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- Sonesson, Göran, et al.
(author)
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Perspective from a semiotical perspective
- 2004
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In: Essays on fiction and perspective. - 3039101234
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Book chapter (other academic/artistic)abstract
- No abstract but see Conclusion: In this article I have described a kind of relationship to the subject which may aptly be called a perspective while distinguishing it from other similar phenomena (such as “aspect”): it is a case in which an object is conceived as being constant, while the modes of access which a subject may have to it varies. I have also singled out some different kinds of perspective: positional perspective, which only focuses on the respective spatial positions of the subject and the object; perceptual perspective, which is concerned with the exact perceptual adumbration in which the subject has access to the object; and personal perspective, which is involved with the way in which the subject itself is modified in presence of the object. In addition, I have distinguished different components within the consciousness of the subject, such as his body, his feelings, his conception, his thought and his means of expression. Against the background of a distinction between the resources of verbal and visual media, revised from Lessing’s classic discussion, I have also tried to determine to which extent ordinary language, literature, pictures and the cinema, respectively, offer the resources capable of expressing these different kinds of perspective.
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| 2. |
- Sonesson, Göran
(author)
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Au délà du montage, la rhétorique du cinéma
- 2002
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In: Visio. - 1026-8340. ; 7:1-2, s. 155-170
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Journal article (peer-reviewed)abstract
- Abstract in French Au-delà du montage – la rhétorique du cinéma Contrairement à d'autres types d'images plus statiques, le film, avec son fort "effet de réalité", semble résister à une explication inspirée d'un modèle rhétorique. Même du point de vue d'une rhétorique "écologique", telle que la nôtre, qui reconnaît une rupture de normes déjà dans les transformations homogènes, le film peut facilement donner l'impression d'être trop fermement enraciné dans le monde de la vie pour pouvoir fonctionner d'une manière rhétorique. Le montage classique, tel que l'on le trouve, notamment, chez Eisenstein et Pudovkin, constitue évidemment le contre-exemple le plus convaincant. Mais il faut aller au-delà du montage classique, vers les différentes régions de sens, ou les niveaux de fictions, pour trouver la vraie rhétorique du film. Beyond the montage – the rhetoric of the cinema Contrary to the static picture, the film, which conveys such a strong impression of reality, seems to resist any explanation which takes its point of departure in a rhetorical model. Even from the point of view of the “ecological” rhetoric defended by the present author, which recognises homogeneous transformations, alongside the heterogeneous ones, the film may easily give the impression of being too firmly rooted in the common sense Lifeworld for it to be interpreted rhetorically. No doubt it is easy to discover a rhetorical aspect in the classical theories of the montage formulated by Eisenstein and Pudovkin. But it will be necessary to go well beyond these classical conceptions to different levels of meaning and fiction in order to discover the real rhetoric of the cinema.
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| 5. |
- Sonesson, Göran
(author)
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Does Ego meet Alter — in the Global Village? A View from Cultural Semiotics
- 2004
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In: Cultural identity in transition/Identitate culturalã în transitie, Proceedings of the 1st Semotics of Culture conference, Univesitatea din Bacâu, Romania, November 1 - 4, 2001. - 1224-9181. ; , s. 95-119
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Conference paper (peer-reviewed)abstract
- Starting out from the rather different views on Ego and Alter formulated by Peirce and Bakhtin, and, more indirectly, by Foucault, the present contribution attempts to characterise the position of these familiar philosophical personages within the framework of cultural semiotics, as it has been adapted in Lund from the models of the Prague and Tartu schools. The resulting model is tried out in a confrontation with two cultural-historical examples, one of which is well-know because it is historically attested, i.e. the conquest of America, and another one which is difficult to circumscribe, because we are in the middle of it, and it may not be much more than an ideological position, i.e. the globalised society.
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| 10. |
- Sonesson, Göran
(author)
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La fotografía – entre el dibujo y la virtualidad.
