Fe wens 2007 ote Shiny An aa Ha irrooucrion ACKNOWLEDGMENTS 1 sicns ano sianinc Site ord Seine sen eon eden Sy Sender Inentan Messe “ansrisson Nise ecener » 3 concerrua structures ‘rah and Footy Someress ard Dterence ‘ines an Pans ‘Subject and Oey ppsrance anc Realty ‘certnuty and Dscortinaty Serea ana Reterence esrirajul and Meanings tle ane SoitonSereoypes Insttsions eesoges Discourses ytns Pandgns 8 stories ano sronvrenuing INTRODUCTION mag ol cts re st Oh once sunt stn sere sen nnn psy ews Cassa st eat? hohner oes Set Ses een ta ey ae ses omc rca oes eng me, Scour sre ot ‘ie Men ec a se ene Some Se fee news pe (pouenia ie erceme ah ba get Tecoma sae ie en bs ot vee year ‘gn tn eno (revese we peau Petes fy Soo ‘Tita pu pict ne chen ‘Sten, née: An eo ot nether at pe cr (rend hg tn 9c ae Ternetang dw Saad bo ee Sion ecsney| Semen ne sates bee scACKNOWLEDGM DemeNTS CHAPTER ONE Soca an annette ne Seafoam omtwracescr ‘ihe ann pn wrt Sn ‘Riedy awesome ony hed one ane eae ety Sem Mom Py Sesh eae SIGNS AND SIGNING fe hawey wean ora not ‘nn son ay enSIGNS AND SIGNING WHAT DOES THE APPLE IN THIS PICTURE SIGNIFY?CAN YOU MAKE SENSE OF THESE DOTS? DOES THE APPLE IN THIS Sete Seite too vee Tense roe ear sy von cam Fut own et re a. es ees (acendngn reer elon Se 3 Therch Gel pa aise te srr ‘Sees rere eae ms ose sso8 Forme ate ore NBWHAT IS THIS OBJECT? "YOU MAKE SENSE OF THESE DOTS? frien nile cne hve etd comme masa Peeisecrnsennser paver cine mat Wari tppen oe er“ easy rg me fieteitalastiory esos cans oseleya beets ares Seeman wervenscmmesy’ sowetinnns prctca tcc once trae baton ts PnSere Sexton as WHAT HAS HAPPENED TO THE WOMAN IN THIS PHOTOGRAPH?WHAT DOES THIS SYMBOL MEAN? «| WHAT HAS HAPPENED TO THE WOMAN IN THIS PHOTOGRAPH? mrs cg set ws ais f (eats onc ow on Tieentnao nos ton thos ender fetchaarh oe eet weeaaty fewaty aman te ce fees) Thee amet) Keak eomity Arr eace Weumety reno Ineaaeddy Anant so gt eamdty RenoWHO IS SENDING THIS MESSAGE? Syme: me, or oo tw ate Newey ae Iprne nats foe ov nd ered I am black. eee I am six years old. aso symbols in semitics I am an orphan. ‘Sigitier ‘Sites I am African. ‘Shabing rands Atay restore. A peeing I am poor. Back se Arttary reatensnp A ome ocascn I am a liar. rng Antony tert Te moe Arwetog Aut tnto Sre fecmm Atty nero Temata! ‘owed a Attn ern RetWHAT DO YOU THINK OF THIS PICTURE? WHO IS SENDING THIS MESSAGE? {eters ti uo ts ating tm rab sort abate ses ‘ion the besnte mgt rear 20 iste retour each 0 wens mabe sae esWHAT IS THIS MESSAGE REALLY SAYING? WHAT DO YOU THINK OF THIS PICTURE? Bentve sertouee ctr, otet osc et sure aris Modt Sey fwe cm ducers wo rue tt wae st towpaiayomharce races mia 0 Gime arartngs Howie hcl aly setae wae ou? fee owner paring bles aes arenes Ore era) Nott ct nt no Seirescteongeton apap ewpre snd ttre wren teWHAT IS THIS MESSAGE REAL wc fori cay re ancy wth cee onc i Mh en ahd HOW IS THE MESSAGE OF THE MONA LISA TRANSMITTED?HOW IS THE MESSAGE OF THE MONA LISA TRANSMITTED? apenas rg peg he. act, anne, wre mo Dr Aechmea ro tn, rt eon Themen Moers Wh a paetig nrg) ate mtr Te sngna essonctne r n en ‘rman un set eresen nena rhe awe re HOW SHOULD WE COMMUNICATE DANGER JO FUTURE GENERATIONS?HOW WELL DO YOU UNDERSTAND HIM? ‘SHOULD WE COMMUNICATE DANGER ) FUTURE GENERATIONS? Rene at yous te sre tne 2000 ys Fag en ms cee, Rtewsinderestwirsh ny Commecal Soy sara seal cancer eet te ry caret be nn Nona sessing sree es nova Sara byhare penser ta sean ova ma ts te Suppose a grandfather Fymaieanre i says to his granddaughter: ‘nnbertca src snes ad a Paap ne can dele Rte de sr rece de ance mo ea tins oa ens ya eto The aos howe, Une wee tren atte resis ae lnimepeaen ean shee mane Jt a {hve ton can aa ee,A sonesmaa tage ee an fees nh goon be ‘scence on et ea ‘tnt nate sae ane ht texnset The petom cus ecne te msg cane lie dre jaaey Theor caus te reg eae ah ersten seer rat Fae furan ie an wt ena ‘herd ey rch on tno ae on ‘tee he al era tar an cpr creat or meray hit rena CHAPTER TWO WAYS OF MEANING Serco wat ow ay e Retien ort comen ena Sorvivanrny et Saito nt {at tenure bu Inasyan ‘vn ttesnaea eo meoe ‘etd ei a geet ‘bret osteo nan nee semen eseWHICH THREE ITEMS ARE MOST ALIKE? ‘ine eta, me, res ‘moose, onder fag Coreen obo peace ree regan ries tec, maps oe hd ‘ies edhe be sce reomert mange nah Succes osrtre ig sven. suratin inary teefourion.WHICH THREE ITEMS ARE MOST ALIKE? ert ec Ngee degwch og bryan te a Fstonnct Using Panty Set Oe HOW IS THIS EQUATION POSSIBLE?HOW IS THIS EQUATION POSSIBLE? rant sieve yt ey Soro sna amt wn one ania 8 sera star Penn hs ‘iar cn san reno $e neha ste ater ets geen here rath hon ash ft nage Meas en we spect Innsece. Ts proceso ance ors Pat srtox ee ara pres el a fra tem nce en wt to a te re Meschana bow ves hw he mes ee seg poate ates See pe, saree) Mc, towers ale i on Satowe te Sever ning niin ste WHICH NATIONALITY IS REPRESENTED BY THIS OBJECT?CAN YOU RECOGNIZE THIS PERSON BY HIS HAIRCUT? WHICH NATIONALITY IS REPRESENTED BY THIS OBJECT? ‘Bowtemsnng hou mgr dewad 8 ans fue astafon natin mex raps mesa vr mh ag tenn nay aren ran don oon ah) (uate tsetse ‘geen made sched Ths lee ng re Soe Ley oe cas ‘tos te coe ‘Aro eect cee conden crn ies wes Coney Sart aaa on r+ Kh and nee Frew eras Poet ace apne res es ‘er tn) nuncaWHAT IS IRONIC ABOUT THIS VASE? ss ‘lnc on atts ae et ‘acne mos gran aan einen am Wt et Wl OUD Sanat pe aumen Des Fe sdesmmanaon aye ie a._Iatan Dere rene rv Meuse ‘axe thougns fn peeled doo shail afc Unga ee ear msc. ssp Fbaandtete shoe rg cite cretalilene te renndusctaryastn fmm as em Supe you wre phen Ree! weg mee cert sa Wait er ae Sec sats energie ariel You tt gain wove you bento eg ‘yaa a rata gesnin lg a t Imari nh seh ‘epee he owe eu we ns eo ee sorts wow fo! argo te ow poy c reat,e ‘tea ce wt van mare en eto neater es.| 1s THIS SENTENCE LYING? WHAT IS IRONIC ABOUT THIS VASE? ‘wo cae Ase Any Cae. 0s This sentence is false.This sentence is false, you ADD A SQUARE TO A CIRCLE DO YOU GET IF SQUARE CIRCLE? _IS THIS SENTENCE LYING? Sears na eodaaterlgets Se era eee ere poe argantacs se mae gst esa pore ems» osama ee aIF YOU ADD A SQUARE TO A CIRCLE DO YOU GET A SQUARE CIRCLE? aos ed tet | WHAT IS DEPICTED ABOVE THE HEAD OF THE CENTRAL FIGURE?WHAT DOES THIS DRAWING REPRESENT? Schacht enet ey iy at open ns pert rey abet tum att eer nh pee Pow te inet Bate ve eee ne) enn vt row wt apiain son tow ats grein wo yt sre nrg emp re pee ra “wna pee asa ma te (ney aera sarge eytr. CHAPTER THREE SSE Se CONCEPTUAL STRUCTURES Act cc en oe eg Sheen en thewone ston on re Sieatiannnenc evenrme” Sennen he stemngecsorton trace simone wes comsnanontuete fon tmMecenent Waning to rent here oe nner secs aren cinta ra tn merateonee dramene neni eon Inara se cr ae te enh sarnen Ns ar be Scipio beerneron Sree fee tea vreiCONCEPTUAL STRUCTURES Is THERE A PIPE IN THIS PAINTING? shat ste pete dros see‘Sate print tyre mowers heme avn Spot mear ine rut ta ‘ere he eon Pt art tt ‘en Segway to a eo soos ec estan ne ‘ete Shape ra 3 Oe ‘Seon can wre ne han ‘sym meron tpn sn cor aetna ne ent te hen uy tn a ‘Ren intes evan a. ha ‘sata sna apr Pex A)©C €S00 ¢ WHICH SHAPE IS DIFFERENT FROM THE REST? CAN YOU READ THIS? Why deosn’t the oredr of the ltteers in tihs qeusiton mttaer?‘GAN YOU READ THIS? Do inet ta sn re Te tig ser to ht Why deosn't, the oredr of the Itteers in tihs qeusiton. mttaer? yams ity ne eee Inaba some east ao Pe Sastre ok te at w 8 10 YOU SEE THE COLOR RED IN THE SAME WAY ‘AS OTHERS SEE IT?eg DO YOU SEE THE COLOR RED IN THE SAME WAY AS OTHERS SEE IT? Some things appearto have a quay tat he ating e8e Te tse of cote The sme of rose The eal fe gaind sad, The sound ofa bie sna, ‘The ok of he cole, ‘The quite of our experience seem tobe indeinable im some way, For example, ro mater how much te are told abut the scence of cor (Le, about wavelet, putty, ad intensity, the cole eocessina pas of he bain, aire tecrniques of stimulation, ‘and grblems such 35 exer linge), we cannot say what tis ket have the experance oft We can only say wat the exeronce she by having to this seme the experience a cxior appears to be subectve {08 personal ater than obectve (and siento, pyslogy and psychology. For esate, are aes that wil help ust discover whether ear vate ow te colors hat wo perce are desde oe cortet in which they ae places (eg, 0 ma. when itis placed neat to he eos hare i Similar or contrasting) Al of hese ots ee Something about the syslog an pera ft perception, Homer what hey co nt ee ths isthe imptant pant or sernos—i st wh these various colors and one sensory ees) actualy mean ous DOE: S THIS BATTLE LOOK REAL?