Reforming visual semiotics: The dynamic approach
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Ian Verstegen
Ian Verstegen (b. 1969) is an art writer and historian living in Philadelphia 〈ianverstegen@yahoo.com〉. His research interests include art and perception, early modern art history, and visual semiotics. His publications includeArnheim, Gestalt, and art: A psychological theory (2005); andA realist theory of art history (2012).
Abstract
This paper outlines a course for a new visual semiotics based on dynamic versions of semiotics (Thom, PetitotCocorda, Wildgen, Brandt). After considering the way in which visual semiotics functions in art history as a sort of privileged form of interpretation, I argue instead for a dynamic, naturalized project in which semiotic meaning emerges through a complex process of stratified semantic processes. After sketching the new approach, I consider the way it adjusts our understanding of the linguistic analogy, our understanding of code, arbitrariness, convention, the Peircean triad of icon, index, and symbol, and finally sketch the new topics that the dynamic outlook allows.
About the author
Ian Verstegen (b. 1969) is an art writer and historian living in Philadelphia 〈ianverstegen@yahoo.com〉. His research interests include art and perception, early modern art history, and visual semiotics. His publications include Arnheim, Gestalt, and art: A psychological theory (2005); and A realist theory of art history (2012).
©2014 by Walter de Gruyter Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- A semiotic model of visual perception
- Art, science, and value as found in Peirce's ten trichotomies
- Reforming visual semiotics: The dynamic approach
- An early semiotic
- “Language as calculus” in Beckett's writing: A new perspective on Beckett's conception of language
- Media representations of science, andimplications for neuroscience and semiotics
- Ubiquitous but arbitrary iconicity
- Nation and globalization as social interaction: Interdiscursivity of discourse and semiosis in the 2008 Beijing Olympics' opening ceremony
- Documentary evidence as hegemonic reconstruction
- Semiotic resources of music notation: Towards a multimodal analysis of musical notation in student texts
- The semiotics of undesirable bodies: Transnationalism, race culture, abjection
- A socio-semiotic framework for the analysis of exhibits in a science museum
- Indefinite identity: The masked terrorist as iconic legisign
- The segmentation of phenomenological space in Licheń as an example of double binds
- Wine labels in Austrian food retail stores: A semiotic analysis of multimodal red wine labels
- Exploring the rhetorical semiotic brand image structure of ad films with multivariate mapping techniques
Artikel in diesem Heft
- Frontmatter
- A semiotic model of visual perception
- Art, science, and value as found in Peirce's ten trichotomies
- Reforming visual semiotics: The dynamic approach
- An early semiotic
- “Language as calculus” in Beckett's writing: A new perspective on Beckett's conception of language
- Media representations of science, andimplications for neuroscience and semiotics
- Ubiquitous but arbitrary iconicity
- Nation and globalization as social interaction: Interdiscursivity of discourse and semiosis in the 2008 Beijing Olympics' opening ceremony
- Documentary evidence as hegemonic reconstruction
- Semiotic resources of music notation: Towards a multimodal analysis of musical notation in student texts
- The semiotics of undesirable bodies: Transnationalism, race culture, abjection
- A socio-semiotic framework for the analysis of exhibits in a science museum
- Indefinite identity: The masked terrorist as iconic legisign
- The segmentation of phenomenological space in Licheń as an example of double binds
- Wine labels in Austrian food retail stores: A semiotic analysis of multimodal red wine labels
- Exploring the rhetorical semiotic brand image structure of ad films with multivariate mapping techniques