- 2003
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In: Significação. - 2316-7114. ; 20:Noviembre 2003, s. 81-132
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Journal article (peer-reviewed)abstract
- Abstract in SpanishResumen: La tarea de la semiótica de la imagen no consiste solamente en determinar la especificidad de la imagen como signo, sino también en describir las particularidades de diferentes imágenes, como son, por ejemplo, el dibujo, la fotografía y la imagen de computadora. El presente texto describe, primero, el desarrollo del signo del tipo de laAbstract: The task of pictorial semiotics is not only to determine the specificity of the picture as a sign, but also to describe the peculiar nature of different kinds of pictures, such as the drawing, the photograph, and the computer image. The present text first describes the development of the pictorial signs throughout the history of humanity, and then considers the properties which characterise these signs as far as their possibility of repetition and the limits to reality are concerned. The fourth part of the essay studies indexical and iconic sign character of photography and emphasise the global character of its rules of reproduction as opposed to those of hand-made pictures. In the last part, we investigate the ways in which the definition of photography has changed as a consequence of the emergence of synthetic pictures as well as virtual reality.
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| 11. |
- Sonesson, Göran
(author)
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La iconicidad en un marco ecológico
- 2003
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In: DeSignis. - 2462-7259. ; 4:Julio 2003, s. 45-60
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Journal article (peer-reviewed)abstract
- Abstract in SpanishResumen: Interpretar a Peirce no constituyo más que el primer momento de una investigación seria de la iconicidad. También hay que tener en cuenta las aportaciones de la fenomenología de Husserl, de la psicología de percepción y de las ciencias cognoscitivas. Sobre todo, las antinomias interiores a la teoría semiótica y los argumentos críticos formulados entorno a la iconicidad nos obliga a desarrollar una ecología de la semiótica que rinde cuenta de la posibilidad de signos icónicos. A su vez, la ecología semiótica nos enseña la necesidad de hacer una distinción entre las iconicidad es primarias y secundarias.Summary: The interpretation of “what Peirce really meant” can only be the first step towards a theory of iconicity. At present, it is not only important to take into account more recent contributions stemming from Husserlean phenomenology, as well as from the psychology of perception and the different cognitive sciences. Most of all, the antinomies which are internal to the very theory of Peirce must be resolved, and the arguments addressed to the very idea of iconicity has to be countered. This can only be done by means of developing a semiotic ecology which accounts for the possibility of there being such things as iconic signs. Semiotic ecology itself forces us to introduce a division of iconicity as being of the primary or the secondary kind, the second one itself being subdivided into two species.
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| 14. |
- Sonesson, Göran
(author)
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On metaphors in images
- 2003
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In: Zeitschrift für Semiotik. - 0170-6241. ; 25:1-2, s. 25-37
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Journal article (peer-reviewed)abstract
- Proceeding from the assumption that metaphors as well as pictures are iconic signs, the present contribution studies what happens when metaphors occur in figurative pictures. The author distinguishes between primary iconicity, the recognition of which is a condition for the categorization of an object as a sign, and secondary iconicity, which is perceived only after an object has been categorized as a sign. Figurative pictures (as opposed to droodles) are characterized by primary iconicity and metaphors by secondary iconicity. In addition to iconicity the indexicality of metaphors is discussed, which results in the distinction between modularity and contiguity as two possible relations between expression and content in a pictorial metaphor. It is shown that the process of secondary iconization in the understanding of a pictorial metaphor is triggered by its indexicality. In figurative pictures the beholder normally relates all details on the level of expression to specific details of content. However, because of the open character of secondary iconization, this does not necessarily happen in metaphors - not even in metaphors that occur in pictures.
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| 16. |
- Sonesson, Göran
(author)
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Retour sur la matière du sens à l’ére de la production digitale
- 2004
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In: Visio. - 1026-8340. ; 9:1-2, s. 215-234
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Journal article (peer-reviewed)abstract
- The task of the present study is to establish the useful of the distinction between plastic language and iconic language, as introduced by Floch and the Groupe µ, with the proviso that it has to be changed in a number of ways. To begin with, we should not talk about iconic language, but rather about a pictorial one, because iconicity is a much broader concept, and just as probably may found on the side of plasticity as on that of pictorality. In the second place, there is not much point in making the distinction, if, as Floch certainly suggests, and, at least some of time, also the Groupe µ, the content of plastic language is redundant in comparison with the pictorial one. Finally, it is not possible to identify plasticity with the aesthetic function, with is not even a sign function, but rather a thematic operation. We also broaches a few further issues which may constitute problems for the theory of plastic language; the materiality, which is a thematic operation, though it does not necessarily coincide with the aesthetic function; and, at the other extreme, the virtuality of the computer image, the surface of which seems impossible to pinpoint, and whose evasiveness is already anticipated by the hologram, and even by the slide.
