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Iconicity in multimedia performance

Laurie Anderson’s White Lily
  • Sibylle Moser
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Insistent Images
This chapter is in the book Insistent Images

Abstract

This paper analyses the complexity of intermedial iconicity through the analysis of Laurie Anderson’s piece White Lily. It reveals the media aesthetic strategies by which Anderson enacts the abstract concept of time through the iconic use of language as well as through iconicity in music, gesture and computer animation. The performer’s multimodal enactment of time experience demonstrates the integration of iconic, indexical and symbolic forms of representation. The semiotic analysis of the example is based on Sebeok and Danesi’s modeling systems theory and the concept of “embodied cognition” brought forth by authors like Varela, Thompson and Rosch and Lakoff and Johnson. Thus, Anderson’s performance illustrates the tenets of a corporeal media theory that introduces the body as the founding medium of semiosis.

Abstract

This paper analyses the complexity of intermedial iconicity through the analysis of Laurie Anderson’s piece White Lily. It reveals the media aesthetic strategies by which Anderson enacts the abstract concept of time through the iconic use of language as well as through iconicity in music, gesture and computer animation. The performer’s multimodal enactment of time experience demonstrates the integration of iconic, indexical and symbolic forms of representation. The semiotic analysis of the example is based on Sebeok and Danesi’s modeling systems theory and the concept of “embodied cognition” brought forth by authors like Varela, Thompson and Rosch and Lakoff and Johnson. Thus, Anderson’s performance illustrates the tenets of a corporeal media theory that introduces the body as the founding medium of semiosis.

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. Preface and acknowledgements vii
  4. List of Contributors ix
  5. Introduction: Insistent Images 1
  6. PART I. Iconicity and grammaticalization
  7. Putting grammaticalization to the iconicity test 17
  8. Iconic thumbs, pinkies and pointers 37
  9. PART II. Iconicity and the aural
  10. The physical basis for phonological iconicity 57
  11. Reading aloud and Charles Dickens’ aural iconic prose style 73
  12. Iconicity and the divine in the fin de siècle poetry of W.B. Yeats 91
  13. Is lámatyáve a linguistic heresy? 103
  14. PART III. Iconicity and the visual
  15. The beauty of life and the variety of signs 113
  16. Forms of restricted iconicity in modern avant-garde poetry 129
  17. Eco-Iconicity in the poetry and poem-groups of E.E. Cummings 155
  18. The language of film is a matrix of icons 173
  19. Liberature 191
  20. PART IV. Iconicity and conceptualization
  21. Meaning on the one and on the other hand 211
  22. Iconic text strategies 229
  23. ‘Damn mad’ 247
  24. PART V. Iconicity and structure
  25. Iconicity and the grammar–lexis interface 269
  26. Iconicity in the coding of pragmatic functions 289
  27. Double negation and iconicity 301
  28. PART VI. Iconicity and multimedia / intertextuality
  29. Iconicity in multimedia performance 323
  30. Author index 347
  31. Subject index 353
https://doi.org/10.1075/ill.5.27mos

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. Preface and acknowledgements vii
  4. List of Contributors ix
  5. Introduction: Insistent Images 1
  6. PART I. Iconicity and grammaticalization
  7. Putting grammaticalization to the iconicity test 17
  8. Iconic thumbs, pinkies and pointers 37
  9. PART II. Iconicity and the aural
  10. The physical basis for phonological iconicity 57
  11. Reading aloud and Charles Dickens’ aural iconic prose style 73
  12. Iconicity and the divine in the fin de siècle poetry of W.B. Yeats 91
  13. Is lámatyáve a linguistic heresy? 103
  14. PART III. Iconicity and the visual
  15. The beauty of life and the variety of signs 113
  16. Forms of restricted iconicity in modern avant-garde poetry 129
  17. Eco-Iconicity in the poetry and poem-groups of E.E. Cummings 155
  18. The language of film is a matrix of icons 173
  19. Liberature 191
  20. PART IV. Iconicity and conceptualization
  21. Meaning on the one and on the other hand 211
  22. Iconic text strategies 229
  23. ‘Damn mad’ 247
  24. PART V. Iconicity and structure
  25. Iconicity and the grammar–lexis interface 269
  26. Iconicity in the coding of pragmatic functions 289
  27. Double negation and iconicity 301
  28. PART VI. Iconicity and multimedia / intertextuality
  29. Iconicity in multimedia performance 323
  30. Author index 347
  31. Subject index 353
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