| ————— p DISCONTINUITY WHAT IS THE DIFFERENCE BETWEEN THESE Z Two TIMEPIECES? See, - ‘Tere are various problems wth Ucceos satu as regards its verimltude. One poblen tat he bed wewpaint that Uecelo Byes us doesnot take acct of Ye fact tha, in realty, the eye constant rowegh order to see abject in space. Ancther poten ta we se the mold with two eyes, so creating a bee ‘representation of realty should actualy inohe 8 perspectval system that uses two vanishig sri on the havion so a oe more accutte Up and doun-dle eects. fina probier i tat pepece cannot be a subsite forte measurerent of he objects that we seen space Wat Vests pang sons f tht psec, we 12:15 {ves eimprnsen ely or eb contvance that artists my fine more or ss uel 9 ‘making images ofthe ward, (Cena fexmslcvaltes such as line, tone, texture, and cole ca, of 0.5, ls cntrbute towards makings tue cok eal) ‘hod even if there ae some ee-seemirgsorren's dare from the way erste used|AT IS THE DIFFERENCE BETWEEN THESE O TIMEPIECES? 25 the hour, minule, and second hands nd, Moreover, we ae timing something we now much me has been used up and 5 le. However, withthe cok there are only the two forms of form of tne ( as having relations to Wh the el rm tre seb ona eyesore tie in te present erent ttc nates iso when te nutes choee hme canoe ‘be composed of units that seem discontinuous, 2 In general, anal signs rete rears tata ‘graded ona continuum. Exams are ings Pt he 2 morefiess quality, such as: val mages, sac! ‘gestures, focal expression, tly nove, ue, tastes, and smels. These sir have arenes, campleny. aa continuity thal canna esa be expressed in anather medium. On theater nan gta signs have an eter quay hat can sa lsconinuous because the categories used a utant 0 dead. Nobex nat this, however, that analog codes which rave aon 5) ‘as musi, can somelmes be represented in il (eg, on a compact diel WHAT D DRINKING 10 YOU NOTICE ABOUT THE MAN CHAMPAGNE?about “the man denking champagne” is easy way. But pshops the person whe we man dnkng the champagnes, in et. 8 ‘Aternaively, ight be thal the possi thal we mght have pcked in using the prose "the man ‘because the man dnkirg 2 beer less (whl his fend, who as, s actualy inking bee rm RR asm cal eee: Bate sae on Eien Secs eailpeperpite oe Be ae eee en nine ee Pas eee hemes ee “The sss jst lscussed may ake us consierbon shits in meaning or reference can sere taundemre ‘or compromise ou abit cruise cea 0% tnambiguovay wth one ancter abut al mame ‘things tat we take fr granted inthe war SE TRAFFIC LIGHTS MAKE SENSE?: ® cAN YOU CROSS THROUGH ALL NINE DOTS LY FOUR STRAIGHT LINES WITHOUT e USING O! LIFTING YOUR PEN FROM THE PAPER? DO THESE TRAFFIC LIGHTS MAKE SENSE? SSS - - Inte tatictgt anton tats vad inary pats ct word tocol vate na CE aeneatite cin! tote roa eh ‘Nights: red, yellow, and green. For drivers using this stem te gts have the folowing meanings Steer: Yew cent Signs: Sop Coun op Sigtir: Res Yelow Green Signifieds: Stop caution Go “The reason this alternative system could wok ea eerie e ® ® ‘What these ights mean can seem obvious you are color vsualy dnc and, second, tat each er ‘aeady tamil with them. Their mearings, however, canbe asignd aspect meaning win he ai Jon a numberof undering assumptions. The yh sytem. | we each have the aby to cstingush the ‘red, yellow, and green fram ane anne: Now think whet would happen rac es were assumption thet we might want fo make stuctured using the folowing cols: vo are colorblind). The second stat the meaning that each colored ight hes Signifier: Orange —RevOrarae Reo ‘employ this stom (and thisis2Sigifleds:_ Stop Coton The woud st cv, tes ee Teste wey amr wife enna merges bbe seer ners oe be errs ie OP esr net a se turverove has re ar mein eon 81 ‘ton eonsCAN YOU CROSS THROUGH ALL NINE DOTS USING ONLY FouR STRAIGHT LINES WITHOUT LIFTING YOUR PEN FROM THE PAPER? “The nine-dot probe is fen used to state how cour thinking can get tuck. This happens because the tendency to thnk win the tox shape tat the nine ‘ots seem crete. However, when you ste cutsde {his constant a sluton suggests sel, One soliton ‘even below ‘once ths soon has been see, the tendency is 0 stop searching for aerate, Ye thee are many ‘aes. You could draw though the dts witha pene that has a ip wider than the box shape ise, You could ‘cut up the dos and put her na ine an then ora “forough them. You cde fold te pape so hat you nave smal square wi al he dts Ye up te ae aner and push opel toush Hem. ater rds, each problem ay have mony sons, ‘ven we face a defcut problem we en serch long a hard fora slit, The sory representation deronstts ths, Parts thas tong tie tha pictures cou dave in such ava as to become more tu fe. Bu the clam Way tepresenlaiona mdm whether eto engage istratitcononty stand in aerent was sing it Ses) fr the things tha te repeserted. Ard becae pont and language ae not ard can eve bey they ai bys fal hort of realy Thus Me unerin, assumption tat we shou search fo the ete trodium of epresentation hat can mia rey mat tbe mistaken, ‘re overall philosphical ficult we faces taal ‘tne problems nave ane sluion ang oes have “rlutons, sme problems have no slits, problems ae nt eve problems. The rote. PS tft in teting wnat sort of problem we Ne. __ Thais hy Goo ree to be paced above mma in CHAPTER FOUR VISUAL STRUCTURES vj, mages. nd tts ae ie structure reve ‘exmgoston. Compenton has bo Gerson: space sei erat they ae nthe cee ana chars ae 20 Sace ote spat aspect of any compost. hos ‘wotacos:pacement ana presence. Take 25 coangle of pacement te oieretelemenisinpctire- bac ‘naire Por somthing atthe op ofa pictwetends $e ‘esac whereas pacing something at the etiam is surbundrgs mat seem more down-c and esi, :The notions of “betoe” ana “ater” are — peheaileeaiptesty technological innovation can help us to specu an the fare, Such tings as lectures, books, and ‘exnivons help ogve objects, images, and tee ‘qualties of pasines,presentnes, often nite Way that they are shown. In ation, the quale fasines and slowness, wher evident, can count as foxms of temporal presence. The pace oe ante Inccated by such things asthe patra can abet by During in photograph or by the exystazaion fa twansient mement in a panting The key concep tobe discussed in his chapel therefore be: viewer and image; idea ard el gen ‘and new; center and mars; oeground and background: proxmiy and presence; bere and ate ast, oresen and future; and fast and sow. - WH AT DOES THIS IMAGE REPRESENT?ART OF THIS PICTURE IS IDEALIZED? WHICH Pi WHAT DOES THIS IMAGE REPRESENT? suring at tis highly Simplified pct, there Aaa 1A olen a wa 9. Acheulr piece of tbe es 09 cing We look at a wall. nthe thd ‘ut from a wal We inthe way hat we see the image b poston ofthe ewer Here the vewer looking acioss athe image in each case But now imagine that you ae not looking at butate table. Here ae three more interpretations “ hee be: the image and vewer ostions can change ¥ te 4 Aale in a tebe 5.Acicl dawn on table {6 cicular pce of tube fed to table‘OF THIS PICTURE IS IDEALIZED? ‘The same visual structures are tobe fou in apace advertising. nana Sr acta kind fod we i. tye nd an deazed image a the top ofthe pase wth an indication ofthe realty of the pret bong, seid at he btm, For instance, there might be & hograch oa glaring bunch of succulenocking (ape athe tp of he image Below ths we meh ed that whats being sverised is dred ft. In such an ‘a0 the wewer reminded of the citerence teteen the lal the gearing ut) and re cresgoring realy (snes counterpart. But by inking the to is roped that te consumer wil se hw the ermer it have been consersed int the lates. In ther woes, the ‘atvrisemert, by inking the es wth the aL indicates the nature of cu aspirations te move stent rr what se cas th eal produ! to hat