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| 17. |
- Sonesson, Göran, et al.
(author)
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Rhétorique du monde de la vie
- 2004
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In: Ateliers de sémiotique visuelle. - 2 13 054224 7
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Book chapter (other academic/artistic)
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| 18. |
- Sonesson, Göran, et al.
(author)
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Spaces of urbanity. From the village square to the boulevard
- 2003
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In: Place and location III: The city — topias and reflection. - 9985946502
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Book chapter (other academic/artistic)abstract
- Urbanism is much more than simply an agglomeration of houses : it is a particular way of living space. Our considerations starts out from some of the historically prominent figures of urbanity, such as the market-place, the boulevard and the coffee house. Semiotics of space may either involve a certain number of elementary building-blocks being combined in particular ways, much as language is ; or it may be interested in the way a place is defined by the activities taking place in it. Opting here for the second approach, we try to give it a more secure grounding by incorporating into it a division of geography, know as time geography, which is involved with trajectories in space and time. We add to this a qualitative dimension which is properly semiotic, and which derives from the notion of border, itself a result of the primary semiotic operation of segmentation. We can learn a lot about semiotical properties of borders also from the social psychologies of Janet and Simmel, the proxemics of Hall, and the semiotics of Hammad. Such considerations permit us to define certain peculiar semio-spatial objects as, notably, the boulevard, considered as an intermediate level of public space, located between the village square and the coffee house presiding other what Habermas called the public sphere. Adding to the process of privatisation adduced by Hammad the additional process of publication, which is not simply the reversal of the former, we attempt to characterise the peculiar potentialities of urban space. Urbanity will emerge as a scene on which the gaze, well before the word, mediates between the sexes, the classes, the cultures, and other avatars of otherness.
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| 19. |
- Sonesson, Göran
(author)
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The act of interpretation. A view form semiotics
- 2002
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In: Galáxia. - 1519-311X. ; :4, s. 67-99
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Journal article (peer-reviewed)abstract
- In this essay, an attempt is made to derive a model of interpretation from the conception of the sign developed in semiotics. The kind of interpretation discussed here involves the intervention of a interpreting subject between the sender and the receiver of a primary act of communication; this is different from interpretation in the sense of a second act of communication, taking its point of departure from the first, as is the case of theatrical and musical interpretation, but also in the case of the critic adapting the work for the benefit of contemporary society or some particular theory. The dominant “pragmatic” approaches, as exemplified by speech act theory and the Bakhtin circle, tend to reduce meaning to different un-repeatable events, such as context and intentions. According to a truly semiotic conception, interpretation is the result of rules and other regularities: context can be shown to consist of other systems of signification, and intentions must be mediated by standardised signs. This is demonstrated, also against leading semiotic authorities such as Eco and Posner, whose communication model is pragmatically inspired. Most of the time, intentions are part of the content of the sign, not a requisite for its occurrence. Indirect speech acts and non-serious speech depend on regularities, though not on the level of grammar. In the case of some signs, meaning may indeed by identical to intentions or causes, but in most cases, these are only secondary types of interpretation, as are functions, coherence, and values. In art, and in some other cases, new meaning may be produced by invoking contradictory standards of interpretation
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| 23. |
- Sonesson, Göran, et al.
(author)
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Three scenarios for globalisation. A view from cultural semiotics
- 2003
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In: Logica, dialogica, ideologica. I segni tra funzionalità ed eccedenza. - 8884831628
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Book chapter (other academic/artistic)abstract
- Three scenarios for globalisation. A view from cultural semiotics Göran Sonesson Using the concept of the auto-model, this text describes global society as a device people use to understand their relation to other cultures. Three scenarios are analysed in terms of a model each : first, we consider the hypertrophy of the Internal Other, which results from the displacements of sizeable populations. Next, we account for the globalisation of fashions, from food stuff to intellectual fads, in terms of a sender culture having the privilege of setting messages into world-wide circulation. Finally, we consider the case in which nation states ceases to function as cultures, when big enterprises takes over. Trois scénarios pour le globalisation — du point de vue de la sémiotique culturelle Göran Sonesson Utilisant le concept d'auto-modèle, ce texte décrit la société globale en tant que dispositif employé par les gens pour comprendre leur relation à d'autres cultures. Trois scénarios sont analysés chacun en termes d’un modèle différent : d'abord, nous considérons l’hypertrophie de l'Autre interne, qui résulte des déplacements importants de populations. Ensuite, nous expliquons la globalisation des modes, des plats de cuisine aux mouvements intellectuels, à partir du concept de Culture de destinateur ayant le privilège de mettre des messages en circulation mondiale. En conclusion, nous considérons le cas dans lequel les états-nations cessent de fonctionner comme des cultures, quand les grandes entreprises prennent la relève.
