Relevant bibliographies by topics / Semiotics and art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Semiotics and art'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Semiotics and art"

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Liu, Zhongchen, and Guyong Lee. "Signification of Contemporary Chinese Art through a Semiotic Aspect: Focusing on the Visual Symbols Shown in the Work." Korean Society of Culture and Convergence 45, no. 11 (2023): 711–26. http://dx.doi.org/10.33645/cnc.2023.11.45.11.711.

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This study employs semiotic theory to explore the visual symbols and their meanings in contemporary Chinese art. By analyzing the visual symbols of specific artworks through case studies and interpreting their meanings centered around Roland Barthes's theory of myth, the research delves into the association between art and semiotics in various artistic forms including two-dimensional, three-dimensional, and digital visual symbols. Focusing on works created after the 1979 'Star Art Exhibition', it provides a nuanced understanding of the semiotics and visual symbols in contemporary Chinese art, demonstrating semiotics as a valuable framework for in-depth analysis. The findings reveal that through semiotic analysis, contemporary Chinese art can be seen as a 'text' with profound socio-cultural meanings, enhancing our comprehension of the intricate interplay and deeper significations between contemporary art and signs.
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Konstantinov, Mihael. "ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE." Вісник КНУКіМ Серія «Мистецтвознавство», no. 41 (December 30, 2019): 35–43. http://dx.doi.org/10.31866/2410-1176.41.2019.188528.

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The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art
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Zhu, Haoyun, and Guangxiang Rao. "2018 Annual Report of Chinese Semiotic Studies." Signs and Media 1, no. 1 (2020): 5–25. http://dx.doi.org/10.1163/25900323-12340002.

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Abstract By analysing semiotic papers, works and academic conferences from 2018, this paper aims to describe the development of Chinese semiotics. During this year, the study of semiotics in China further advanced in the fields of Marxist semiotics, communication semiotics, cultural semiotics, ecological semiotics and art semiotics. Overall, theoretical explorations and the integration of applications became development trends in semiotics. Further, the traditional concept of semiotics gained new interpretations through the introduction of new methods and ideas. In turn, the ‘meaning’ attribute of semiotics provided a unique analytical perspective for cutting-edge topics such as artificial intelligence and ecological environments.
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Alreem M Alfawaz, Alreem M. Alfawaz. "سيميائيَّة الغياب في ديوان "ما تلاه عليّ الغياب" دراسة في ضوء سيميائيَّة الأهواء". journal of king abdulaziz university arts and humanities 27, № 4 (2019): 181–99. http://dx.doi.org/10.4197/art.27-4.7.

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T he semiotic approach is based on the assumption that the text includes a surface structure and a deep structure. Analyzing the two structures looks at the relations between the two. As for the objective behind the semiotic approach it is the uncovering of the relations that link the hidden implications of the text by following the development of meaning. On the other hand, the semiotics of emotions is a branch of general semiotics. Emotion is what semiotics analyzes to know its role in the creative text. In the collection of poems discussed here it is absence that played a role in the formation of the emotion of sadness: the absence of people or specific attitudes. Sadness is seen as preceding the ways meaning reveals itself and also as an agent in their production
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Lawes, Rachel. "Science and semiotics: What’s the relationship?" International Journal of Market Research 60, no. 6 (2018): 573–88. http://dx.doi.org/10.1177/1470785318787944.

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This article considers the relationship of semiotics to science. A history of semiotics is provided. Questions are addressed of whether semiotics is empirical and what is distinctive about semiotic approaches to the inbuilt challenges of science such as controlling for bias. These scientific matters are supplemented by a discussion of the use and purpose of art in semiotics. The second half of the article demonstrates semiotic technique by applying it to debates within the market research community over the scientific status of semiotics, behavioral economics, neuromarketing, and neuroscience. Provisional conclusions are drawn regarding the fate of new market research methods within these debates, and recommendations for further investigation are offered.
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Zlydneva, Nataliya. "The Moscow–Tartu Semiotic School and Soviet Art History." Yearbook of Balkan and Baltic Studies 7 (July 2024): 256–65. http://dx.doi.org/10.7592/ybbs7.11.

