documents, one capable of accounting for both their internal configuration, which we shall call the compositional dimension, and their persuasive force within public space, or their rhetorical dimension. The field of reference will be that of identity-related images on social networks, because compared to other kinds of images, such as artistic or professional ones, they adopt new compositional solutions and new dynamics of circulation. To test this theoretical framework, we will conduct an (...) analysis which has never been carried out in semiotics and which, as far as we know, remains very rare even in the overall field of visual studies, that is, the analysis of the profile of an Instagram influencer’s visual production, that of Canadian artist Rupi Kaur. Taking into account the flow of images shared over time, we will focus primarily on the compositional dimension that articulates the specificity of the language of images. The most appropriate model for investigating social network photos seems to be that of the portrait, thanks to which we will identify a first series of regularities and deviations. Secondly, we will turn towards the rhetorical dimension – the persuasive strategies found within, through, and towards images – focusing on the analysis of a single photo: on the one hand, it is a shot which presents greater compositional richness than others; on the other hand, it has greatly impacted the notoriety of the influencer, due to the censorship incurred on Instagram, its abundant coverage by traditional media, and the heated debate it triggered on social media. We will thus propose a reinterpretation of Paul Ricœur’s theory of identity in order to balance the rhetorical and the compositional dimensions through a unitary theoretical hypothesis. Visual identity on social networks is always the result of a negotiation between two opposite tendencies: on the one hand, the experiential pressure expressed through images related to the body and everyday practices; on the other, the algorithmic pressure due to the delegation of the management of identity to software. The case of Rupi Kaur is a rare example of a critical mediation between these two pressures and helps us build a methodology for the examination of images belonging to other social domains. (shrink)

Juri Lotman’s well-known distinction of primary modeling system versus secondary modeling system is a lasting legacy of his that has been adhered to, modified, and refuted by semioticians of culture and nature. Adherence aside, modifications and refutations have focused on the issue whether or not language is a primary modeling system, and, if not, what alternatives can be made available to replace it. As Sebeok would concur, for both biosemiosis and anthroposemiosis, language can only be a secondary modeling system on (...) top of the biological experience of Umwelt or human sensory system. This paper proposes to explore the possibility of a “preverbal” modeling system suggested by Lotman’s spatial concept of semiosphere, and discuss its implications in cross-cultural dialogue. (shrink)

Since 1984 when J. Lotman’s article “On semiosphere” was published, this concept has been moving from one terminological field to another. In the disciplinary terminological field of the Tartu–Moscow School semiotics of culture, ‘semiosphere’ is connected with terms ‘language — secondary modelling system — text — culture’. From interdisciplinary terminological fields, the associations either with biosphere and noosphere, or with logosphere, are more important. As a metadisciplinary concept, semiosphere belongs to the methodology of culture studies and is associated with the (...) concepts of holism and the part and the whole. In this context, semiosphere marks the complementarity of disciplines studying culture, the movement towards the creation of general culture studies and “understanding methodology”. On the background of the contemporary trends of science it has to be remembered that semiosphere is simultaneously an object- and a metaconcept. The dynamism of culture as a research object forces science to search for new description languages but the new description languages in turn influence the cultural dynamics as they offer new possibilities for self-description. Often, however, from a historical perspective, a new description language is nothing but a methodological translation. Thus also the term semiosphere joins together several concepts that are related to semiotics of culture and that have gained new relevance on the background of the culture’s developmental dynamics. The concept of semiosphere brings semiotics of culture again into contact with its history, as it also brings applicational cultural analysis into contact with the history of culture and with the newest phenomena in culture. These contacts determine the place of the semiotics of culture among the sciences studying culture. (shrink)

