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René MAGRITTE (Belgian, 1898-1967)The Key to Dreams, 1930Oil on canvas, 31 7/8 x 23 9/16 inches
© Estate of René Magritte / Artists Rights Society (ARS), New York / ADAGP, Paris
Art 100
SemioticAnalysis
Charles Saunders PEIRCE (“purse”) (1839-1914)American thinker, mathematics, science, logic, semiotics
http://www.iupui.edu/~peirce/
three types of signs
types
icon: represents the object through some similarity or resemblance
index: represents the object by being a physical trace of it
symbol: represents the object by convention (social agreement)
examples
example of icon: smiley face, representational art
example of index: fingerprint
example of symbol:pretty much all of language, in which words have no necessary relationship to the concept they represent
Robert RAUSCHENBERG, Automobile Tire Print, 1953paint on 20 sheets of paper mounted on fabric, 16 1/2 in. x 264 1/2 inches, SFMOMA, © Robert Rauschenberg Foundation / Licensed by VAGA, New York, NY
use of indexical marks in art
Ferdinand de Saussure
Born Geneva, Switzerland, 1857Trained in ancient and modern languages at the University of Geneva and later, the University of Leipzig.Taught in Paris and Geneva.Died in 1913.
FERDINAND DE SAUSSURE
Taught at University of Geneva, during academic years 1906-7, 1908-9, 1910-11.
First published 1916 by a team of students who carefully collated their lecture notes.
Course in General Linguistics
Key implications of this shift 1. The sign is arbitrary.
There is no necessary link between a particular set of sounds and the concept it designates.
The sound and concept are united within the confines of a particular language and culture.
In English the rooster says “cock-a-doodle-do”; in French “cocorico”; in German “kikiriki.”
Key implications of this shift 2. The sign creates meaning differentially, in
relation to other signs.
Dog is not cat, not chipmunk, not chocolate chip cookie.
Meaning is context-dependent.
“You dog!” might sometimes refer to a dog, other times to a human.
Why are we studying this theory of language in art class? Does this mean visual imagery is like a language?
To some extent, yes.
How do these insights help us to understand the language of visual imagery?
Let’s work with an example: the semiotics of the color red.
There is no simple equation (signifier (red)=signified (x).The signified depends in part upon the context in which you find the signifier.