The article starts from the analysis of an image in contemporary mass visual culture — advertising a famous coffee brand — so as to suggest that the semiotics of the veil must develop as the semiotics of a veil. Understanding the meaning of this multifaceted cultural element requires grasping it not only as general device, but also as singular object. Semiotics, which is a science of systems and generalizations, must therefore empower its microanalysis with reference to other toolboxes. The article claims that Gaetan Gatian de Clerambault’s semiology of the veil offers a wealth of insights about the micro–significations of the veil. Such claim is applied to a case study: the micro–analysis, a la maniere de Clerambault, of the “system of the veil” in Ettore Scola’s movie Una giornata particolare [A Special Day] (1977).
本文从分析当代大众视觉文化中的一个形象——著名咖啡品牌的广告入手，提出面纱的符号学必须发展为面纱的符号主义。理解这种多方面文化元素的意义，不仅需要将其作为一般手段来把握，还需要将其视为单一对象来把握。符号学是一门系统和概括的科学，因此必须参考其他工具箱来增强其微观分析能力。这篇文章声称盖坦·加蒂安·德·克莱兰鲍的面纱符号学为面纱的微观意义提供了丰富的见解。这种说法被应用于一个案例研究：对Ettore Scola的电影《特殊的一天》（Una giornata partiolare[a Special Day]，1977）中的“面纱系统”进行微观分析，这是一个Clerambault的行为。
{"title":"La ropa tendida al sol: velos y revelaciones","authors":"Massimo Leone","doi":"10.21789/24223158.1414","DOIUrl":"https://doi.org/10.21789/24223158.1414","url":null,"abstract":"The article starts from the analysis of an image in contemporary mass visual culture — advertising a famous coffee brand — so as to suggest that the semiotics of the veil must develop as the semiotics of a veil. Understanding the meaning of this multifaceted cultural element requires grasping it not only as general device, but also as singular object. Semiotics, which is a science of systems and generalizations, must therefore empower its microanalysis with reference to other toolboxes. The article claims that Gaetan Gatian de Clerambault’s semiology of the veil offers a wealth of insights about the micro–significations of the veil. Such claim is applied to a case study: the micro–analysis, a la maniere de Clerambault, of the “system of the veil” in Ettore Scola’s movie Una giornata particolare [A Special Day] (1977).","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47679462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Las nuevas capillas de la Santa Sede","authors":"Silvia Bortoloni","doi":"10.21789/24223158.1423","DOIUrl":"https://doi.org/10.21789/24223158.1423","url":null,"abstract":"","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48429585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mi Constelación de los árboles y la ciudad como una colección de poesías. El libro abierto, la ciudad de Hünfeld.","authors":"S. Mukai","doi":"10.21789/24223158.1418","DOIUrl":"https://doi.org/10.21789/24223158.1418","url":null,"abstract":"","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Generalmente, percibimos objetos discretos que parten de fondos perceptibles. Sin embargo, existen casos como el que sucede en el patron copa-rostros de la Copa de Rubin, donde la distincion entre figura y fondo oscila; incluso, hay situaciones en las que el fondo de una figura es parte de la misma; las caracteristicas discretas de las figuras se pierden en el fondo y vuelven a el. Estas curiosidades visuales pueden producirse por contornos creados por un campo de color o textura que se auto interrumpe y se ajusta a la topologia del laberinto, generando figuras.
{"title":"Hacer vibrar el fondo","authors":"William S. Huff","doi":"10.21789/24223158.1435","DOIUrl":"https://doi.org/10.21789/24223158.1435","url":null,"abstract":"Generalmente, percibimos objetos discretos que parten de fondos perceptibles. Sin embargo, existen casos como el que sucede en el patron copa-rostros de la Copa de Rubin, donde la distincion entre figura y fondo oscila; incluso, hay situaciones en las que el fondo de una figura es parte de la misma; las caracteristicas discretas de las figuras se pierden en el fondo y vuelven a el. Estas curiosidades visuales pueden producirse por contornos creados por un campo de color o textura que se auto interrumpe y se ajusta a la topologia del laberinto, generando figuras.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46341941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With this provocative title, the aim of this article is to discuss the theoretical relevance and the practical effectiveness of a widely used concept in visual semiotics: “semi-symbolism”, which precisely arose from a reflection on the image and was later generalized to several fields, starting with theory, where, by the way, it has not found an undisputable epistemological position. Regarding its practical uses, semi-symbolism has not proven to contribute to a greater understanding of the concept it represents or the formulation of solid conclusions around this phenomenon. On the contrary, its isolated use weakens both its comprehension and application. In contrast, the solid conclusions, which result convincing in the analysis and vindicate “semi-symbolism” as an operational instrument, show their independent nature, signaling a precise definition of the concept. The general conclusion of this study could be that “semi-symbolism” works simply as a label, with all the virtues of every label (fixing ideas, serving pedagogy, etc.), but also with all its imperfections (such as the risk of emptiness, the temptation of a lovely repetition, the eagerness to fix a formal reference in a current of thought). In this context, a label can always be rebuilt, insofar it is given an incontestable theoretical status and an irrefutable heuristic capacity.