coud be te case te ide! produc) i 7 \g IT BEST TO READ THIS IMAGE FROM LEFT TO RIGHT OR RIGHT TO LEFT?RIGHT OR RIGHT TO LEFT? ‘This inage, taken ror the Bayer Tapest, which ronces te Noman conquest of Eland by Wis she Conquer in 1056, shoul e ec om eo nit. But co we know hat? One ansneris nat he rss, ough hey ar fozn inthe plete, eppeat Intheman tte voveingin tat decten. So maybe Aeris a clan he pce fel. Wore imgatant han ths, nou, tis the sandira convention tat ‘eating the image tom ot to ght s simy correct. eyo irk that eveyone ea fo le tit ‘tcourse in Wester cutures hs tue. Tats why ‘Wate scvetsement or laundydeterget wil have 2 lta city gare laced on the et and an ‘image ta psi ment laced onthe vt. By ‘acing the mages in tics the ocr brows thet ‘re ancy tegen vl pity cles to become ‘an Hwee, audiences in he icc Eas, who read IS IT BEST TO READ THIS IMAGE FROM LEFT TO from rg to le, wil read the ac inthe oppose way. t willtar totem as though the lacy detergent taking pearing white cles and turning them ay ay Thus the meavings we acer when we ergy the convention of eang fam lito rent are actualy Specic oa given culture and conte. Whether we read ra let ight ot rm ge 0. seems rosy that fonration placed an oe Side oa composition usualy "gen" or assume while he infrmation on the other sce tends to be “eno unexpected, Soin head jt nag, he ‘ven information s that thes get city (hs apps onthe len Western cuts). The new nirmaten Is that he paricular laundry detergent hat ba ‘acretaed fs good at geting cates clan (his appa onthe right in Westen cute) wHY IS CHRIST PLACED IN THE CENTER OF THIS SCULPTURE?x ‘conn aroma WHY IS CHRIST PLACED IN THE CENTER OF THIS SCULPTURE? re ino cere important to many human ches ano much han tirkirg Te universe Ipsa.corte, The wes has 2 cere Countres Nave caters. tes have certs. Pace have cetes. Even furnenous ase ht aces, Ar chet, mage, fd pee ex nave cers. o> Cortes pode a rus, Crt a para ard al They ac us and whch aber tins are rstiord, ore they poise 2 tbl pot from whch ‘ners mig Cros, Te ete can abo be the ‘ing sean oreo ove tat which suroues it tn cartes, nove, come mars. Marg are on ‘he sie, Marg proteins, ges, border, and ‘oundares Nags cons, ante vou in ee “masa orien by hee cn ete itink of someting placed the carte of 2 compotion ashing inorarce and hgh stats Tiss incantas to ose ings paced one ih ae et nna or ne a te sigiicance of he center and oh ot mages, The cube ts a Mcneane the ther fig thous te tert they ares onthe mags. anceps of center and may anceps ain ont an er tf permanence ad sgnfcance (Chis) wi warsence jae nsigifcance (Neocerus, Mary lene, and the incomplete gure) hati ineresting about this sculpture stat t presupposes a poston forth view. (nthisinsaree, we iow the seuptre as having a tert, back, and ‘60s, Ad so, 35 was re case wih the images ae isco ear, we should not ty to soe te pstionrg free cimensienal objects in tin from the posting of the person wn ses ther. at pO YOU NOTICE ABOUT THE BACKGROUND OF THIS IMAGE?VHAT DO YOU NOTICE ABOUT THE BACKGROUND F THIS IMAGE? man beings have the abiliy to percene things in mectiverond techgos Toe es at @ placed on a table. Here we immediately become Becton ich en 20 MC. Escher, nis picture Mosaic (1957), emonstaes some ofthe paradoxes of oepround and background. Hs suggestion that what we repos foreground ard as background sn some ways 8 mater of choice is curious: nhs kage, ou acu can choe ‘otha hat which s usualy seen a the foreground can beviewed a the background, and vice vere. Even though a perceptual swich can occurs that wrt we see fst as foreground can suddenly bocome ogardos 3 background, we el aed esppreciat nat ne sich does nt happen very cn (unless is rouett about delberatay, asin Escher'speture) Wnen you see ‘cetan tings 2s being in he foreground, cer tings {end o frm a background, andi this way become unseen oF go unnticea, CAN YOU IDENTIFY ONE GROUP OF TWO STARS AND ONE GROUP OF THREE STARS?F wu sexy ‘GAN YOU IDENTIFY ONE GROUP OF TWO STARS AND ONE GROUP OF THREE STARS? ‘ten we grou hs tgeerbecavse of ther authonty (eg, the Statue of Liber Irom. Tings hat are laced near one sncher tnd essen! for creating naturals bbe geures teeter. On the ohe had, hirgs that ature abst ire places apart from one archer we tend tothink of 5. make an rage or ob ‘separate The fect of pronmity might be one reason we whereas remoung co Imightwantto woup two tlack stars and ared star Sharpness p ‘pgetertomake up a group of vee, and one ack can make something appeos 2nd aed ar tops fo make up 2 group of Wo. 3 lackof can make something ap acngingsin mapesin aca ay, or resenting vague (eg, 2 sf-ocus pro‘oreph met be uss 0 “ejects ina cenain wy therefore, mgoiart you indcateaPazy meron). Contrast in tems of one can ‘vento cawaterton other—or aver ation create drama, but without of orabress ack of com Spectacular te stark contrast of ack and wt en ten fim noi, Texture can be ace ara warm, bt ty ingly imperfection; ts aence canbe cod anda Fanless (eg, on engaged crawig ofthe tet haan skin may gv a gute diferent impressieno 2 etched bolagea agra of human shin rte, ree tow wHY DO THE FIGURES ON THE FAR RIGHT OF THE PICTURE APPEAR MORE THAN ONCE?WHY DO THE FIGURES ON THE FAR RIGHT OF THE PICTURE APPEAR MORE THAN ONCE? sroaaee a nara wth Dee ‘cus beau tre te 3 remo each ater inthe picture n sucha might ntieradiately apo Testy ofthe tute money, which bes cour Benn St. Mathes Gael inves Ch St Pat, tet apstes, and tance. n tis Instance, Cvs seen te center of the apostles exploning that he hasbeen ase ois tacts to be paid, Ch! than iets St. Peter o perform the tush, but tthe sme tne tls rim where be can find heme}. On the et the picture we see St Pater catching tan sn removng ol com fom sau Andon the rant we se Peter purge axle he may tat one visual images from left right. What ths nage demonstrates, theo, 4 yd ar sequences visually, we can also devate from we need to ensure, howe, shat when Seva tom starcrd cone ‘ead thm appreciate how hey have changed. Omernse, he bea drt nt incamprehenson, uit of enange in convertion ea CAN WE IMAGINE THE FUTURE?CAN WE IMAGINE THE FUTURE? traesames human ties theo liens ter ‘ner ot thelr sho oon, ‘For we often tal about 8 work pai oe ye png cAN WE REPRESENT TIME?CAN WE REPRESENT TIME? (bets, ages, an tents ve diferent os ol temoral few. Thi low canbe epost abo reson to He tweed cur nat te ol (eg, te wang sick eget sures wee the mathe lanembler of peed ac sare eed 8 it of ste) The fw of mage may be exes oy trent reverts me and mares in tine can bereprsened i erent ede. » ped moge may capa feting se, rhe wtapeion ot ull mages an may tow the seed ot a ore ‘uneng). The tow ote ay be ta om i placed in othe tens, nwt secede wal srt {apie and autor eatwes tes (eg slow, ong Serlences maybe ever aay. eves uch ‘Sybesma be weet 9 poem Soaess can be comemplave, spit, susp, rng ese, ras lve, A site Baiting maybe sores an my ake the iw aus for owt A chitrers bck can reget took ansarty as my appear Sow ed bain oa et ‘Noam may be mate, making us don + srg Mea 7 20h a Nae of tng (wn aks ul 2 2) we may fred that we fave vars eeperence and quay of sores, What the tempua space ot hing ar st ut ao 2 the same tne, gamed, oe _ “ne CHAPTER FIVE TEXTUAL STRUCTURES fs. ries mesum of communion, human anise makes vs ferent em ter anima, Just ew ferent canbe geane fm he fac tt he ‘rap rescingyocsbary of a humar—at leat inthe West welds around 40,000 words, ees even ‘ems ligt ape st as ben tug a abe 40 ss nat a rma whch nabs human berg 2 Neha siphseaed ova hos an ory le he cher patti cal “semantics” The sya ‘language tells us when # sente sate sere hes ban Saucon tas gona conc Sri stan tes oe cna ‘Semantes. cn the other hand, eae ‘revs coil by ing ous pea shah mn Mtge wanes ee for const Sentences ad jr verous cones, oy some of whch are ngs that are tom langue, but ater more ne rebtonships tht can ext betsen ngage 2 vevous ages and oes wa wich may tract en i we consider jut te meanings nat 2026 gored between fers, ages. anc ets. we WAS have o engage n an ao} of ome ote towns feos tat seu be out fa gates nos fore purposes of nas 1 The fom oe ot. T const fhe shape a coro th eters