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Although the problems of art history did not form the core of the Moscow–Tartu semiotic school’s interests, its members often turned to the material of visual art within the framework of general and specific studies of sign systems. In turn, Soviet art history in general did not show interest in semiotics. Meanwhile, the selection of problems and the approach to them in art history (mainly of the Moscow school) indicated that the reflections of art historians and philologists starting from a certain time (in the late 1960s and into the 1970s) began to develop in parallel veins. The present article provides an overview of the main problems of visual art in the works of representatives of the Moscow–Tartu school (Lotman, Uspenskij, Ivanov, Toporov and others), as well as of the adepts of semiotics from the side of art history (Paperny, Daniel, Zlydneva). In addition, the article shows how despite not accepting the semiotic mode of thinking, in their texts art historians approached the semiotic problematics of art raised by philologists (in particular, interest in the problem of the border-zone and marginalia, correlation between a word and an image in visual art, and the poetics of the historical avant-garde, etc.). This antinomic (non-)meeting of semiotics and art history in the realm of Soviet humanities in the 1970s can serve as the manifestation of the power of the unified scientific episteme of the era.
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Sless, David. "Reading semiotics." Information Design Journal 4, no. 3 (1986): 179–89. http://dx.doi.org/10.1075/idj.4.3.01sle.

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This paper presents a general and non-technical overview of semiotics and its recent history. The importance of Peirce and Saussure as founding fathers of contemporary semiotics is discussed and the debate they precipitated is mapped out including some of the peculiar characteristics of semiotics as a field of study. Some advice is given on how to read semiotic research, emphasising its contribution as an art rather than as a science. Some emphasis is placed on the specific contribution of semiotics to our understanding of the political nature of all communication.
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Khajrulina, Nailia. "Judas Iscariot’s Semiotic Image in Ukrainian Literature at the Beginning of the Twentieth Century." Perspektywy Kultury 28, no. 1 (2020): 37–42. http://dx.doi.org/10.35765/pk.2020.2801.06.

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The article under consideration is devoted to the semiotic analyses of the bib­lical apostle Judas Iscariot, one of the most contradictory religious characters. The article demonstrates the semiotic paradigm of Judas, including portrait semiotics (paleness, timidity, secrecy and slouch), gesture semiotics (abrupt movements) and symbolic semiotics (hopelessness, suicide). The research stresses the aspect of venality. It is proved that Judas Iscariot became the arche­type of venality not only in literature, but in art generally. The article’s sum­mary will be used for students learning literary criticism and philologists.
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Blier, Suzanne Preston. "Art Systems and Semiotics." American Journal of Semiotics 6, no. 1 (1988): 7–18. http://dx.doi.org/10.5840/ajs1988/1989612.

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Bal, Mieke, and Norman Bryson. "Semiotics and Art History." Art Bulletin 73, no. 2 (1991): 174. http://dx.doi.org/10.2307/3045790.

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Dissertations / Theses on the topic "Semiotics and art"

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Suprunova, Miliena, and Kseniia Kugai. "Interdisciplinary approach: semiotics and art." Thesis, Яроченко Я. В, 2021. https://er.knutd.edu.ua/handle/123456789/19152.

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The work is devoted to semiotics and art as two sciences guided by symbolism and signs. Semiotics studies symbols, signs and myths, which can explain works of art to ordinary viewers as well as creative people. Thus, artists can be guided in the creation of works of art to accurately convey their ideas and convey the feelings and imagery of their thinking. The interdisciplinarity of these sciences provides an opportunity to better communicate, exchange ideas and research the sciences.<br>Робота присвячена семіотиці та мистецтву як двом наукам, що керуються символікою та знаками. Семіотика вивчає символи, знаки та міфи, що може пояснити мистецькі твори звичайним глядачам, а також творчим людям. Тим самим митці можуть керуватись при створенні художніх творів аби достатньо точно донести свій задум та передати почуття і образність свого мислення. Міждисциплінарність цих наук дає можливість краще комунікувати, обмінюватись думками та досліджувати науки.
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Paraone, Israe. "Urban Voodoo an ambiguity document, seeking to record the disruption of language through imitation : a thesis/dissertation submitted to AUT University in partial fulfilment of the requirements for the degree of a Master of Art and Design, 2007 /." AUT University, 2007. http://hdl.handle.net/10292/135.

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Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3
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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.