{"title":"Semisimbolismo: ¿concepto inútil para la imagen?","authors":"M. Costantini","doi":"10.21789/24223158.1443","DOIUrl":"https://doi.org/10.21789/24223158.1443","url":null,"abstract":"With this provocative title, the aim of this article is to discuss the theoretical relevance and the practical effectiveness of a widely used concept in visual semiotics: “semi-symbolism”, which precisely arose from a reflection on the image and was later generalized to several fields, starting with theory, where, by the way, it has not found an undisputable epistemological position. Regarding its practical uses, semi-symbolism has not proven to contribute to a greater understanding of the concept it represents or the formulation of solid conclusions around this phenomenon. On the contrary, its isolated use weakens both its comprehension and application. In contrast, the solid conclusions, which result convincing in the analysis and vindicate “semi-symbolism” as an operational instrument, show their independent nature, signaling a precise definition of the concept. \u0000The general conclusion of this study could be that “semi-symbolism” works simply as a label, with all the virtues of every label (fixing ideas, serving pedagogy, etc.), but also with all its imperfections (such as the risk of emptiness, the temptation of a lovely repetition, the eagerness to fix a formal reference in a current of thought). In this context, a label can always be rebuilt, insofar it is given an incontestable theoretical status and an irrefutable heuristic capacity.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43272438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over a period of roughly forty years Peirce’s conception of signs underwent profound modifications. He defined a single division or trichotomy of signs from 1867 to, approximately, mid-1903, a three-division sign-system late in 1903, and in 1908 a pair of six- and ten-division typologies. Of these, the 1903 system with its universally-known icon-index-symbol division is the one most employed in the analysis of verbal and pictorial signs. Within this division, the icon constitutes the sign’s mode of representation, which Peirce, on the basis of the phenomenological framework within which signhood was based in 1903, further analyzed the icon into three distinct modes of representation, the hypoicons. However, in 1908 his conception of sign-action developed into a completely different universe-based, six-stage processual system—semiosis—from which the icon-index-symbol division was absent. The paper therefore seeks to illustrate, through an analysis of examples of metaphor and allegory, the interest for the discussion of certain types of pictorial representations, of the theory of iconicity. Since this theory has no means of tracing the sign to it origin, or source, namely the intention which determined it to existence, the paper also seeks to illustrate the later, processual conception of signs, since this, too, has bearing on the interpretation of pictorial representation. This will, of necessity, require a relatively lengthy review of the stages in the development of the later theory.
{"title":"Dos aproximaciones peirceanas a la imagen: hipoiconicidad y semiosis","authors":"T. Jappy","doi":"10.21789/24223158.1433","DOIUrl":"https://doi.org/10.21789/24223158.1433","url":null,"abstract":"Over a period of roughly forty years Peirce’s conception of signs underwent profound modifications. He defined a single division or trichotomy of signs from 1867 to, approximately, mid-1903, a three-division sign-system late in 1903, and in 1908 a pair of six- and ten-division typologies. Of these, the 1903 system with its universally-known icon-index-symbol division is the one most employed in the analysis of verbal and pictorial signs. Within this division, the icon constitutes the sign’s mode of representation, which Peirce, on the basis of the phenomenological framework within which signhood was based in 1903, further analyzed the icon into three distinct modes of representation, the hypoicons. However, in 1908 his conception of sign-action developed into a completely different universe-based, six-stage processual system—semiosis—from which the icon-index-symbol division was absent. The paper therefore seeks to illustrate, through an analysis of examples of metaphor and allegory, the interest for the discussion of certain types of pictorial representations, of the theory of iconicity. Since this theory has no means of tracing the sign to it origin, or source, namely the intention which determined it to existence, the paper also seeks to illustrate the later, processual conception of signs, since this, too, has bearing on the interpretation of pictorial representation. This will, of necessity, require a relatively lengthy review of the stages in the development of the later theory.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46658834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Photography is one possible way to capture reality. Although, like any other representation of reality, it is artificial, because it transforms it by the rules of perspective that dominate photography. It changes the three-dimensional object into a two-dimensional image. Barthes says that «In the image, as Sartre says, the object yields itself wholly, and our vision of it is certain-contrary to the text or to other perceptions which give me the object in a vague, arguable manner, and therefore incite me to suspicions as to what I think I am seeing» (Barthes 1980 [1981], 106). However, in the series Perspective correction by Jan Dibbets, the image does not yield itself wholly, and our vision of it is not certain of what it sees, on the contrary, the author invites us to distrust what we think we see.