This study examines adults’ postings of photos of children on social media and offers a unique methodological approach to studying visual data. A major innovation of this study is first, to enact the concept and method of narrative inquiry to the digital photographs. Having applied this method, the study also offers findings about the diverse values that emerge across two specific digital parenting cultures organized via Instagram hashtags of #fashionkids and #letthekids. Values analysis of 500 photographs indicated that these hashtags (...) constitute cultures defined by distinct values of ideal childhoods. While #fashionkids photos emphasized children’s attendance to the photo making activity with stress to their possessions, #letthekids photos expressed mixed values of freedom and domestic happenings with a strong emphasis on unawareness of the photographing and togetherness. While the qualities of childhood images collected in the same period hint at meaningful patterns, the way those qualities interact with each other in distinct cultures suggest that there is not one ideal image that could represent childhood in the best possible way and the photographers’ values very much influence the visual sense-making of what’s being portrayed in children’s photographs. (shrink)

Résumé Considéré comme l’action individuelle par excellence, le dribble renvoie le plus souvent à l’exercice d’une maîtrise technique que seuls quelques protagonistes d’exceptions sont à même d’exécuter. Cette image purement descriptive, centrée sur le seul pratiquant, n’entretient qu’un lointain rapport avec la réalité de ce qui constitue la raison d’être profonde de cette action motrice. Le dribble, entendue comme un acte qui consiste à conduire un objet, – une balle, un palet –, en alternant des temps de contact et de (...) non contact, est avant tout à envisager dans sa dimension collective. Là est le point aveugle des analyses menées à son propos. Dans cette étude, on considérera le dribble comme un type de conduite motrice porteur d’intentions auxquelles sont attachées des significations de nature essentiellement sociale. Fondamentalement le dribble est relation, c’est-à-dire interaction. Il doit être envisagé sous l’angle de la sémiotricité, autrement dit des significations que les pratiquants lui accordent. Sa fonction est essentiellement d’annoncer les actions futures. À ce titre, il renvoie à une classe de comportements tactiques dont les significations relèvent d’une interprétation en situation sous la dépendance directe des règles du jeu sportif considéré. Loin d’être univoque, le dribble doit être envisagé comme un « signe » qui doit être décodé par les pratiquants en fonction de la grammaire du jeu considéré selon un double axe ; syntagmatique et sémantique. Ce travail à pour objectif de repérer les différentes significations possibles du « signe-dribble », considéré comme un praxème. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic meaning, (...) as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there (...) has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study. (shrink)

It is common for us to see models as exemplars of things that exist. Models, instead, are merely Peircean indexes, in that they only point to their objects, objects which may in themselves not exist. This is to say that these examples may only exist as thoughts that point to other thoughts or even ideas that point to objects that may not exist because they are paradoxical.

Tracing different kinds of semiotic practices in boxing, in our text we provide a detailed reconstruction of the way athletes and other participants interpret each other’s actions and integrate these interpretations in their own course of motor action. Drawing on an ethnomethodological approach we argue that these interpretations should not be seen as being isolated from their contextual background. This context and the semiotic actions taking place within them mutually elaborate one another. Analyzing several video recordings and their transcripts, we (...) show how the social interaction of boxing fights consists of a “multi-layeredness of semiotic practice.” These layers of semiotic practice are complemented by what we introduce as asemiotic practices. Asemiotic practices exploit semiotic routines that are a part of boxing and attempt at weakening and overcoming the opponent during the fight thus eventually destroying his or her semiotic capacities. (shrink)

The practice of parkour in urban spaces by young people, especially those who call themselves traceurs, illustrates how identities are formed in an ephemeral way by reinterpreting spaces in the city – briefly and without leaving a trace. However, in a sort of paradox, these interventions are registered in the socio-digital spectrum, tokenistically anchoring and incorporating them into conversations and social interactions. This work aims to explain the practice of the sport called parkour as a socio-semiotic phenomenon. We have used (...) some zones of Mexico City as a specific case for our approach. The foregoing leads to the conclusion that the meaning of parkour goes beyond its recreational role and places it as a relevant piece of identity for excluded urban social groups – even though these practices have been appropriated by marketing strategies. Our approach will use a cultural semiotics perspective, as well as direct observations and interviews as research techniques. (shrink)