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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization.   In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.
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Rada, Alena. "Writing about art : a linguistic consideration of art history and related genres." Phd thesis, Department of Linguistics, 1989. http://hdl.handle.net/2123/5456.

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Müller, Martina. "A semiotic investigation of the digital : what lies beyond the pixel /." Access via Murdoch University Digital Theses Project, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.

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Thesis (Ph.D.)--Murdoch University, 2008.<br>Thesis submitted to the Faculty of Arts and Education. Invitation to exhibition titled: In the eye of the beholder, in back of thesis. Includes bibliographical references (leaves 116-118).
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Nobre, Maria José. "Inner speech as the basis for artistic conceptualization : Soviet psycholinguistics and semiotics of art /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620267.

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Marner, Anders. "Digital media embedded in Swedish art education : a case study." Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.

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In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.<br>Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
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Joubert, Nina. "Decoding the notion of a constructed identity within an autobiographical picture narrative." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015685.

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This study presents an investigation into the process of constructing an autobiographical self within the genre of the autobiographical picture narrative, and explores this process both in terms of a theoretical study of this concept as well as an interpretation of a number of photographs. The interpretation entails a reading of selected autobiographical picture narratives by the artist-photographers Maggie Taylor and Lori Nix by means of a method derived from visual social semiotics. Specifically, the semiotic reading focuses on Taylor and Nix’s photographs Twilight swim (2004) and Ice Storm (1999), respectively, after which the researcher’s own autobiographical photograph entitled Fennel and coriander is read by means of the same methodological approach. The semiotic reading is guided by five salient characteristics of the autobiographical picture narrative, namely fabrication and reality, autobiographical memory, socio-cultural relevance, commonalities in female narration and narrative function. Harrison’s (2003) visual social semiotic framework (which reflects the work of social semioticians Kress and Van Leeuwen, 2002) was augmented in light of the five salient characteristics in order to construct an appropriate methodological framework. A comparative reading of the works by Taylor, Nix and the researcher reveals that although each of the artistphotographers followed a peculiar and unique approach in constructing the autobiographical picture narrative, parallels can be established in terms of various central concepts, as is evident from the semiotic reading. In particular, the role of memory and the interpretation of autobiographical elements emerged as common denominators. The process of constructing an autobiographical memory therefore provides the narrator-photographer with the options of escaping into and not from memory, thus allowing for unique possibilities in terms of interpretation, fantasy and construction.
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au, m. muller@murdoch edu, and Martina Müller. "A Semiotic Investigation of the Digital: What Lies Beyond the Pixel." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.

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This dissertation explores the implications of new photographic and computer technologies that offer the transduction of modalities. The fundamental argument, here, is that such technologies ‘change’ the process of sense-making resulting in a new asymmetry that informs the visual language of the creative work. I argue that the processes of language analysis can assist us in the interpretation of multimodal texts and that a digital illustration can be analysed via the theoretical framework ‘built’ from the first linguistic concepts such as those to be found in the texts of Plato, Aristotle, Augustine and Locke. A semiotic method applied in the context of digital artwork, and developed from the linguistic-semiotic stand-point, is well suited for an examination of the intermodal relations (the relations between layers in a multi-layered image file). By examining the layered structures of my images I demonstrate the evident similarity between the disconnection of the components of the linguistic sign on the one hand and the visual sign on the other hand. The analysis of a digital image, especially created for this purpose, is expanded by an investigation that offers a partial reading from an insider’s point of view that involves an image being analysed on the conceptual level. This involves the examination of the primary internal relations between the layers of the image, and on the level of expression, the examination of the primary external relations between the layers and the narrative of the image. In its deployment the semiotic method I use investigates the existence and the conditions of a space in which the individual readings from the perspective of outsider and insider might be conceptualized and presents a partial reading derived from an outsider’s interpretation of the same image. After comparing both readings I arrive at the conclusion that the different texts’ modalities have an impact on the degree of the sign components’ disconnection. My conclusion, then, is that an outsider who cannot view the image in its multimodal form assigns sign components in a higher degree of disconnection than an insider who has access to the intermodal relations of the image file.
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Aspén, Lisa. "Art and Advertising." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12540.

