Semiotics: The Basics

Chandler, Daniel

doi:10.4324/9780203166277

Cited by 470 publications

(142 citation statements)

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“…Conventional signs, or symbols, of which linguistic signs are the most important subset, have three elements (Daniel Chandler 1994): (i) the signifier " ", what in economics is typically called the message, e.g., "Meet me at noon at the information booth in Grand Central Station. "; (ii) the signified , what we think of when we read or hear the message -a distinction is drawn below between the literal and the equilibrium meanings; and (iii) the referent , where both the object to which the proposition allegedly applies, e.g., the intended action of the sender, and the truth-value of the proposition are considered.…”

Section: A Moves and Messagesmentioning

confidence: 99%

Optimal Relevance in Imperfect Information Games

Streb

2015

SSRN Journal

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To help incorporate natural language into economic theory, this paper does two things. First, the paper extends to imperfect information games an equilibrium concept developed for incomplete information games, so natural language can be formalized as a vehicle to convey information about actions as well as types. This equilibrium concept is specific to language games, because information is conveyed by the sender through the message's literal meaning. Second, the paper proposes an equilibrium refinement which selects the sender's most preferred equilibrium. The refinement captures the notion that the speaker seeks to improve its status quo, aiming at optimal relevance. Explicit coordination through verbal communication parallels the idea of implicit coordination through focal points. JEL classification codes: D83, C72

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Section: A Moves and Messagesmentioning

confidence: 99%

Optimal Relevance in Imperfect Information Games

Streb

2015

SSRN Journal

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“…Therefore, narratives are perceived as natural and effective. The semiotician Roland Barthes (quoted in [2]) maintains that narrative is trans-cultural, trans-historical, trans-linguistic. It is suitable to be transposed from a dynamic medium to another, which makes narrative unique among the representation modalities.…”

Section: The Semio-narrative Frameworkmentioning

confidence: 99%

Semiotic Design of a Hypermedia for Cultural Heritage

Roberto

Toppano²

2009

Image Analysis and Processing – ICIAP 2009

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Abstract. The paper proposes a semiotic model inspired to the narrative, structural framework by A.J.Greimas, and applied to the design and analysis of a hypermedia. The framework is structured into four levels of signification and allows for a constructive process of semantic aggregation. We follow such a process in order to explore the conceptual organization of the model. We construct a hypermedia regarding a collection of ancient mosaics from a roman villa. Our results indicate that the proposed approach opens novel perspectives, and looks promising towards the definition of semiotic methodologies of hypermedia design.

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“…The indexical is "a mode in which the signifier is not arbitrary but is directly connected in some way (physically or causally) to the signified," as in natural phenomena like smoke being indexical of fire. The iconic, however, is "a mode in which the signifier is perceived as resembling or imitating the signified (recognizably looking, sounding, feeling, tasting or smelling like it)" (Chandler 2002).…”

Section: Meaning As Musicmentioning

confidence: 99%

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

Vannini

Waskul

2006

Symbolic Interaction

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Although generally neglected by sociological theory and research, esthetics is undeniably important in individual and collective life. In this article we argue for a revitalization of symbolic interactionist and sociological concern with esthetics while also proposing a metaphor of symbolic interaction as music. Esthetic value is omnipresent in life, the natural environment (Dewey 1925), the arts (Becker 1982) and sciences (Dewey [1934] 1959), household possessions (Csikszentmihalyi and Halton 1981), and work and occupations (Fine 1996). However, for the sake of developing a consistent and cohesive metaphor, we will limit our discussion to the value of esthetics in music, without making any distinction between classical and popular music. Widely accepted dramaturgical and narrative metaphors structure understandings of numerous aspects of symbolic interaction, yet neither directly concerns the important role of esthetics in the constitution of meaning, interaction, self, and society.

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Semiotics: The Basics

Cited by 470 publications

References 0 publications

Optimal Relevance in Imperfect Information Games

Optimal Relevance in Imperfect Information Games

Semiotic Design of a Hypermedia for Cultural Heritage

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

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