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- Reyes, Everardo, et al.
(författare)
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New approaches to plastic language : Prolegomena to a computer-aided approach to pictorial semiotics
- 2019
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Ingår i: Semiotica. - : Walter de Gruyter GmbH. - 0037-1998 .- 1613-3692. ; :230, s. 71-95
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In the second part, we offer some positive and on-going implementations designed to remedy the shortcomings observed. What is suggested is the proof of concept that human researchers need the assistance of computing methodologies. However, computers can only do their job once an adequate phenomenology of human experience is fed into the process.
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| 5. |
- Sonesson, Göran
(författare)
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No more faith in fakes : A natural history of counterfeiting
- 2018
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Ingår i: Versus. - 0393-8255. ; 127:2, s. 259-274
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Tidskriftsartikel (refereegranskat)abstract
- Commenting on Eco's papers about fakes, I claimed that what is meant by a fake depends on what is taken to be the original, and this, in turn, revolves around the relation between type and token. As observed by Prieto and Grice, a sign, apart from the content it conveys, also carries a message informing us that it is a sign. The scare crow is a sign to the addresser, but not, ideally, to the addressee, that is to the birds which are supposed to take it to be a human being. What might be false about news, considered as information, is not intrinsic to the sign, but concerns its relation to reality, that is, to perceptual experience. Thus, we have to begin by making an explicit distinction between something being "true" to the type of which it is a token and being "true" to the world taken for granted.
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| 7. |
- Lenninger, Sara, et al.
(författare)
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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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Ingår i: Frontiers in Psychology. - : Frontiers Media SA. - 1664-1078. ; 11
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Tidskriftsartikel (refereegranskat)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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| 8. |
- Lenninger, Sara, et al.
(författare)
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Semiotics in Picture and Image Studies
- 2022
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Ingår i: 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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Bokkapitel (refereegranskat)
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| 9. |
- Mendoza-Collazos, Juan Carlos, et al.
(författare)
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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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Ingår i: The Public Journal of Semiotics. - : Public Journal of Semiotics, Lund University. - 1918-9907. ; 9:2, s. 30-52
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Tidskriftsartikel (refereegranskat)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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| 10. |
- Mendoza-Collazos, Juan, et al.
(författare)
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The Origins and Evolution of Design : A Stage-Based Model
- 2021
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Ingår i: 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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Bokkapitel (refereegranskat)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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