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The thesis examined whether there is a distinct boundary between art and advertising. The collected data showed how art and advertising are linked to each other and also differ from each other, in particular through the latter half of the 1900’s. What was happening in society came to have great impact on what happened in art and advertising. In postwar Germany, capitalism realism evolved from the German pop art where the art was removed from the art gallery and placed on the streets where the people were, in an era that was characterized by a gap between the rich and the poor. Capitalism Realism went on to advertising which at the time was using the techniques of subliminal persuasion and later turned into a post-modern advertising. The study included examples of artists who collaborate with advertising, where advertising has worked artistically and how the artist became a trademark. The study also showed that there are strong objections in the art world to working with advertising, but not vice versa. Advertising seems happy to work with arts.
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Books on the topic "Semiotics and art"

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Bittar, Eduardo C. B. Semiotics, Law & Art. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58880-9.

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Stopford, John Edward. Art and inquiry: A study in the semiotics of art. [s.n.], 1985.

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Bogdan-Mateescu, Catalina. The semiotics of pictorial language. Polirom, 1999.

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Mazzei, Lorenza. Estetica e semiotica: Teorie a confronto. Book, 2002.

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Mazzei, Lorenza. Estetica e semiotica: Teorie a confronto. Book, 2002.

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Schechter, Madeleine. Semiotics and art theory: Between autonomism and contextualism. Königshausen & Neumann, 2008.

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1969-, Basso Pierluigi, ed. Modi dell'immagine: Teorie e oggetti della semiotica visiva. Progetto Leonardo, 2001.

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Smith-Shank, Deborah Lee. Semiotics and visual culture: Sights, signs, and significance. Edited by National Art Education Association. National Art Education Assoc., 2004.

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David, Crow. Visible signs: An introduction to semiotics. AVA Pub. SA, 2003.

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Nujūmiyān, Amīr ʻAlī. Nishānahʹshināsī-i farhang [farhangī]: Majmūʻah-i maqālāt-i naqdʹhā-yi adabī- hunarī. Sukhan, 2011.

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Book chapters on the topic "Semiotics and art"

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Newall, Diana, and Grant Pooke. "Semiotics and poststructuralism." In Art History, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-41a.

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Bittar, Eduardo C. B. "Semiotics, Law and Art." In Semiotics, Law & Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_1.

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Bittar, Eduardo C. B. "Semiotics, Art and Experience." In Semiotics, Law & Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_2.

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Angenot, Valérie. "Semiotics and Hermeneutics." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch6.

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Bittar, Eduardo C. B. "Society, Law and Art." In Semiotics, Law & Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_3.

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Bittar, Eduardo C. B. "Applied Semiotics, Law and Art." In Semiotics, Law & Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_4.

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Ibri, Ivo Assad. "Peircean Seeds for a Philosophy of Art." In Semiotics and Pragmatism. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09625-9_3.

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Zhao, Yiheng. "The Place of Play and Art in the World of Meaning." In Philosophical Semiotics. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-3057-7_4.

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Bittar, Eduardo C. B. "Conclusions." In Semiotics, Law & Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_5.

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Martel, Álvaro Rodrigo. "Rock Art, Semiotics and Meaning of." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2831.

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Conference papers on the topic "Semiotics and art"

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Latorre Romero, Amparo. "Scientific use of art in cognitive disorders." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-133.

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Kaņepāja, Gundega, and Zanda Rubene. "Veni, vidi, didici: Teaching Approaches and Learning Outcomes of Semiotics." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.28.

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Semiotics is the study of signs and sign systems, and the formation of their meanings. From the point of view of semiotics, signs are explained by the assumption that everything has a certain meaning, often multiple meanings. The purpose of this paper is to answer the question – what is the role of semiotics in educational science? Education and art education have always been at the crossroads of these interpretations of meaning because semiotics presupposes an interpretation that is influenced by a myriad of circumstances and coincidences. The scoping review and nodes strategy was used in this literature review to select relevant articles. The Web of Science Thematic Framework of Education and Educational Research database was chosen to map the role of semiotics. The criteria for article selection were language – articles written in English were selected – and keywords (“Semiotics” and “Semiotics, Art Education”). Based on these criteria 167 open-access articles were initially selected for analysis, from which further exploration was based on keywords relevant to the topic. After analysing the abstracts of the selected articles, the papers were grouped according to the theoretical framework and approach. The main finding of this literature review was that semiotic analysis can help develop students’ critical thinking skills.
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Melaney, William D. "HEGEL’S SEMIOTIC FUTURE: BEYOND THE END OF ART." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-020.