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| 24. |
- Sonesson, Göran
(author)
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Uber die Möglichkeit von bildhaften Metaphern.
- 2003
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In: Zeitschrift für Semiotik: Metaphern in Bild und Film, Gestik, Theater und Musik. ; 5:1-2, s. 25-38
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Journal article (peer-reviewed)abstract
- Summary. Proceeding from the assumption that metaphors as well as pictures are iconic signs, the present contribution studies what happens when metaphors occur in figurative pictures. The author distinguishes between primary iconicity, the reco¬gnition of which is a condition for the categorization of an object as a sign, and secondary iconicity, which is perceived only after an object has been categorized as a sign. Figurative pictures (as opposed to droodles) are characterized by pri¬mary iconicity and metaphors by secondary iconicity. In addition to iconicity, the indexicality of metaphors is discussed, which results in the distinction between modularity and contiguity as two possible relations between expression and con¬tent in a pictorial metaphor. It is shown that the process of secondary iconization in the understanding of a pictorial metaphor is triggered by its indexicality. In figu¬rative pictures the beholder normally relates all details on the level of expression to specific details of content. However, because of the open character of secondary iconization, this does not necessarily happen in metaphors not even in meta¬phors that occur in pictures. Zusammenfassung. Ausgehend von der Auffassung, dass sowohl Metaphern als auch Bilder ikonische Zeichen sind, untersucht der vorliegende Beitrag, was pas¬siert, wenn Metaphern in gegenständlichen Bildern (Abbildungen) vorkommen. Er unterscheidet zwischen primärer lkonizität, deren Feststellung eine der Bedingungen für die Einstufung eines Dinges ais Zeichen ist, und sekundärer lkonizität, die überhaupt erst wahrgenommen wird, wenn ein Ding schon ais Zeichen eingestuft worden ist. Abbildungen werden (im Gegensatz zu Drudeln) ais primär ikonisch und Metaphern als sekundär ikonisch charakterisiert. Neben der lkonizität wird auch die lndexikalität von Metaphern untersucht, wobei zwischen Modularität und Kontiguität ais möglichen Beziehungen zwischen Ausdruck und Inhalt einer Metapher im Bild unterschieden wird. Wie sich herausstellt, wird der sekundäre Ikonisierungsprozess beim Verstehen einer bildlichen Metapher nur auf der Basis von deren Indexikalität in Gang gesetzt. Bei Abbildungen werden nor¬malerweise alle Einzeiheiten des Ausdrucks mit spezifischen inhalten korreliert. Dies ist aber bei Metaphern wegen des offenen Verlaufs der sekundären Ikonisierung in ihnen nicht notwendig der Fall auch nicht bei Metaphern, die innerhalb einer Abbildung auftreten.
