Martin Krampen
Introduction
Emanuele Martino
Reference and invariance in photography
Maria Nowakowska
Recognition power: basics of a grapheme theory
Donald Preziosi
Former urban planning.
Semiotic aspects of the representation of architecture
John M. Kennedy
Syllepsis and catachresis in pictures
Hartmut Espe
Connotations as results of photgraphic techniques
Klaus Peter Walcher
Towards an alignment of graphic representations with cognitive structures
Award
DGS 1984 award question:
How and why do semiotic systems change?
Erika Fischer-Lichte
The appropriateness of signs
Karin Böhme-Dürr
Sign and consciousness change
Literary report
José Augusto Seabra
Semiotics in Portugal
Introduction
Performance and limits of graphics
Martin Krampen, Berlin Academy for the Arts, HdK
Summary. Graphic design is defined on the basis of the eight variables that
determine
the character of expressions in two-dimensional space. If certain properties of
an object remain invariant when this object is mapped on a surface through
projective or topological transformation, then the relation between the
expression and the object is called iconic. A graphic sign that has an iconic
relation to an object can be used to refer to this object. However, there are
also graphic signs that have a symbolic relation to their objects. Symbolic
reference is indispensable where graphic signs are used to refer to processes,
which are ephemeral by their very nature. It is even possible to establish
connotative and metaphorical reference through the means of graphic design. The
limitations of graphics are different from the limitations of speech; therefore
the two channels can be used to complement each other in human communication.
Reference and invariance in photography
Emanuele Martino, University of Palermo
Summary. When a three-dimensional object is mapped onto the surface of a photograph, a
set of projective transformations is applied that leaves certain
attributes of the object unchanged. This invariance is a necessary condition
for the recognition of the object in the photograph; it is the basis of
denotation and designation (i.e., reference) in visual communication. A second
necessary condition requires that the configuration perceived in a photograph
will not deviate too much from the canonical configuration that the observer
creates in his mind as he looks at an object repeatedly from varying points of
view.
Recognition power: basics of a grapheme theory
Maria Nowakowska, Iona College, New Rochelle, N.Y.
Summary. In the recognition of a complex graphic sign, each component of the
sign has a specific weight. The article demonstrates that the specific weight
of a given sign component can be described on the basis of the theory of voter
coalitions (Shapley & Shubik). The theory is extended in order to account for
the recognition of signs whose components are deformed according to various
parameters. It is shown how the theory can be applied to the classification of
art styles.
Former urban planning.
Semiotic aspects of the image of architecture
Donald Preziosi, State University of New York, Binghamton
Summary. The author compares representations of urban building structures from
the early Stone Age (Çatal Hüyük) with those from the Roman period. He argues
that architectural plans are not to be regarded as exclusively iconic signs,
but as matrices of signs, which may be related to their objects through factual
similarity, factual contiguity, imputed similarity, or imputed contiguity.
Architectural plans do not constitute a sign system of their own, but rather
must be considered functionally as elements of visual communication which may
play a different role in different contexts, cultures, times, and places.
Syllepsis and catachresis in pictures
John M. Kennedy, Scarborough College, Ontario
Summary. Syllepsis and catachresis, as defined by Fowler (1965), are found in
the pictorial domain, not just the verbal one. Therefore, a general theory of
semiotics will involve "figures of representation", not just "figures
of
speech". Direct and indirect cases are considered. Metaphoric pictures by blind
people are noted.
Connotations as results of photgraphic techniques
Hartmut Espe, Berlin Academy for thr Arts, HdK
Summary. Photographic messages are often considered to be analogical in
character, which may suggest that photographs lack a "proper" code. On the
basis of two experiments, the author shows that the variation of photographic
techniques (in this case, choice of camera angle and exposure time) can lead to
changes in the connotative meaning of photographs. In deciding about their
photographic techniques, photographers determine the connotative effects of
their pictures. Therefore, photography must be treated as production of coded
messages.
Towards an alignment of graphic representations with
cognitive structures
Klaus Peter Walcher, University of Oldenburg
Summary. The author compares the visual representations of given situations
with the cognitive structures activated by the comprehension process. He
advocates the assimilation of graphic representations to these cognitive
structures and presents a model that describes the relationship between these
two domains.