and eat fhe ers> STRUCTURES | wat Is ODD ABOUT THIS POSTCARD? and le sdes—and even perhaps te ures, are oten porceled a dint aspect ol he ait, and feral elements (oo, etre, and tera a ate prt ol he plyscal make-up and exparence ot the object 1 The content ofthe object. Ths consis of wha he jects: a sculpture, a pout, a bubsrg ra eee of lthing ‘Some ofthe aspects of text tat we wil Pave ccasiono expire inthis chapte wi concem the ros fe folown: readers arc texts. nord arc ‘mages, frctons, ms, pcre. ceomnerce. ices, ferent arc intrtetsiy, ad carat rd parlour.1S ODD ABOUT THIS POSTCARD? way to wit ate. There are also read oe. Whan rears ead a text they jie assumptions aout. Some ot J assumgtons that are made in easing texts Leings us tat we oten ante (text n ters tat wil ve ta unity Notice that both structural and post ucts anceps can be used for he interrtaonof maps fang objects jst as much a for tents. For instance Instead of attending to the foreground ofan image find is meanings which might happen ime ate Structural), we may ok more ats backgound to fing is meanings (ich might happen i weave pot sirueturalists), Rather than examine bs objec that make itrelabie (wich we might dot we xe structural), we may sitthis enphass and tye ‘ramie te qualities that make it urea (ich we might do # we are pos structural. ‘neigh of te sructralst ang post structurale ‘concen listed above, there ae at lea! tw way 0 Yeas and understand the postcard onthe prevows pee ‘We cou see tas a genuine postcard, This would ean tying to make compete sense of. Or ese, we might Se tsa paul form of ronsense, where ‘eres no stable meaning to which he reader mate {ain acess In fet the posicard, which purrs io be fom Jacques (Des to Roland (Bares) is tence {oe pay i no way teers tothe wero hase twoautnors. WHICH TEXT IS TELLING THE TRUTH? POISON HOLY WATERpo YoU KNOW WHAT | MEAN? WHICH TEXT IS TELLING THE TRUTH? “What is’t thou say’st?” “What is’t thou say’st?” “What is’t thou say’st?” “What is’t thou say’st?” “What is’t thou say’st?” | What is’t thou say’st?” | What is’t thou say'st?”DO YOU KNOW WHAT | MEAN? of words sentences depen the lana langage Here ae 2 numberof pnw the words "What thou say" “What is't thou say’st2” Post functon. The poste funtion nat so mach bout pety ab about he creat or aesthetes t language use. So one afrence between “What reas saying” and “Whats thou 2/57" ha the at {orm of expression sees to have an aetnete guaiy ‘hat he former frm of expression doesnot. Phaic uncon In using he phrase “Do you know what | mean” we could be saying Are yeu stenngo rma” Inthe instance, the conten he common Is edndant becauie the purpose i simpy baep he chanoes of communication open, When you nar ‘mantan or esiablsh conmuricaton with soreane et, language can be used in a pratc mode o get atertn, Metalingualfusction, Sometimes we ned to ake ‘eammurication is woking prone, For example are eng mpatantinsractons, you may nee 035 “Doyou know whet | mean?” aeraares. nsym@ ih ‘he content of what you say mars because you ae hechng see whether wrt has been said Ns bee ul ncerstood, nth cae, the question nas wha ‘alla meng function, you NOTICE ANYTHING ODD ABOUT THIS ADVERTISEMENT? a Reser Irae posters of al Acres Equrlet Vite Fratyapt i teas Tytomae fan about prea ion Produce ste of on hot con be mor the sow lew sees of fear a ques {rea pcee me on estonia ses aig etrte a ent tno yy exit Sam cm {om be etingct an untrained te Westen sant ora my om a ate a ae nna a il» Yonge eth rane : SSN ete ong te Moe Ls osama sie tings pins sama 'etonl haat wih ona. ute ings of ings hat cople hoep unde he bee ov a sow of ele ages alae a pats a 28 Puce penonaized Ieee Bale wih he ward eancet” on it Tie Freud's imepratain of Ooms and un DWOUgh a spl eReck tes een ra steuttnaness and put Ben as, Image wna Yves Ken yiow mud okie and en pat # CaN in at clr have eve rae in ane rom re 3 1 37 mors of at hat realy mst make belo ae pe of Can Andes Equant Vt Prides Roschon wal fat sezambles he fae af Rorschach hens ‘Supa canes nate ergs so att takes a pteyag ef evr persn who ors cit gter omer Cares Seales ail buy abating sip hat Ihave taken ot aes hen Pret dott othe wrar Gos Pic one Make treo 9 saw pure es mong bana cover wth 2 vagrodvton ola Rerrvandt on Pace Tuer poston nec sant ur fades to whe Sane ep tal th mr at wl proce te et 2020 Fes pete by Wim De Koning Raber Rauschenberg oe eased Fn. sees of erat sige uti boke | nul het subvert ue sot wo the alvin tuned up 3 38 wl 2 chek ok of Maral Darang te nord “ot 1 serie hatha adverse er my own workin ose ns ra chides boa wih creo ad sean gery 1 Minko fen oroheces rhe ute and then make 2 ptf Nem FRSA 100 sek ht cr Stange or boare Wiens aMtRat eng ton anny dng ne pd ot ne akDO YOU NOTICE ANYTHING ODD ABOUT THIS ADVERTISEMENT? I This fae fee of intimacy maybe eect in Asari the reader. And ths intr ray make he Dien etonships canbe cansvuces between ers and eadesard spears an steners—by + in fret ingusic fms, Sime che meny forms reader susceptible tothe message tha he acres "tats are wring can tke asd btw tying to convey “Formal wring: acadec e595, ea fxs, lhe test on the previous page Ihave used a rune of contig formats. We ate toda he tp that tan a4, bt it also appears fo bee keer in cetain respec Itaso nas certain characters ofa manifesto lhe same time the words “Dear Reader” ard The Abr” ‘appear cn tis raona page, whieh makes took as there sa ecogrten ofthe fact that he et the be Is berg produced inthe cote ot semetig ee oe example bok on semiotics). By combining vous familar witen forms tat usally have a defi structure, meanings may sar to become opsaue Howeves by catengng existing nguise struts there ae sil some advantages. One shat ne earings mey eae {may be of iteresto not thatthe autos rosin a mites number o prints rm the piece fon he prevous page that wil be sl ncenendent asarwents, WHICH PERSON DO YOU LIKE BETTER? George Eliot is cheerful, conscientious, spontaneous, critical, obstinate, and jealous. Mary Ann Evans is jealous, obstinate, critical, spontaneous, conscientious, and cheerful.George Eliot is cheerful, conscientious, spontaneous, cnet ebtiwe anja HE FOLLOWING LIST OF WORDS ONCE Jealoun, ADT . aie io -HEN TURN THE PAGE: cheese he vr re wt word “wiles ene ert emu poreran uest?on dere” Hr dove a mei Simerning rie wor. nthe cee nr ee Set me rosettes, hays ‘ie, ines gees wc tom te tet sdrawkcab , live The pc of wat 9a ore ey ghoti “eres ne tect of socirgr eg eo women ration fish laughter daughter 1 repetition repetition man ate net subtra_t Lesie Welch eslie Wele a ‘Supercalifraglisticexpialidociouslyantidisestablishmentarianismist EE games “4How LIKE REAL SPEECH IS THIS DIALOGUE? THEN TURN THE PAGE: fesmanyof the words you tave pst The same true of things hat have a pater A Play on Words -sesusssessnssassssssssssesssssssstssrssiiss bs ssssstssssssssssssstsssssssisistntts ACT ONE sssssessssnssssssssssssesssssisssitin Scene. A Library in Ele. SsssscssssssssssssssssstssssssssssssT S5SSSSH555455SSSSSHSSSHSSSESSSESISITS HARE. 1 was in a book once SsSsSstsss555SS5SsssusHsSSSSSHISISS TORTOISE. Er s0.was SSSSestsSssHsNSSSESISESSHSSSSHSTSS HARE (ironical). REALLY? SsssastsnssSssssssHS5S5SSSSSSSSIESIS TOR LARE, Seer atly” And you don’t have to shout, This «brary. Everyone fs fisting. Tea of vib can be ven emer at t ARE. (soto voce), Sor. trese things. The oem wih yg cases TORTOISE, Anyuay, Lam concemed to Know the designation of the ook? promneee hwere—and gre ominees © HARE. What? Soneting seas wy of Maing ceran TORTOISE. The name ofthe book? toring and incl at hy re ett HARE. Book? than ahi ttn hsb one st TORTOISE, Yes, the name ofthe book? sonetheg tat snot pomeer. Trt wy hs HARE. Book? are enciting—whether they are abjects, images. oF TORTOISE. You are repeating yourself. teas-say ony ert when hes cont MARE. Pardon. ting el wort ting TORTOISE, You are repeating youre HARE. (slowls), The name ofthe book was Book? You are not very quick on the Raven that what agers tte ee of 2 uptake, ae you? fle, television program, or talk wil also tend to Be Mo TORTOISE. 