Semiotics & Characters
What is SEMIOTICS? What does SEMIOTICS mean?
SEMIOTICS meaning, definition & explanation
Semiotics (also called semiotic studies; not to be confused with the Saussurean tradition called semiology which is a part of semiotics) is the study of meaning-making, the study of sign processes and meaningful communication. This includes the study of signs and sign processes (semiosis), indication, designation, likeness, analogy, allegories, metonyms, metaphor, symbolism, signification, and communication. Semiotics is closely related to the field of linguistics, which, for its part, studies the structure and meaning of language more specifically. The semiotic tradition explores the study of signs and symbols as a significant part of communications. As different from linguistics, however, semiotics also studies non-linguistic sign systems. Semiotics is frequently seen as having important anthropological dimensions; for example, the late Italian semiotician and novelist Umberto Eco proposed that every cultural phenomenon may be studied as communication. Some semioticians focus on the logical dimensions of the science, however. They examine areas belonging also to the life sciences—such as how organisms make predictions about, and adapt to, their semiotic niche in the world (see semiosis). In general, semiotic theories take signs or sign systems as their object of study: the communication of information in living organisms is covered in biosemiotics (including zoosemiotics). Semioticians classify signs or sign systems in relation to the way they are transmitted (see modality). This process of carrying meaning depends on the use of codes that may be the individual sounds or letters that humans use to form words, the body movements they make to show attitude or emotion, or even something as general as the clothes they wear. To coin a word to refer to a thing (see lexical words), the community must agree on a simple meaning (a denotative meaning) within their language, but that word can transmit that meaning only within the language's grammatical structures and codes (see syntax and semantics). Codes also represent the values of the culture, and are able to add new shades of connotation to every aspect of life. To explain the relationship between semiotics and communication studies, communication is defined as the process of transferring data and-or meaning from a source to a receiver. Hence, communication theorists construct models based on codes, media, and contexts to explain the biology, psychology, and mechanics involved. Both disciplines recognize that the technical process cannot be separated from the fact that the receiver must decode the data, i.e., be able to distinguish the data as salient, and make meaning out of it. This implies that there is a necessary overlap between semiotics and communication. Indeed, many of the concepts are shared, although in each field the emphasis is different. In Messages and Meanings: An Introduction to Semiotics, Marcel Danesi (1994) suggested that semioticians' priorities were to study signification first, and communication second. A more extreme view is offered by Jean-Jacques Nattiez (1987; trans. 1990: 16), who, as a musicologist, considered the theoretical study of communication irrelevant to his application of semiotics. Semiotics differs from linguistics in that it generalizes the definition of a sign to encompass signs in any medium or sensory modality. Thus it broadens the range of sign systems and sign relations, and extends the definition of language in what amounts to its widest analogical or metaphorical sense. Peirce's definition of the term "semiotic" as the study of necessary features of signs also has the effect of distinguishing the discipline from linguistics as the study of contingent features that the world's languages happen to have acquired in the course of their evolutions. From a subjective standpoint, perhaps more difficult is the distinction between semiotics and the philosophy of language. In a sense, the difference lies between separate traditions rather than subjects. Different authors have called themselves "philosopher of language" or "semiotician". This difference does not match the separation between analytic and continental philosophy. On a closer look, there may be found some differences regarding subjects. Philosophy of language pays more attention to natural languages or to languages in general, while semiotics is deeply concerned with non-linguistic signification. Philosophy of language also bears connections to linguistics, while semiotics might appear closer to some of the humanities (including literary theory) and to cultural anthropology.
Semiotic + 漢字
From cave drawings to emojis: Communication comes full circle | Marcel Danesi | TEDxToronto/从洞穴图形文字到emojis
Emoji: The Language of the Future | Tracey Pickett | TEDxGreenville/未来的语言将被Emoji代替
How emoji replaced QWERTY as the world’s most popular keyboard | Jeremy Burge | TEDxEastEnd
They have been around in various forms since the 1990s, yet emojis can sometimes be a mystery. How did this obscure Japanese creation make its way to every single phone in the world? Jeremy Burge has spent the past four years of his life documenting emoji changes. From the addition of foods, sports and animals to the overhaul of skin tones and better representation of women, this universal set of pictographs has grown considerably over time. Many key decisions from companies and individuals have had a profound affect on the way we communicate today. Jeremy Burge is the founder of Emojipedia and creator of World Emoji Day. He is also a member of the Unicode Emoji Subcommittee, which is responsible for reviewing requests for new emoji characters.
Max Gimblett is the grand master of abstract painting in New Zealand. On his frequent visits from New York (where he has been based since 1972), the New Zealand art world celebrates his return with a schedule of exhibitions and events countrywide. There are many causes for celebration; Gimblett exhibits widely in Europe, the United States, Asia and Australia, his work is represented in major public and private collections around the world, and recently Max has been selected to exhibit in a group show at the Guggenheim Museum, New York in 2009. Not bad for a small boy who sought inspiration from the hallowed halls of the Auckland Museum in the early 1940s.
But the real reason Max is welcomed with open arms is the pure sumptuous and richness of the art work that accompanies his arrival. For over three decades, Max has conducted a rigorous investigation of paint, painting and the role of the painter. His works are born from a well-spring of potent energy that is channelled onto the canvas support. But at every stage of production, he subjects his work to extreme risks, destructive processes and stringent editorship. As a result, his paintings carry a deep inner chord, born from decades of experience and critical evaluation of the type rarely heard in contemporary New Zealand art.