What we generally regard as ‘the face’ should be semiotically understood not as something given and monolithic, but rather stratified – it is at least threefold: biological (face), physiognomic (expression), perceivable (visage) – and relational as it has to be put within a narrative in order to make sense. The face lies at the centre of a whole semiotic system, the form of life, revolving around the issue of identity (which the face – the visage, to be precise – embodies (...) and still does not resolve). What we may call ‘the natural face’ is not, as common sense would suggest, the precondition of the ‘culturalized’ one (featured with modifications ranging from make-up and proper masks to surgery), but rather just one of the possible semiotic masks a person may choose to wear. At the same time, the mask does not have to be reduced to a deceptive device only (nor to be meant merely as a material object), being in fact at the centre of a more complex axiology. The classic veridictory square articulating the opposition between Being and Seeming may provide a suitable model for the semiotic square of ‘visageness’, so that we would have: Face, Disguise (the place of the mask proper), Fake, Anonymity. Based on these theoretical premises, the paper finally addresses popular music and outlines a provisional map of the pragmatics of the mask (subtractive vs. additive, ritualistic vs. continuous, material vs. virtual, mask as face vs. face as mask), as a suggestion for further studies. (shrink)

The Catholic concept of “sanctity” can be thought of as a “cultural unit” (Eco) composed of a wide variety of “grounds” (Peirce) or distinctive features. The figures of individual saints, i.e., tokens of sanctity, are characterized by a particular set of grounds, organized and represented in texts of different genres. This paper presents a semiotic study of texts seeking to offer an encompassing view of “sanctity” by listing all the saints and supplementing their names with a short description of their (...) lives emphasizing the grounds characterizing each of them. The analysis focuses on a seminal liturgical text, the Martyrologium Romanun (1584–2004), and the first official encyclopedia of saints, the Bibliotheca Sanctorum (1961–2013), as well as a sample of digital texts and media such as websites and mobile apps. While the first text offers a dogmatic perspective on sanctity and saintly figures and the second offers a historical and culturological one, websites succeed in reconciling the two paradigms into a single syncretic form of interactive fruition in which the more up-to-date encyclopedic model subsumes the traditional calendar one and, in the case of apps, adds a glocal dimension, enhancing situated cognition. The analysis shows that the introduction of the encyclopedic genre and subsequent proliferation of digital repertoires is connected to a shift in the Catholic “episteme” (Foucault) of sanctity and a growing tendency to consider saints as not (only) religious characters and objects of cult, but (also) as historical individuals and components of a culture and, consequently, as suitable objects of critical discourse. (shrink)

The use of facial recognition systems in concerts provides a perfect pretext to semiotically discuss the role of the face in contemporary culture, identifying different strategies and axiologies (systems of values). In his visionary essay Bruits (“noises”) from 1977, the French thinker Jacques Attali establishes a close connection between music and power and locates it in the site of the collective unfolding of music: the concert hall. Following this hint, the article reconstructs the current debate on facial recognition systems in (...) the music business, with a particular focus on concerts and festivals. The different positions (of musicians, authorities, and professionals) are outlined (some are openly in favor, others openly against), key moments are identified (Beyoncé’s concert in Cardiff, 2017; Jacky Cheung’s in Nanchang, 2018; Taylor Swift’s at the Rose Bowl in Pasadena, 2018; the “banfacialrecognition.com” campaign launched in 2019; the case of Barbara Hart at Brandi Carlile’s show at the Madison Square Garden, 2022) and, finally, the issue is framed within the broader debate about the face as an indexical marker of presence, identity, and humanity (the contrast between Italian philosopher Giorgio Agamben and American sociologist and design theorist Benjamin Bratton is addressed). (shrink)

The article presents a semiotic mapping of what is generally regarded as “disfigurement”, both as an extralinguistic somatic condition and as a linguistic-conceptual unit. It distinguishes between genetic, traumatic and elective “disfigurement”, also addressing the idea that such a phenomenon is to some extent structurally linked to the very existence and functioning of the face which we use as a relational interface. The article reconstructs the lexical semantics of “disfigurement”, including the alternative terminology that goes beyond derogative intent and is (...) referred to by activists and experts as “visible difference” (title’s “noncompliant faces”). Representation in the media, particularly cinema, seems unable to escape the chain according to which ‘different’ means ‘ugly’ and is a synonym for ‘bad’ or at best ‘negative’. The face, traditionally an invisible filter defining personhood and identity in Western thought, when “disfigured” reveals the ideological overlay of these concepts. The conservative and authoritarian nature of the face (the supposed index of the form of life that lies beneath and is reduced to it) compels those who cannot or will not base everything on the face, and thus risk being dehumanized, to imagine alternatives for vicarious identity expression through a relational interface that can detach themselves from the biological face and the body perceived as a delimited realm. (shrink)

Per una sociosemiotica della comunicazione musicale -- Per una sociosemiotica dei generi musicali -- Per una sociosemiotica della novità in musica -- Per una sociosemiotica del dubstep.

The paper investigates the cultural unit of “sanctity” in the light of the notion of “form of life”, in order to show how jazz master John Coltrane pursued sanctity as a regulative model with regards both to personhood and musicianship, so as to translate his existential quest into music. Firstly, the paper briefly summarizes: what we mean today by sanctity ; what are the relationships interweaving music and sanctity ; what we mean by form of life—a notion brought into philosophical (...) discourse by Ludwig Wittgenstein—in semiotic terms and why we can apply it to sanctity. Afterwards, the paper addresses Coltrane’s musical career, relying both on hagiographic discourse built around him and his discography, with special focus on three game-changers among his albums: Giant Steps, A Love Supreme, and Ascension. Coltrane headed a twofold conversion: he abandoned his native Methodist faith to embrace a personal form of syncretic pantheism; he abandoned the language of traditional jazz to embrace the avant-garde technique of modal composition and the once despised free jazz. Not only Coltrane wanted to be a saint, not only was he regarded as such to the extent that a “St. John William Coltrane Church” was established in San Francisco, but he tried to be one through music; namely, by conveying his spiritual journey via sonic means: proposing a musical catechism, a musical mass, and his own mystique. Consistently with the process of selection any saintly figure—and mystiques especially—undergoes in order to be canonized stricto sensu, only some tokens within Coltrane’s body of work were included in the canon, while his later works were left out due to their radicalism. (shrink)