1 am certain that it can't compare with The Name of the Book. “Prominent in your mind than what happens 9 Me HARE. Why is that? TORTOISE, [ was the author ofthe book of which I have just spoken HARE. (puzzled). Jeepers! The Name of the Book? 1 don't think Lever read thar ons, ‘TORTOISE. ‘That's because it doesn't exist! So you can't really read i... excep. of course, ‘you inhabit my imagination, HARE, What isthe point of a book that you can't read? TORTOISE. am not sure, but it docs save you having to carry it around. Books are eat srontARE: As tmaner of fact prefr light reading, 10, IRTOISE. The library actually has a ight reading section, Let me show Yous ARE, Did you ever see The Name of the Rose? Pr TORE tie rat neyo ea aie a side oft.“Toews meaning is ea and understood n various ways “cevending an Now cst argholal etre) onto its poncaaletures), and wat _ ears its semantic festures). Some examples fom the pronouns Tests may bein the est person person, Using shell you want fang othe tet This ao hes to HOW LIKE REAL SPEECH IS THIS DIALOGUE? Vocabulary. Voeabulay, whether tom eveyay omersatins or regional accents, can show he ape fences, soil lass and ety ofthe prone Inve. {"Anpway, | am concerned nw the esgration of he book") Repetton. Repetion is often uses to emphasise ons in stories (particulary those fr ciden, acverisemens, and paliical speeches, "HARE. Bo? TORTOISE. Yes, the tame of the book? HARE. Bock" Gramma. Grammar, which concerns the way i wich the sentences are constructed, may ao be nate of ge, Render, soil class, ae etiity ofthe pass Involves. (1 as the author ofthe book of whch ne Inst spoken") Intrective markers. veaps, interruptions ‘eifrcements tat indicate understanding (or 8 lack of), os such a6“ "mm “um oh” ‘Yeah “ugh eek" and “argh,” and montane exoressons (phases such a “you know" ar al Inmerctie markers, (50 ma "1 Tope charges. Topic changes are fen extent i bh wren anc spoken language, ("TORTOISE. The ea") ‘actualy ha gt reading section. Lt me show yu [HARE icyou eve soe The Name of he Rose") The real title of the book you are reading is:Alay Rigs Tce sf thet as fst “iatetalty” on theater hand used o desrne 1946, uve used the tie The Postrodemst the itera relationship between cterent erat Thice because posimademim is arly the same wark. This can invlve such things ay he relstiontip between to chapters inthe sane book, between two peone denied in the same. oning, or between two or more objets tha om the same eatecton, When comes othe supposedly “imaginary” tte ot this book, knowing about the exstence ofthis fim enables you to understand the reference tals bene made, And once you know where ths “magna” e . * avigates, and why postmaderim is about how we P i te xt? Serene What is a Para : ee eneccss | est ‘have tried to make, Ori it a joke? | | | Lill | Wat te @ Pavan ia t j |Ties, decors, eknawledsmets, bubs eneachs. poles irrodutens, oats, stators. mare, ent sg, ents. and inne count 35 porate, Pastor sar ousie the ein tedy ofa work and comet oni or ale the mesning at tin sae way, The pour pasa to change the trerings ts canbe send we eaeie the eratum slo. Suppose ou ae consuting a book en mushrooms. Yu are hoping seer which mushrooms are R00 tet fom your woods Howe, n tum sip {ats Yom the book ta sys “Page oe, preeranh Wo, ne ve, tous ea The Fae Morel mushroom is exo" Tis erat sp does more an cect an ler undermines he utd book tecase the aot or publ cancl at th es rg on the fst ag, we may wish to conclude hat he pages a ‘olan wa be stenn th enor, Te paralaguag is tow te rome! apace fcommunaton that wok orgie suund oF What is a Paratext? What is a Paralanguage?* suport a een tes. These norwertal aspects cemmunicaion may serv 10 suppor or may te meaning ofthe main text. For instance. when we eneauntr a person speak o ear rama nk we have ose t what he says, but als to heb ston and posture, facia expresses, the geste trate makes. the physical pony hat neha 2 ures, the coing he wers ara whee he as fstab eye contact wih us. In acon, meme ‘at hs tone a voice ar any speaker let that are mevdence, such as wheter the pice ot tearm s accompanied by ght or sche In oer words, wie we may deity apace the central lacue of meaning, tere ae things ht tn ude ary gen eet that can intence, and haw the way tha we uncerstand and intepeti Pease ao not aby the erevous struction CHAPTER six ATTERS OF INTERPRETATION How wal you rere the long massa8e 10-2-47 As stods, the message almost posible ‘aundestns That i becaute we Rave no ie about omer, why, for wnat purpose it was made ‘rc yeu hnow scones awe, the meaning ofthe espe cr Ths the ors you nee to pret te 10-24 message cect he numbers 102-4 fst appre on the totes 2c avesing of the Dr Pepce den. The oumbers Wer bate on ice of esearch on human taue ‘hat wes conducts n 1927 wich Suggest at. onl energy eves ended to chp ote nes ‘nt at 1030m, 2:30 am, and 430 pom, As the Peper dns suposed ge you enemy te ce of starch was maint one a reason fo “sans the in thee tres 9 3y—ahich some people id. The company nat made the ink ‘rcourage poole fo wrk oisover the coc Intspreaien othe mesg or tharsehes the hope hat this eon wut make he mess rove paltale Ie isonty when a message i tout ono at tne sat lok beneath te src fo Pe GeeD Truchres, unconscins foundations, Raden S708, {Gr undering patie supporting 2 Nesta Seems ranaparent ten we fang Ao 60k or thes things Par of head of semis, en. 8 reveal hose factors which sus and prow 8 ‘ocrground fer the vases ams of coment that we ofen take er arte. fat £5 SAR just how much backround foeeten 8 TCO fora to understand te most acinar of eS ‘even tose that appear on he suc Be fc sa ne, ten acon va emaTELL THE DIFFERENCE BETWEEN MATTERS OF INTERPRETATION can YOU £S AND ELM TREES? OAK TRE! finds ot subject mate: by the varius cennctaons and that sa (party te codes we nave Ines toca an ccs (sag), ana for making appropriate substuors in‘OAK TREES AND ELM TREES? Dire hnds fern, 2 3 fret anus ioe, can frou canes The ‘he concep ck’ adem.” Suppore we ae aking Aare aout the toes nour aden We meon “ative ave had ou ont and els pruned ding the da Peshps he aha understands wha beng ‘sd een gh cnet th ary dete ‘xan ety wich tee sich os ce, Ae neaton tat our neg has code tothe | sree" and ‘en strappentote of rater “gneaiteetie kre hat hres 2 second neighbor who ons om ems. This rlghbor ce beeen he to kin free by ed shape of each canopy This understenng ofoaks an es hat CAN YOU TELL THE DIFFERENCE BETWEEN Suppose that here is as a thd reghto. Ths neighbor fan exper in bso. He krows how o recognize the ees in question, But he als krone nit oak trees belong to the genus Quercus andthe ay {agaceae and tat elm trees belong tthe eens ‘Wimus anc te family winacese. AS he has sce rowed of oaks and eins his understanding » ¥en mote sophisicated than thse ef he reves rneghoors (Nees, However, that seman miy hae» general gasp of what caks and els are and e ate» ‘Bee 2 ila description of hem, wiht recess have an bit 0 recognize hem. Fr inetarce. a arson who les in a coutry where aoks ares net row may rt be abet recognize ther} people can have cient formation coded inte he anceps that they use then the concestons (ot Thoughts) about hase concep wil tert der That iswhy oranary folk, gardener, and bikats may haw ule diferent thoughts aout, and interpretations ot ‘aks and elms even rough they may ako each ot sng the very same coneaps, jg THIS EXCLAMATION AMBIGUOUS? “What nice — handwriting!” a= — fee ea uacarinene Beat im cententaneee BAeceranccnmeocarae Fea win crmenn rca Tesecwures ENU ‘The distinction between connotation and denctation M eetyoige nce wees Bere ecietcayatwrrceveruccane Me cn vac Reet nce cnn casei coe Bee aemt cite mr Reese siren: cet vetresct: pe eieseec accent pert eticen = Se eeeren soiree Bec eee stems to Se eacase\T ODD TO COMBINE CLOTHES IN THIS WAY? IS WHAT IS WRONG WITH THIS MENU? Lange ad gare a ang dete e code tis ing ae, eras 5 rode the xanzatel means ample, an dual mena (pare wil cre ‘ample of pat Hee ae se exes tote genera ar taneve Parle Thearangumest of menus A eta of posers The tus not ‘he constuction ot ea Tre design of gi catabes A pani wt cote Te epanaaton ot, Weeds Aspect TV schedule Toe yout a toes Agen alae het The composition ct pigs. An indica paring, Thereglsinstorwile