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Xu, Zihan, and Wuzhong Zhou. "Metro Public Art from the Perspective of Semiotics." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002333.

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With the prosperity and development of China's subway construction, subway space has become an important functional node in the city. Public art first intervened in the subway space interface as a decorative role, and later developed to assume more and more functions. However, the public art design of many subway spaces now only attaches importance to function and form, but ignores the needs of the subject of use. There are many problems such as restricting passenger behavior, ignoring passenger psychology, and not allowing passengers to understand the works. Nowadays, "people-oriented" works of art have become the mainstream, and public art should also change from "aesthetic decoration type" to "humanistic function type". This study attempts to introduce "symbol coding system" from the perspective of semiotics, and analyze and summarize the symbolic semantic communication process of subway space public art. Through literature method, field research method, case analysis method, questionnaire survey method and experimental method, this paper focuses on the diversified and sustainable design thinking in the new era, hoping to provide new solutions and directions for the problems faced by the current subway public art design.
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Pfutzenreuter, Edson, and Antonio Roberto Chiachiri Filho. "TIME: THEME AND CONTENT IN A VIDEO ART WORK." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-033.

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Asritisthia, Diany, Kusnadi, and MeliarikaWidyanti Putri. "Semiotics Study on the Oncer Dance Performance Art: A Charles Sanders Peirce’s Perspective." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.054.

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Yuan, Zhou. "The Water Pattern of Ceramic Ware Was Analyzed from the Perspective of Semiotics." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.098.

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)". У GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Hsiao, Meijin, and Hongjun Ou. "Exploration on the Decorative Art of Rukai Patterns in Taiwan from the Perspective of Semiotics." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.221.

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Vinokurova, Natalia A., and Olga Tabachnikova. "The Role of Literary Education in Semiotics of Professional Behaviour: A Socio-cultural Study of Russian Students." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.067.

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Reports on the topic "Semiotics and art"

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Yaremchuk, Olesya. TRAVEL ANTHROPOLOGY IN JOURNALISM: HISTORY AND PRACTICAL METHODS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11069.

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Our study’s main object is travel anthropology, the branch of science that studies the history and nature of man, socio-cultural space, social relations, and structures by gathering information during short and long journeys. The publication aims to research the theoretical foundations and genesis of travel anthropology, outline its fundamental principles, and highlight interaction with related sciences. The article’s defining objectives are the analysis of the synthesis of fundamental research approaches in travel anthropology and their implementation in journalism. When we analyze what methods are used by modern authors, also called «cultural observers», we can return to the localization strategy, namely the centering of the culture around a particular place, village, or another spatial object. It is about the participants-observers and how the workplace is limited in space and time and the broader concept of fieldwork. Some disciplinary practices are confused with today’s complex, interactive cultural conjunctures, leading us to think of a laboratory of controlled observations. Indeed, disciplinary approaches have changed since Malinowski’s time. Based on the experience of fieldwork of Svitlana Aleksievich, Katarzyna Kwiatkowska-Moskalewicz, or Malgorzata Reimer, we can conclude that in modern journalism, where the tools of travel anthropology are used, the practical methods of complexity, reflexivity, principles of openness, and semiotics are decisive. Their authors implement both for stable localization and for a prevailing transition.
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Streb, Jorge M., and Gustavo Torrens. Meaningful Talk. Inter-American Development Bank, 2015. http://dx.doi.org/10.18235/0011676.

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This paper develops a semiotic-inferential model of verbal communication for incomplete information games: a language is seen as a set of conventional signs that point to types, and the credibility of a message depends on the strategic context. Formally, there is an encoding-decoding step where the receiver can understand the sender's message if and only if a common language is used, and an inferential step where the receiver may either trust the message's literal meaning or disregard it when updating priors. The epistemic requirement that information be transmitted through the literal meaning of the message uttered leads to an equilibrium concept distinct from a Perfect Bayesian Equilibrium, ruling out informative equilibria where language is not used in its ordinary sense. The paper also proposes a refinement by which the sender selects among equilibria if all sender types are willing to play the same equilibrium.
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