{"title":"Reflexiones sobre las imágenes fotográficas de Jan Dibbets","authors":"Rubén Alberto Gramon","doi":"10.21789/24223158.1398","DOIUrl":"https://doi.org/10.21789/24223158.1398","url":null,"abstract":"Photography is one possible way to capture reality. Although, like any other representation of reality, it is artificial, because it transforms it by the rules of perspective that dominate photography. It changes the three-dimensional object into a two-dimensional image. Barthes says that «In the image, as Sartre says, the object yields itself wholly, and our vision of it is certain-contrary to the text or to other perceptions which give me the object in a vague, arguable manner, and therefore incite me to suspicions as to what I think I am seeing» (Barthes 1980 [1981], 106). However, in the series Perspective correction by Jan Dibbets, the image does not yield itself wholly, and our vision of it is not certain of what it sees, on the contrary, the author invites us to distrust what we think we see.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42882970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article proposes a comparison between the arguments presented by the philosopher of science Norwood Russell Hanson in his book Patterns of Discovery. An Inquiry Into the Conceptual Foundations of Science ([1958] 1985) about observation in physical science and the arguments proposed by the art historian Ernst Gombrich ([1950] 1999; [1957] 1998) and the philologist Mikhail Bakhtin ([1975] 1989) about the action and effects of observing in the field of arts and humanities. The three authors, beyond their epistemic belongings, recognize the mediated nature of the observation, denying the existence of a pure observation and a language of neutral observation
{"title":"La observación entre ciencias y artes. Una confrontación entre las propuestas teóricas de Norwood R. Hanson, Ernst Gombrich y Mijail Bajtín.","authors":"Cristina Voto","doi":"10.21789/24223158.1394","DOIUrl":"https://doi.org/10.21789/24223158.1394","url":null,"abstract":"The article proposes a comparison between the arguments presented by the philosopher of science Norwood Russell Hanson in his book Patterns of Discovery. An Inquiry Into the Conceptual Foundations of Science ([1958] 1985) about observation in physical science and the arguments proposed by the art historian Ernst Gombrich ([1950] 1999; [1957] 1998) and the philologist Mikhail Bakhtin ([1975] 1989) about the action and effects of observing in the field of arts and humanities. The three authors, beyond their epistemic belongings, recognize the mediated nature of the observation, denying the existence of a pure observation and a language of neutral observation","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44578414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Quisiera empezar estas líneas con dos preguntas que están interconectadas. La primera pregunta: ¿qué nos dice la teoría del diseño sobre la arqueología como un diseño del pasado? Una disciplina que produce libros, y dentro de esos libros, mapas, fotos, con escalas métricas y polícromas, es sin duda un arte de diseño. La segunda: ¿qué dice la arqueología sobre el diseño como una práctica histórica? Una ciencia que produce cosas bellas, funcionales, contemporáneas, con matices retro o vanguardistas, cuyas mercancías circulan por determinados mercados con personas de alto poder adquisitivo, es sin duda una práctica histórica y cultural. No tengo muchas herramientas para expandirme en una revisión minuciosa de las teorías del diseño; de hecho, no tengo ninguna. Así que esta reflexión, en este nivel, sería un mero deslizarse por caminos desconocidos. Desde el otro nivel, conozco un poco mejor qué es la arqueología, algunas de sus teorías, y con ellas podría adentrarme en las aguas del diseño para ver esta práctica como una producción de paisajes del pasado. Advierto al lector que adrede me excuso del teatro de la citación, porque las ideas generales que esbozo hacen parte del acervo analítico de la humanidad. Hablo de cosas generales, y sería injusto centrarlas bajo la hegemonía de la referencia bibliográfica y toda la violencia simbólica que eso representa.
{"title":"Diseñar el pasado y arqueologizar el diseño","authors":"Wilhelm Londoño-Díaz","doi":"10.21789/24223158.1984","DOIUrl":"https://doi.org/10.21789/24223158.1984","url":null,"abstract":"Quisiera empezar estas líneas con dos preguntas que están interconectadas. La primera pregunta: ¿qué nos dice la teoría del diseño sobre la arqueología como un diseño del pasado? Una disciplina que produce libros, y dentro de esos libros, mapas, fotos, con escalas métricas y polícromas, es sin duda un arte de diseño. La segunda: ¿qué dice la arqueología sobre el diseño como una práctica histórica? Una ciencia que produce cosas bellas, funcionales, contemporáneas, con matices retro o vanguardistas, cuyas mercancías circulan por determinados mercados con personas de alto poder adquisitivo, es sin duda una práctica histórica y cultural. No tengo muchas herramientas para expandirme en una revisión minuciosa de las teorías del diseño; de hecho, no tengo ninguna. Así que esta reflexión, en este nivel, sería un mero deslizarse por caminos desconocidos. Desde el otro nivel, conozco un poco mejor qué es la arqueología, algunas de sus teorías, y con ellas podría adentrarme en las aguas del diseño para ver esta práctica como una producción de paisajes del pasado. Advierto al lector que adrede me excuso del teatro de la citación, porque las ideas generales que esbozo hacen parte del acervo analítico de la humanidad. Hablo de cosas generales, y sería injusto centrarlas bajo la hegemonía de la referencia bibliográfica y toda la violencia simbólica que eso representa.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68353256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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