Apart wn Theres ot gare ‘eral sinner 2 oppo oa thay pty Thecomentns a a case you might Soon Wierances ——Aspohenuterance ——_greweus page Theo ofa caneraton ‘cana eoreraaton Thetongege mares A oatiar moeIS IT ODD TO COMBINE CLOTHES IN THIS WAY? Wich group wt iets wth by. Baan?) orl episode eg. "How sed | ‘ies am pig 2 job interview 8s opposed to 3 sos eet" ‘Wen we pit cates tgs oer an ese we ‘atts “srtegn. synagm is any carbon of ‘Pineal contr to seed set sei les 0 , HOW MANY WORDS ARE THERE IN THIS BOX? MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY MANYMANYMANYMANYMANYMANY0 HS E THE RULES FOR USING KSCREW? ‘ORE OWE ONE ONE ONE (OME ONE ONE OME ONE ‘Me ONE ONE ONE ONE ‘me One ONE ONE ONE ‘OME ONE ONE OME ONE ‘OME ONE OME ONE ONE ‘OME ONE ONE ONE ONE [OME ONE ONE ONE OME ‘OME ONE OME OME ONE ‘OME ONE OME OME ONE ‘OME ONE ONE ONE ONE [OME ONE ONE ONE OME ne st box hee ae 72 ens ofthe word second box thee ae 72 tokens of he ineach bx there is crane word of Inthe fis bos, “ary” the tye of ‘inthe second tox “oe” is otha beng uted. Note here st ype of nerd may : HOW MANY WORDS ARE THERE IN THIS 80x? E 3 ‘ ina diferent way because of he vara ia empha that thas been given The token and ype astction can be apo otis and ages vs 25 much aso tents. A pari one ‘seuiptre can est as 2 tokanebect na spite ‘museum, Buti we hnow that mare than one one scuipure nas been east rm the onal han ne might expect to encounter bronze sculptures of exc the same type ner places. Silay a ot ea ‘an etching) can ent a a series of tokens there ise inte edtion of, Each oken pont gen a ‘Printed fom the same pate) is an example fe se ‘ype. The some dstineton between thers and yes has for epcas eg, dearatve moldings, siaes (eg, wi) fsaimiee (eg, manuscripts), creon copes (eg, laters, eproductons (eg. funk reprinting (ebooks), and models (2. 28 ‘Somewhat surprisingly, what hl fo odes, ise ‘and tes lds abo flr thoughts. two pee she ‘words tke sets," they wiles be wes ‘iret incu token of he sentence, bat her be ving thought of re same teepoes THE WOMAN IN THE CENTER OF THIS picTURE LOOK REAL? WHAT ARE THE RULES FOR USING THIS CORKSCREW?DOES THE WOMAN IN THE CENTER OF THIS PICTURE LOOK REAL? tn Sano Bet1S THIS ART? “he way ne cast things impart. The ttancat sclnoes woud nee hve made progress had ton forte ode catalog fer rans and museums wold nt have row wht he high doped ayseme tht were dss fr organizing and sirangng ha cotectors, Ana governments oa erate woud nat have Been tle to function without tame nay ftp a rad information into hat hich i, ae tat whch rot, cone The nee or castctin carly det rn many hunan fel. Progress se sems to depend ‘ni However, wie cei thirgs seem to be ‘emer o cso, cers dort. For stance, nat sors of ings Should we easly oso? Here re seme possible responses: 4. Alte tng: at pel re gener citposes to cal'at” 2. Alte things that conrisseurs of acl “at ‘2. Alte things that cal “a” 4 ane igs ta re iiaye i ot plein win = the parpove of bing vend sar 5. Al the things that are cle sit” ty arts 6. the things hat commen senate 7. Al the things tat have the inne properties 2. Althe things tat caus an atte ractonn Fach of hase responses provides a very ren ansner, ad ence 2 very iferent xi of Classticaton. There's, especies a concem wth (0) The Pubic, (2) The Expert) The Sat, 2 The Instn ofthe Museum cx Galley (5) Te Ars (6) Tha Discrimination of Conan Sense, (7) The (ales ofthe Object, (6) Ou Aestetic Response to Objet. When & comes to Marcel Duchamp famows Fount (1917) (or na we Ht hat there sro ceive ansner asf whether or tte aft Fr tet is Independent fc to which we ean apnea to dec he ‘mater once and fer a In 8 vay, then, the pnt Dena lace maybe to rae tho question abot the cepe and mts ofa athe than vee anne ae tovtat ati WHAT DO ES THIS GESTURE SIGNIFY?; WHAT DOES THIS GESTURE SIGNIFY? Gestures are rch mesring Asa condensed a rovers way express appa er dsareroval econ ox eafecbon, a asec Some gests, suchas pang. have meanings tat ope be moe or ess universe. ters, however suchas the thumbs-up Sn, ant cous te thumbs un sgn seem to nae citerent meanings i trent conten For tari. te Mumbs-v2 Sr, when used Inte West by les tlere eo, Oy ncnnes wang ae, ob ders check her uncerwaer eupmet § enerpeetae an atria ash However the very sae gesture nthe Mle Eats ewe in oppo ay. ti made in tt conte ‘hen tean be esutng So een a simple gesture such _sns can roduc gave msundesancings whan rere i te wore way he sory ofthe thumbs-oun ign san tung inches sadn combat 25 Honever s28ms tat Holaood actualy pm msintegrtaton ofthe sign. Ths mse re, a French academe pat. peta cal Police Vero when was eat oe Lntorunate, nen esareneg ms misvanwatee the Lab word for “ures a 10 tare owe,” ana 0, stead of using te cor for 6230 (ie, he trred-n thumb accompanied stabbing moton tates the chest he employe tune don sn. i ange Mat hs maundertonding het now become so eens nat ne ongnal-and correct meaning ofthe thumb-donn sgn ha amt bon st. ct Roman CHAPTER SEVEN FRAMING MEANING of meaning, te in of thes srt of scety and cute. The non we wil famine ae a ow ‘The ing hat exreses meaning Te categary of expression = The manner of exgressen Te place orate of expression enpeyes oust. supper or ute expesson = The wes of expression that create rect teen spect othe > Te snes mat eresent and she nua or = Tre meoes tat contigs Pandan In order to understand Row cet. ages, 0 eas font the groupings we have st defines, haw ere some exampies of he apcicaton oe chav (Semantic Unt) Off trite (Ger) Fanctonal Sie) An cet wah 3 somenrat ‘hee ston) ‘Coneumersm (seca? ‘new (Dscourse! Practcaiy Mosernam (Paden) nde ok (Stent)FRAMING MEANING we meh Bbout he nee (Daceuse)vecaueo ‘Seah Here te Language ‘ko te che, Ad pine of unten pec at centre pracaly in dev, Mo The concepts we hove aricustd app eal images and tents Here ae wo more exiles Painting Semantic Unt) Porat (ere) ‘Academie (Sy) Alii ception ot ste (Sere) aly ction) Natu decog) Oxjectty Dscouse) Genus yt) Festa (Pxasgn) ‘A pain Semantic Und) mh be» oat (ered, ‘ecu nan acaceric marr (he, wih 8 mestondig sem obo elke in is ween tA), a Book Semantic Uni Te fry ta (Parade 1 childhood ion reseed Vitorian ideas concering the uty o HOW SHOULD WE JUDGE THIS IMAGE?HOW SHOULD WE JUDGE THIS IMAGE? Semantic unt are decrete te communication hat, hve actus and pent meanings. A semantic unt © ‘an aspect or pro ting. thing rset, ora coecton of tings hat can be ered ae onc elements ot comarca Tetbosed semantic uns ete eases to nity they cons of wna, serteces,paragaps ages. chaps, o tks. We hws because van we are ural undestan a parcusr teu tet we can ack “Whe! dos ths part oravertncsparagaphbapecheptetcck mean” ir images, the su is mare it A gating fo have bush mars, nes, oes, testis, cars, ‘2d lier pans, ao which can be ent a. Imeanngit—and of couse ie picture a. whale as ening. to, Once again, we can ett the semantic tuntingueton by pking out at whch net unde by ashing “Wha oes te pac ‘uhdineRnhesureesirpa oe mageunose ‘aye ran” Paso obes, objets ersehes, and colton oes his par of he object, this whe ote or (ne problem wth semantic uns sin krowingexaty whee one begins andthe ether ans. This happen, for example, na case where hae see tbe wo india photographs tat con onthe previous page). Here we hove we cn rest the image as 2 mistake arty to read 2c of the semantic unis of which itis composes yes Ether sepatatoy, owe can rea! te mage a «whe ‘semantic unt and assign ita ingle et of means Which opton we choose in this case may doen ot hat we thnk the inenton ofthe phlesrapher was. For the purposes ofthis chapter ve wil ok t semai unis 2s compete thing a, Doks, pining, hae ile tering to gnare the problem of pats, nd the ess cf overlap, s THIS A LANDSCAPE OR A PORTRAIT?IS THIS A LANDSCAPE OR A PORTRAIT? Genes are categories hs corform fo 3 cei son of parts mesiun. Design nas of rphies, muted, tute, roduc. domestic ware, ttles, 2nd fashion, ne the genres of ave, entertainment, and esrcton Telesion has goes of soap opera, educatn, ar corey. Books have take place succesfully. These communicate ss wit ‘en ony be tly productive when the conterm pte {ules ofthe gene in question ie, when