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- Lenninger, Sara, et al.
(author)
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Mirror, peephole and video - The role of contiguity in children's perception of reference in iconic signs
- 2020
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In: Frontiers in Psychology. - : Frontiers Media SA. - 1664-1078. ; 11
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Journal article (peer-reviewed)abstract
- The present study looked at the extent to which 2-year-old children benefited from information conveyed by viewing a hiding event through an opening in a cardboard screen, seeing it as live video, as pre-recorded video, or by way of a mirror. Being encouraged to find the hidden object by selecting one out of two cups, the children successfully picked the baited cup significantly more often when they had viewed the hiding through the opening, or in live video, than when they viewed it in pre-recorded video, or by way of a mirror. All conditions rely on the perception of similarity. The study suggests, however, that contiguity – i.e., the perception of temporal and physical closeness between events – rather than similarity is the principal factor accounting for the results.
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| 4. |
- Lenninger, Sara, et al.
(author)
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Semiotics in Picture and Image Studies
- 2022
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In: Bloomsbury semiotics Volume 3 : Semiotics in the arts and social sciences - Semiotics in the arts and social sciences. - 9781350139367 ; , s. 149-168
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Book chapter (peer-reviewed)
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| 5. |
- Mendoza-Collazos, Juan Carlos, et al.
(author)
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Revisiting the life of things : A cognitive semiotic study of the agency of artefacts in Amazonia
- 2021
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In: The Public Journal of Semiotics. - : Public Journal of Semiotics, Lund University. - 1918-9907. ; 9:2, s. 30-52
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Journal article (peer-reviewed)abstract
- Many contemporary scholars have recently defended the idea that the agency of things is symmetrical and equivalent to human agency. We propose an alternative approach to artefacts’ agency based on a field study concerned with contextually situated observations of the process of design of artefacts in Amazonia. By means of participant observation and interviews, we address the role of artefacts in relation to human agency. In so doing, we focus on the human-unique capacity for design as it is related to cognitive resources such as intentionality, decision-making, planning, and volitional adaptations of the material world to human purposes. We argue that such cognitive resources are ultimate manifestations of human agency. The findings allow us to conclude that artefacts possess a special form of agency, which operates in different ways from the agency of true agents. This agency is derived: it depends on the actions of true agents, with either function as remote intentions or are required for the artefact to work at the moment of use. Thus, the relation between artefacts and agents is asymmetrical. Given that the derived agency of artefacts allows people to expand their own agency, we propose the notion of enhanced agency for the prosthetic incorporation of artefacts into the agentive capabilities of human agents.
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- Mendoza-Collazos, Juan, et al.
(author)
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The Origins and Evolution of Design : A Stage-Based Model
- 2021
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In: Biosemiotics and Evolution : The Natural Foundations of Meaning and Symbolism - The Natural Foundations of Meaning and Symbolism. - Cham : Springer International Publishing. - 2199-3076 .- 2199-3068. - 9783030852641 - 9783030852672 - 9783030852658 ; 6, s. 161-173
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Book chapter (peer-reviewed)abstract
- Within a broader definition of design, as the conception and planning of everything that is artificial, the place of tools is central. With the help of cognitive semiotics in general and Donald’s theory of the evolution of the human mind in particular, we propose a stage model for the evolution of design, consisting of four stages: Proto-design, Simple design, Complex design, and Advanced design, some of which are further divided into substages. We argue that nonhuman animals are capable of Proto-design, but it is only with the advent of stone tool technology in hominins that we witness Simple design. The stages are individuated based on evidence from archaeology and cognitive science, but also on the particular semiotic resources that are novel for each stage: mimesis-based gestures, speech, drawings, and polysemiotic communication. The model suggests both continuities and relative discontinuities in the evolution of design, and more generally, in human bio-cultural evolution.
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| 7. |
- Sonesson, Göran
(author)
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Bats out of the belfry : The nature of metaphor, with special attention to pictorial metaphors
- 2015
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In: Signs and media. - 2590-0315. ; 11, s. 74-104
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Journal article (peer-reviewed)abstract
- The study of metaphor currently being made in the wake of Lakoff may contribute important knowledge of the traits most relevant to iconicity, but it fails to account for the nature of metaphors, which suppose a wilful misclassification of phenomena, which leads to a state of semantic tension. Taking our point of departure in an interpretation of the Peircean categories that we have proposed in a recent paper, we suggest that what Lakoff is studying are diagrams, rather than true metaphors. We then go on to show that the metaphor is a functional category, and that is can thus be realised also in pictures, though its manifestation in different in several ways from the verbal equivalent. Pictorial metaphors are doubly iconic, and thus suppose a double discovery procedure to pin down the similarity.
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| 8. |
- Sonesson, Göran, et al.
(author)
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Cognitive Science and Semiotics
- 2022
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In: Bloomsbury semiotics Volume 4 : Semiotic movements - Semiotic movements. - 9781350139404 ; , s. 293-312
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Book chapter (peer-reviewed)
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| 10. |
- Sonesson, Göran, et al.
(author)
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Iconicity and Semiosis
- 2022
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In: Bloomsbury semiotics Volume 1 : History and semiosis - History and semiosis. - 9781350139282 ; , s. 193-214
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Book chapter (peer-reviewed)
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