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| 25. |
- Sonesson, Göran
(author)
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Why the mirror is a sign — and why the television picture is no mirror. Two episodes in the critique of the iconicity critique
- 2003
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In: Proceedings of the 5th International Interdisciplinary Symposium of the Austrian Society for Semiotic Studies "Picture Language - Visualization – Diagrammatics: Iconicity/Das 5. Wiener Symposium 'Bildsprache - Visualisierung - Diagrammatik: Ikonizität. ; 15:2-4, s. 217-232
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Conference paper (peer-reviewed)abstract
- In his recent work, Eco abandons his conventionalist theory of pictures, which was heavily censored by, among others, the present author. In so doing, however, Eco now goes to the other extreme, claiming that television images are like mirrors, which are no signs. It is my contention that Eco fails to come up with a more acceptable theory of iconicity. Since Eco is one of the few semioticians concerned with the basic issues of semiotics, it is always useful to try to understand what is wrong with his conception. In this essay, we set out to show, against Eco, that the mirror has all the properties of a genuine sign, and that, independently of that conclusion, the television image remains different from the mirror, since it is not only a sign, but a pictorial sign. Zusammenfassung: In seinen neueren Arbeiten gibt Eco seine konventionalistische Theorie der Abbildungen, die unter anderen vom Verfasser dieses Artikels ernsthaft kritisiert wurde, auf. Dabei geht Eco jedoch jetzt zur anderen Äußerlichkeit, indem er behauptet, dass Fernsehbilder den Spiegeln, die gar keine Zeichen seien, ähnelten. Damit ist es Eco meines Erachtens nicht gelungen eine Theorie über die Ikonizität, die annehmbarer wäre, auszuarbeiten. Da Eco einer der sehr wenigen Semiotiker ist, die sich mit den grundsätzlichen Fragen der Semiotik beschäftigen, ist es natürlich von großem Wert zu untersuchen, in welcher Hinsicht seine Auffassung fehlerhaft sein könnte. Ziel dieses Artikels ist es , entgegen Ecos Auffassung, zu beweisen, dass der Spiegel alle Eigenschaften eines echten Zeichens hat und dass, unabhängig davon, das Fernsehbild sich sehr vom Spiegel unterscheidet, da es nicht nur ein Zeichen ist, sondern sogar ein bildhaftes Zeichen.
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| 26. |
- Sternudd, Hans T., 1955-
(author)
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Excess och aktionskonst : en semiotisk analys av Hermann Nitschs Das 6-Tage-Spiel med betoning på första dagens Mittagsfinale
- 2004
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Doctoral thesis (other academic/artistic)abstract
- The subject for this dissertation is the Austrian artist Hermann Nitsch’s Das 6-Tage-Spiel (1998). The purpose is to examine in what way Das 6-Tage-Spiel, as part of the orgien mysterien theater (hereafter o. m. theater), is an adequate means to realize Nitsch’s intention (as he has described them outside of the work in writings and interviews). Das 6-Tage-Spiel is an example of a category of scenic works that in the dissertation is named action art. The definition of action art is an important part of the dissertation. Typical for action art is an absence of illusory elements; it's composed of non-representative actions, which are conducted in a situation with an obvious spectator function. The absence of fictional settings is dominant and central to action art. In a comparison between action art and other semiotic categories ritual comes closest. In both ritual and action art there's a mix of semiotic actions (that are commenting on the world) and instrumental actions (that change the world) together with an absence of a fictional "I", here and now. A close reading of one scene (Mittagsfinale) from Das 6-Tage-Spiel’s first day reveals a work that consists of the actual staging of dramatic elements (carcasses and crucifixions). Different dichotomies (life and death etc.) are exposed with the goal to unite them in a mysterium coninctionis. The composition is additive (as in a Gesamtkunstwerk) and relies on a redundant repetition of the different leitmotivs. Fundamental for Nitsch is C. G. Jung’s theory of archetypes. A central point in all the actions in Nitsch’s oeuvre is the exposure of real objects that have gained a symbolic value in cultures and religions. With the means that action art provides he gets a possibility to show the true nature of the symbols for those present (audience and participants), according to Nitsch himself, whereby they acquire an understanding of the symbols beyond the limits of speech (and the way language categorizes nature). Nitsch works in a romantic tradition that aims to reunite an existence which has been divided into two halves (for instance in mind and matter). He uses concrete direct expression that does not communicate through speech. In the analysis of Mittagsfinale that's presented in Excess and Action Art an adjusted sign model for action art is being used. The model stresses the importance of a physical level (that a long side with a pictorial and plastic level builds up the sign). For the attendant it's a crucial aspect that it's the real thing that's being used in the action, that it isn't paint instead of blood for instance. The strong reaction from people present in Nitsch’s actions and those who encounter them in a mediated form are due to the non-representative character of o. m. theater. In o. m. theater one is confronted with an experience that's comparable with extreme life events, catastrophes and so on. These states can be experienced as something beyond the scope of language. As in politics, religious action and violent social behavior when the actor runs short of words (or at least they are not sufficient anymore), Nitsch’s work resorts to action. When such actions, as in the case of o. m. theater, take the form of slaughtering animals and exposure of blood it certainly causes a lot of problems regarding the reception from the general public.
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