tee same ‘shared undorstaning of what he gee requires) re othe rules of fms that there cannot be a change at ger hallay hough. For exam, 9 scence ton ‘movie should not sucenly charge 08 west n he idl. Making ths sue frien necaset would conse the audience, The same ite ea news report hat tarts wth some serious eer nd ends with apiece of asi. “he paining by Thomes Gainsbroueh of Me an ts Anes (ca. 1750) onthe ees page peers us wih an apparent exception ots rl in hatte to combine porta and landscape. So why is ‘lowed? The obvious ancne is tht the pure dene ‘a moment wher wo gers coalscs Inti ens t ‘sraterke the way in nich sere moves combine ‘he genes of romance snd comedy. What his shows that a singe semantic uit ean contin melded ants, but ot genes that are sequential Hi vas SENTENCE? AT KIND OF PERSON HAS WRITTEN Se am nol a criminal.Fam nota criminal wHat MAKES THIS WORK OF ART NON-STEREOTYPICAL? WHAT KIND OF PERSON HAS WRITTEN THIS SENTENCE? Please trust we. Premirmt se. Please trust me. Please trust me. aow MIGHT THE DISPLAY OF AN OBJECT i NCE HOW WE FEEL ABOUT IT? INFLUE| WHAT MAKES THIS WORK OF ART NON-STEREOTYPICAL? Stereotypes ‘example on arewHAT IS WRONG WITH THIS MAP? ‘eres o remind the museur- gor ofthe sense of reverence hat they are expects to have ova what, has ben put on eloy ust th the museum, ther isto acto egte ‘utr meanings andthe social behav tal ges wth them. Churches regulate meariegs ad ers at Detar tough the aly books, by desist areas of worshi, and though the prescribed couses of ‘action that go withthe ceremanies when they have evs. Houses regulate resrines and behav ye ay in which such things as wal, wiedcws, ees, oar, aks, brs and ther secunty devices are ‘coniure to crete segegaton. Courts of reste meanings and forms of behavior cush he ou of their roms an corors thus Keeping awe ve, ‘and the accused apart), and by niles of procedie (whic dette the formal mads of aderess het cot!1S WRONG WITH THIS MAP? down" map ol the wor ies ae “eopsrs to bea the cater. Ths makes & ng, hgh rat ti ot won, bu merely tebe wwf rings, o Keg. ha lp ue 0 290 he wos i a erent way at ns wat aro ty sa retort, ey tne mre tsar ranting) tends to plce value on traaton,authanty,3na Merten, eens eng \delogy tons o ace vabe on equa. bey, sd commun, 2. Rsystem of sey betes or desres tat canbe cantasea wth bolts or ees that re ue Manis view eo inthis way. Thus Marts ‘argue tat, by te prosagaon cea ies, he voting class chad i accepting an sana and socal order wher ne upper class sa care 3. The general process hough which ou syst boli and desire are produced and consume, ‘Accord oth view varaus pats of a society or ‘utr ato pre (and ao ake ade consume) cera sys of nous or nays of ‘mining. Foristarce, popuar newspapers te romat the delogy of he people who ae of vale to sxity jst because they ae rich er mous, wHAT DO! pERSO! OES THIS THRONE SAY ABOUT THE N WHO MIGHT SIT IN IT?LIVES OF ARTISTS INFLUENCE THE oe SEE THEIR PICTURES? HOW WE WHAT DOES THIS THRONE SAY ABOUT THE PERSON WHO MIGHT SIT IN IT? ‘scones of cametiton (revaentin Western devs ‘f economics nd gota cee), dcorss ot ‘eto mace mane! trough var Sees oa nation ste), decourses of leaming mandecied and suave ty eared educationTHE LIVES OF ARTISTS INFLUENCE WE SEE THEIR PICTURES? to understand the word We tend think Jancert sores hat are probably not the more general sense arth maybe pty re, ees fae thin question an the fancton thet There at nrerou ins of mt. Thee are that dominate contemporary Society inelie he mye ‘since, poles, e¥@on, desen at andthe nso there ar famous ‘One of the mos intresting mis ft of he ai. The Ives of artists are often seen as arate, This particule re of Vincent Van Gogh We tink! Povey, we contemplate his fous fatal love at, we speculate about he severing of rar of a, nd vee wonder ve is meta url and nal ent, Al ‘hese bigraphic! deals connc alto in uence how \e view is work as they al go ofr te my fn Gogh. However, imagine that xt othe ve soneane discovers that these tas ave unueVan Gogh & turns ot ved a blsstuly happy if, Would ts be lenoush to change the myth—and hence the ‘meanings—o al of Nis ptures? n artlr, woud yu then view the paling on the previous pane os somthing over than melanchotc?|AT DO THESE DOODLES MEAN? “Seman Fret ede Hese dates. Once you how doy se then 9 more rea way? We ia Fe erase ert of Wen eter, maye ewes exes wn dss wren he mee Ree dod. readings lobes, mages, and txts by what we cal paradigms A paradigm 2 etn them maybe sce ty parr Feuon the unconscious, he sche), tating int sme hale er tecess.Petars they uc fear nats sewal in seme way Now suopose thal hese dawns wre nay Freud Ines, trogine that hey were by Alert Erste, Wud that ange how you 88d then? Hf you think wou, then she because you woud Stato apy a itr et of concepts, procedures, and results totam (6, the that ou acacia wth he work Erin? Such 2 ‘acl aera in your perception call a paren {nf A paradigm shit happens when an aerate way ot thinking proved by 2 naw set of concent resus. 26 procedures. Te change in perception tees pce de the ne ramen or hea at you now use oie your eparience. A paradigm-hitin this stance wos take place if you shied your itrpetatn fom 3 Freda one ton Ensteiian one CHAPTER EIGHT STORIES AND STORYTELLING ura biog te te ol animal that tl stories We ing human ste in every geograchial ation, ey histone perio, and in every cute. Stories, then, seem a ransend neat, nistricl, end ta oundars. ores are sous this might ead 12 tn hat hey hav a uneton. So why do we et Stores! Thre ae varus reasons to ive tstuctn, "row nope, to conte brave, to tansmt ‘oes na nemorbie em to enhance soa ‘esr, and tage human bangs a bette way of Uurdestanng theres ard thers in ters of ee needs desres, mates, and ations. Af these reason and mot coe Uses expan our ned "ote ties, Wa fr do tails tae? Now, ns, comics ‘aang ad ngapien are he fs tat ve ms fair tous. na ater ss obvi way, omer, #8 a on histo eevilon news peremarces of Tr can 9s that ook fees columns, TV documetani ime, stained oss wedows, sme parte —rveriserants rave sme fom of toni fe or ary sscigines wre Save hee any areas ‘nstance, abt sce? trios are not ol? What. Ssolng Srey Hafan Geb om ra see. Mi eas wan mses Tre ayy en as Secs st wy nnn te ee amen Soneontnes ut tee 2 mai tng et we encase na dca en seen can tere yet rt ec ay od nt sac 20 at sa na muon we at ome Ten ee ante, cov neg pot 3 sree ete sae bose ate en id ows not ioeT REALLY DIE ON THE CROSS? STORIES AND STOR' YTELLING pip CHRIS Sts ang soning have wnat we‘symbasfor Chri’ death the X shaped ros (oS. Andrew, the Greck-shaped cross (this arms fest lent), arc the Maltese cross (wth ts sent-ke eg). What rates inthis Ba try snot ts fatal ‘accuracy—because the early Christan dint ow imeges tobe made te reresent he Crucfixor, tere 418 ro gpd ways o check on the fats—but the marl ‘hates behing it. The Crcitixon is ene ofthe greatest ‘ora stories eer toi, An in reading the BE we should remember that te emphasis on thn sores that have @ meaning or human actin rater tan, (01 reporting of mere evens from which escns may De leaned. the Bite were writen tke a cout rest then it might be appropiate to readin that way, ou. Decause, forthe most patti writen the as. ‘would be wise to read ita one. WHAT MAKES THIS A STORY? Boy meets Girl. Boy loses Girl. Boy wins Girl back.Boy meets Girl Boy loses Girl Boy wins Girl back. Varous sos of distrtarce, bth age ad sal tat sere a creat adscuiiou in a sory canbe seen Inf, erature, at design, and aden Tae stvetsng at an example. Creating diferent nds ot turbance hat lad 0 a feeng of disequibisn ‘neo the mast popular techniques used to sl ‘Products. Ths «because when a7 a creates feeling fof dsturbance" na customer—and this ws rmantests tse n ters of asatstacton—than tere ‘wilbe a chance to etn the customer ta feing ot eulbium once mar hough a purcase, S08 sane hunger wl povde the possibly of seg os. Ateing of extreme ascot wil provce te ossty of ling pam. A wary abou cur atvatveness wil rove the posibiy ef lire ‘cotmetes, A serge of nfeonty wil provide the ossty sling al manner of goods ad series that wi entance our stats. cAN YOU EXPLAIN THIS STORY? strange thing happened to my best Aircns, Alex Baker. Every day Alex would catch the bus to work. Invariably, at the first stop, a blind man would get on, pay his fare and sit down next to him. One day the blind man had no money for the ride, and so, out of generosity, Alex paid for him. The blind man thanked him, but warned, “! would strongly advise you to walk home this evening.” Alex took his advice. Later that evening, Alex turned on the television only to find that the bus he had been due to take home had been subject to a terrorist attack. The next day the blind man was not on the bus. He never reappeared.