The semiospherical approach to semiotics and especially to semiotics of culture entails the need of juxtaposing several terminological fields. Among the most important, the fields of textuality, chronotopicality, and multimodality or multimediality should be listed. Textuality in this paper denotes a general principle with the help of which it is possible to observe and to interpret different aspects of the workings of culture. Textuality combines in itself text as a well-defined artefact and textualization as an abstraction (presentation or definition as (...) text). In culture, we can pose in principle the same questions both to a concrete and to an abstract text, although an abstract text is only an operational means for defining, with the help of textualization, a certain phenomenon in the interests of a holistic and systemic analysis. The practice of textualization in turn helps us to understand the necessity of distinguishing between articulation emerging from the textual material itself and articulation ensuing from textuality or textualization — the former provides for comparability between texts made from the same material, thelatter makes comparable all textualized phenomena irrespective of their material. Textuality is a possibility that culture offers to its analyser, and at the same time it is an ontological property of culture and an epistemological principle for investigating culture. (shrink)

This article by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional (...) behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model thepurpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but onthe other hand it can increase the stored information and transform the consumer. (shrink)

The name Charles Sanders Peirce is associated with the science of signs called semiotics, which studies the sign as the carrier of meaning that is placed in the center of his work. Peirce developed a system of concepts that describe how the sign as such is understood by the mind. For the conditions of its interpretations Peirce established various so-called interpretants for the explanation of signs associated with the utterer and interpreter and a shared process that enables the communication between (...) communicators. Further to the renovation of the theory of rhetoric and communication, we show that medium and communication must be understood within the framework of his theory in association to the sign and the object. Throughout his manuscripts the triads of his concepts are realized in the text in rhetorical tricola as terms of his philosophy. In comparison to Aristotle’s Rhetoric, which employed the sign as a means for reasoning, we will show how Peirce developed techniques of reasoning based on Aristotle’s work and his model of mental understanding of the sign while foreshadowing a theory of communication that aims at describing the exchange of information in a model. (shrink)

This paper examines the color symbolic values in two different and unrelated languages, Arabic and English. It analyses the colors mentioned in the Qur’an semiotically and their translation based on Peirce’s semiotic model of sign interpretation, while considering the socio-cultural differences that influence the understanding and rendering of color signs, informed by corpus-based analysis. Although the Qur’an contains the most basic colors like other languages, the semiotic values of some colors are different. The study shows that colors in the Qur’an, (...) and Arabic in general, are tightly linked to the environment and culture of the early Muslims who received the Qur’an first-hand from the Prophet. These colors as situated in their culture could appear positively or negatively to users in other languages in a way that is not intended in the source text. Therefore, the translator’s awareness of the socio-cultural signs could bridge the gap between the different systems of codification and recodification of signs. (shrink)

Résumé Considéré comme l’action individuelle par excellence, le dribble renvoie le plus souvent à l’exercice d’une maîtrise technique que seuls quelques protagonistes d’exceptions sont à même d’exécuter. Cette image purement descriptive, centrée sur le seul pratiquant, n’entretient qu’un lointain rapport avec la réalité de ce qui constitue la raison d’être profonde de cette action motrice. Le dribble, entendue comme un acte qui consiste à conduire un objet, – une balle, un palet –, en alternant des temps de contact et de (...) non contact, est avant tout à envisager dans sa dimension collective. Là est le point aveugle des analyses menées à son propos. Dans cette étude, on considérera le dribble comme un type de conduite motrice porteur d’intentions auxquelles sont attachées des significations de nature essentiellement sociale. Fondamentalement le dribble est relation, c’est-à-dire interaction. Il doit être envisagé sous l’angle de la sémiotricité, autrement dit des significations que les pratiquants lui accordent. Sa fonction est essentiellement d’annoncer les actions futures. À ce titre, il renvoie à une classe de comportements tactiques dont les significations relèvent d’une interprétation en situation sous la dépendance directe des règles du jeu sportif considéré. Loin d’être univoque, le dribble doit être envisagé comme un « signe » qui doit être décodé par les pratiquants en fonction de la grammaire du jeu considéré selon un double axe ; syntagmatique et sémantique. Ce travail à pour objectif de repérer les différentes significations possibles du « signe-dribble », considéré comme un praxème. (shrink)