Band 2017, Heft 218 -

This article makes a preliminary attempt to account for the stroke systems of Chinese characters in simplified regular script. The framework utilized is the three meta-functions in Systemic Functional Linguistics. The description observes the cases from the perspectives of the experiential, appraisal (aesthetic), and thematic semiosis of strokes and their constitutional segments to figure out the relevant systems: the line system and the point system. This process witnesses comparisons to seek, in brief though, the traces and origins of stroke development along evolution, and hence the straightening of lines and squaring of character formation. This is the first step towards a rank model of Chinese writing, the whole project of which will highlight a way to study other writing systems in the semiotic respect.

There is considerable concern that the public are not getting the message about climate change. One possible explanation is “optimism bias,” where individuals overestimate the likelihood of positive events happening to them and underestimate the likelihood of negative events. Evidence from behavioral neuroscience suggest that this bias is underpinned by selective information processing, specifically through a reduced level of neural coding of undesirable information, and an unconscious tendency for optimists to avoid fixating negative information. Here we test how this bias in attention could relate to the processing of climate change messages. Using eye tracking, we found that level of dispositional optimism affected visual fixations on climate change messages. Optimists spent less time (overall dwell time) attending to any arguments about climate changes (either “for” or “against”) with substantially shorter individual fixations on aspects of arguments for climate change, i.e., those that reflect the scientific consensus but are bad news. We also found that when asked to summarize what they had read, non-optimists were more likely to frame their recall in terms of the arguments “for” climate change; optimists were significantly more likely to frame it in terms of a debate between two opposing positions. Those highest in dispositional optimism seemed to have the strongest and most pronounced level of optimism bias when it came to estimating the probability of being personally affected by climate change. We discuss the importance of overcoming this cognitive bias to develop more effective strategies for communicating about climate change.

The idea that abstract words are grounded in our sensorimotor experience is gaining support and popularity, as observed in the increasing number of studies dealing with “neurosemantics.” Therefore, it is important to form models that explain how to bridge the gap between basic bodily experiences and abstract language. This paper focuses on the embodiment of connotations, such as “sweet” in “sweet baby,” where the adjective has been abstracted from its concrete and embodied sense. We summarize several findings from recent studies in neuroscience and the cognitive sciences suggesting that emotion, body , and language are three factors required for understanding the emergence of abstract words, and (1) propose a model explaining how these factors contribute to the emergence of connotations, (2) formulate a computational model instantiating our theoretical model, and (3) test our model in a task involving the automatic identification of connotations. The results support our model pointing to the role of embodiment in the formation of connotations.

When we press the “A” key on our computer keyboard, an “a” appears on our screen almost simultaneously. In between those two points there are a number of layers of computer program which communicate with each other: the keyboard controller sends a message to the operating system which is interpreted by a word processor, which then returns a message to the operating system, which communicates with the video controller and the video board sends a message that it needs an “a” and this is mapped as a group of pixels which light up on the screen. Except that none of this actually happens. At the level of physical reality, all that happens is the shifting of magnetic fields and the passing of electrons. The electrons orbiting atoms slide from one atom to the next along wires, among silicon and metal. Entities like computer programs and operating systems are abstractions , layers of abstractions in fact, on top of a brute reality. In this paper I argue that this is the appropriate starting point for understanding the role of semiotics in negotiating reality. Taking examples from computer science, visual perception, and language, this inquiry considers what kind of abstraction we want semiotics to be. It is found that “the semiotic abstraction” allows us to understand semiotic systems as machines for creating differences , and semiotics itself as the primordial science of meaning.

The present article tries to close the gap between the digital humanities and traditional criticism. It does so by moving between distant and close reading, constructing visualizations, opening perspectives for coding, and analyzing a large corpus: the Pixar movies up to The Good Dinosaur . This is done with the help of a tool of analysis which studies fictional worlds and is wedged between value and method. After introducing the tool (Section 2), the main Pixar characters are placed within a spatiotemporal visualization of the tool and their semantic distribution is interpreted. This includes the organization of main characters, antagonists and remaining characters, and the gendering of characters and semantic spaces (Section 3). The article then discusses the limits of allocating characters in the visual diagram, above all by focusing on vertical and horizontal relationships, and complex semantic patterns (Section 4). It then discusses the differential aspects which make of Inside Out a different movie within the Pixar corpus (Section 5). The article closes by summarizing the different semantic patterns of Pixar movies, and by reflecting on the place of high abstraction, textual and visual, in this scheme, as well as on the complementarity of digital and traditional strategies.

This article examines the concept of void with the question of whether the concept forms a sign. A void in this article is defined as a spatio-temporal empty space existing in a representation. The aim of the analysis is to consider the hidden nature of signs, which cannot be highlighted only through an analysis of typical signs within social convention. As a semiotic tool to conduct the discussion, the notion of a zero sign of Lévi-Strauss is introduced. The article considers all possible zeros that can exist within the Saussurian sign model and introduces three cases: an omitted sign, an ambiguous signified, and an ambiguous sign. After examining the features of each kind, the concept of void is considered in these terms, with the conclusion that it belongs to the ambiguous sign case. Analysis of void with respect to the zero sign highlights the nature of signs as being reflexive, holistic and speculative. Because the signifier is barely delimited, it influences the surrounding sign systems, including the one existing at the meta-level. An ambiguous sign is deemed to allow for concept sharing among people even when the signifier and the signified remain ambiguous.

This paper argues that a linguistic or any other type of sign should not be viewed as a static unit in a synchronic system, but rather as a dynamic entity that appears in real communicative events. As discrete entries in a dictionary, words are given definitions as their meanings, but these definitions may lead to interpretations that have not been sanctioned by a language community and yet are totally reasonable and understandable. In this way, “old” words can be used to stand for “new” segments of our life experience through which some meanings are born and others modified. It is through our inferential use of this living sign that we keep adapting to an ever expanding world.

Sex toys promote a new consumptive ethos whose significance may be adequately outlined by attending to the institutional implications of this product category’s consumption. By drawing on Foucault’s theory of sexuality and the technologies of the self that materialize with the aid of discursive formations about sexuality, as well as on relevant sociological and ethnographic insights, I undertake a qualitative content analysis on a corpus of 100 sex toys’ product reviews from popular magazines and web sites in order to identify how the discourse about sex toys is articulated in terms of three dominant categories of sexual scripts (Simon and Gagnon 2007, Sexual scripts. In Richard Parker & Peter Aggleton (eds.), Culture, society, and sexuality: A reader , 29–38. London: Routledge), namely, cultural scenarios, interpersonal and intrapsychic scripts. By opening up the discussion to a broader cultural terrain, I outline how the consumption experience of sex toys, as articulated in the reviews’ discursive formations, facilitates the emergence of new consumer trends, particularly with reference to orgasm-on-the-go and no-touch-orgasm, while redefining existing ones.

3D printing has surely come of age. Widely available, and integrated into many computer-based design and animation curricula, it almost seems to have become a simple extension of what we already had in 2D printing. A 2D image (e.g., of a pipe) acts as the basis of a sign, which, perhaps upon further twists of the semiotic spiral, may lead one to cognition of a 3D physical pipe. But then, perhaps not. And only in a rare case would the physical pipe in turn find use as a sign of the aforesaid 2D image. With 3D printing, this order of semiosis no longer applies. Since 3D printing mainly occurs as a non-mass-production manufacturing technique, a 3D-printed artifact acts as a physical object – and generally it is printed to act precisely in that manner. It is a being that has an ontic difference from its digital source. The case of 3D printing provides an intriguing, complex, case study for semiosis, since the printables move in and out of the virtual and physical.