* cc r- eS caN YOU TELL ANYTHING ABOUT THIS PERSON BY HIS APPEARANCE? CAN YOU EXPLAIN THISWHAT IS STRANGE ABOUT THIS PHOTOGRAPH? CAN YOU TELL ANYTHING ABOUT THIS PERSON BY HIS APPEARANC noneWHAT HAPPENED TO THESE PEOPLE? ey igh at et sn,WHICH 1S THE BEST STORY?WHICH IS THE BEST STORY? The cat salon he mt tats becaie some fom of tron ha cote an, 25. est, we can imagine ramatc hapoening, Ste ae place whe someting happens. Mrtting happens then there pe sony} When me brow tht he cats at on the de’ mat we want ase “Why i the cat ito the dogs ma? iat happened wren cut Was be arg about? Washer the cat pt anay wth #9 he en” Of couse, we can ask the ca at onthe a,b herp we rece amy be fod marine Welend oink of nara tensions as exstig mainly io tes. Hones, here area arate tens in bjs For exam, he cbjets of pstmadern des s2e pen sucha terion bythe way which they ma Shes (oda new),materats (uate and cheap, tyand.nen and secondhand), and erccesses of when someone i iting 2 bal na gamed. By capturing the moment in this way the pheogrophe suggests what might have come belo the mement an what might WHAT HAPPENED NEXT?WHAT HAPPENED NEXT? tse en a er mst obsess the at happens Htc’ amas tes om the fn on he sevous ip ths paragaph ou have te Scen that tring pot ccs hen the layed by Joe eh is suey meres ond sussen ent eds toa bg change (eg, the murder o Archduke Fone Fran that ke to Word War Muse i 590 to have ts turing coins when thet san atrpt changin rt, harmony, or eld Ce. the fest movement of Beethoven’ Fith Symanonyh Speech 's $8 tohave is ung pits whee tere an urereces change inane ce rain ters sound (eg, he tamave seach that nls the phrase "have a dear." made by ew ngs acest Morn we King Stange, we ere nc tink of ‘tects a having turing gis, een thou they can have them. The turing part nthe Meo an tet met te the mame when is Wt wd when ts ken When is sl, wen sot whan ts gen 8 a THERE IS A ZEN BUDDHIST STORY THAT BEGINS WITH A QUESTION:In stores 98 fe, we want tings fo be veschi, In wanting resolution we might ay thal we feishae the ides of things having encings. Tals why we look for meical cures to be covered olga pronouncements to be deeded, for educator ‘rogrammes tobe completed, for obs to be finshed, and fr storis to each an end. And is surely no accident that etl soften seen in trms of {ure and its final resolution In wishing fo these things tobe resoed, However, we should at fre the value othe ourey that takes us to the reschaon “sl. tis tis joumey, 2s phiosoony Alf as show, that can often be 3s valuable as the destinaon. In ¥en when we reach te destination we may sometimes fi ourselves mirscuousy back at he teasing (Once upon atime thee was aback on semiotic This Means Tis, Tas Means That. CONCLUSION ven hough semiotics has Seminal texts, estatlished procedures, scholarly dette, publstions, and an academe nto, 28 we have seen, til ater fers an ecocte subject. This diversity and cles, patculaty in terms of s methods, stems fram the many dilerentdscioines that uses fr inspton, inching Ingustes, antopobgy pychoogy, ohiososhy, soccogy, a histo, ‘ammunition studies, meda studies, and materia cate. The result ft is thatthe subject has bath a weakness and a strength. is weakness i tht theres ‘0 body of krowledge of which semitics can be of knowledge gest the Feesom owe ren ny of inking, venues of ofees and coe ways exploring meaning, In cer was, because rot have the doce quality fanart scptines,semobes can be done acta rarer tran Cartan ts stergh shat tea ust passive lamed and digested Farin semotes on Sing decipher a codes meaning a ave at that ened we ae asec conta relat, enc eb, and rerwgarate te mesnng that we find around us. Ad hs swat mes sen rewarding subject oesTo. he Oe Go Wind Gos ne Ot: Ors Unersty Pres, 203, Chand, Dane Seats: The Bases London Rowtese 002 Cate, Pte). The Communcaton Tear Reade andar Route, 1996. Cle Pana ar, L, Semone Bags Combe, 1997 Cate, onan, Susur Londo Feta 1976. Di, Rey, Boo Ura Lean Ware: Werdnarth eons, 2005. Dre Of Cartes, Man Hees ard ter eesti Tags Baraat: Macran, 1988. onl, Kleene ard Dente Osserotons” Priest Povo, 1985 Dur, They, Kent afer Duchamp, Cambs, MA vat Pres, 1996, Fake, stn An Inaucton Wo Conmuncatn Stes (2nd eon. endo: Ros. 1950, ere 6. Tors geet mace cme” ute Visual Cormuncston Review, 3, 171-99, 1956. ost, ga. Te Langage of Advertsing ne ‘en. odo: Rete, 2002 Goren, £4. ra on (th etn. anon Phan, 1977 Gombe EH. os nate sy cn aes © stay ard At Ors Prion 579. onan, € The Imag ard re Ee Furie tudes ie Pct of Peto Representation, Ot: raion 1985. Gorn W Tarenc. Sasser Begs New Yr Wats nd Rance, 956. “nese, Roman "long stare gusts nt ows Sak, Te Ste ard Larwurge Care 8: Pre, 1958, “sttson, Roman an Hale, Maris. The Fungo ‘scanguage Vendo Warde Grate, 202 vest hom, ard Cupar, hos ed) ‘the Dscouse Reade Landon: Routed, 19 Jean, Georges Stns, Symbo' end Gores: Decodnt the Message Landen: Thames ard Hck, 1958 ees, Gur, a Van esi, Theo. Rein aes The Gana o Ws Design 2rd ein) Londen: te, 2006 Lok eo, ard Jtson Mak Melos We Line rept) Oncag:Unvesiy of Chao ress, 08, Lacie H. The structure ae uncon of craton Inscety” in Bsn, . Tre Communication of as New Yor Ini fo Relpeus ara Soc ‘uses, 1948 ese, Komune, Cue Lev Srais, rcag: Chicago ‘Unersty Pres, 1970. lessens, Cau. The Row ad the Coed: Intent Senco of Mylar London Pes, 1968, ret a, Hole ena ar iter, J. Ursa Pret of Des. Ges, A Reco 2003 etran, Marna Uraesinaing Mel The terns ‘of Man wep Lando: Rie, 200 ecuan chon, deatemanis ets fine Bue ren Veg Farm 1988, oo, 8 (98) Relarce ad Meaning Cx Oxo ‘Unersy Pres. 1983. aa Dvn. Tne Beg fA A Sty fhe ‘etueeling Betaver ef ne Great Aoes ad hs eatranp te Maran At Londen Weve, 1362 Nags Tat he Be 8 SP” Peep! Rew, Moning aang A Sty 8 rasnceof Language upon Toit nd oie Senco ‘Senate ea. an Dio: Maou Brace omer, 383, apes, Vt, re Geen Inger cong ana nes Davi ard Areca en Thar Had, 1995 Pte, Cates Ss. Coto apes Carnie ana Urey Pes, 1928 Perce. Charles Sars. The Eset Parc: Sects Phiosooheal rang 2 vs. Beaming: ears nsersty Pres. 1958. re. Gags Sprit Ssces ard Oe Pes enon: Peng. 197 Pasa, “Mean ard elerrceo Mose, Ae. Feteence an Maanrg Or: Oe Urey Pres. 1983. eps Pol compl. Zen lsh, en Bones A Caton of "onan PrZen Were dar: Stra, 354 te Sova Fedo (183) vars Hers, Roy Corse in Gena Ungusics \zoder: Done, 1383. Sane Supt, Antace. The Lite Price Londo Eayrort a Hct, 2005. ‘etek, Thomas, S Panda’ Bax Pow a8 why “zmmuricne 10000 years ote ie” Beh, Marsa ed) On Ss sts hw, 1985. snannen, Case and Weer Waren. Te Maes Thy cf Cammncaton eset Wars Ae(48 Masco, ete Money, 146-206 race, Sant Mace Come, Feaganco Qustons, Foren ‘sean Sl tom Fit Lang, Mesopte, 1926. UF al Crete, 42 Goin Bin, Litring er Lon, steaeaph ‘Course Can Oe, "Us Ae Soho, Wa (8) The Ose’ Boa Tes (0370, tendon Freeeek Wame& cote 18 ra138 ‘su By courtesy Arig Le Handed Us, aged ans ‘978 Sarco Bestel, lth of Vr, ca. 1485-86. Teg en ‘anes, 17827 m(5Ginx9 82m, Gaara dgh Une, Fence © Quon, Foverce, ‘se Marc Duchamp, Fouts 1917, Rech mace, mg 525 cm 204m) cauney Stony Jans Gale, ‘7. Tamas Gansta, rand. Artens, 1750 en cans, 598 1194 em 74447). oral aly, Landon, 42 Gal An, Each Vr 196. 120 feces (128 274157 em 5x 106424 nO Cah ate {ie Lando eens by ORGS Lanse 207 and WGA, Now York, Hora stuns and Mantis Caen, Rye ‘alege of Mic Pht Anas Sehmat en, Copp, Ferre. 9 Say ‘tas Up Sour man © 2007, cma co, Fr maps and eter ete achirg matt conch OUT. ne. PO ox IM, Anes MA OI0O4 USA Tek 419.549 1253, Pata nh arg 189. on ‘gg 8 cn 2341) Srv Ces "Tua. Car tie At Gate, ordre Pease Ura of Cones, asings, Oc