It has become banal to say that the object of the art of theatre, its artifact, is particularly fragile, that a theatrical performance— necessarily limited in time and not reproducible—is an ephemeral phenomenon. And yet it is a fact that the evanescence of the theatre arts explains better than any other circumstance the universality and the importance of iconography in this area. What could be more natural than the forever manifested desire to prolong the length of the theatrical phenomenon, to (...) immortalize it in a certain sense. (shrink)

The changes from the original version are relatively minor, but enough to make it necessary to treat the present version as a distinct text for purposes of exact reference. Since there is no normal pagination on a web page, I assign in lieu of that paragraph numbers, included in brackets and placed flush right, just above the paragraph, for purposes of scholarly reference.

Charles S. Peirce’s semiotics uniquely divides signs into: i) symbols, which pick out their objects by arbitrary convention or habit, ii) indices, which pick out their objects by unmediated ‘pointing’, and iii) icons, which pick out their objects by resembling them (as Peirce put it: an icon’s parts are related in the same way that the objects represented by those parts are themselves related). Thus representing structure is one of the icon’s greatest strengths. It is argued that the implications of (...) scaffolding education iconically are profound: for providing learners with a navigable road-map of a subject matter, for enabling them to see further connections of their own in what is taught, and for supporting meaningful active learning. Potential objections that iconic teaching is excessively entertaining and overly susceptible to misleading rhetorical manipulation are addressed. (shrink)

The body of philosophical knowledge concerning the relations among language, the senses, and deafness, interpreted as a canon of key ideas which have found their way into folk metaphysics, constitutes one of the historically sustained conditions of the oppression of deaf people. Jonathan Rée, with his book I see a voice, makes the point that a philosophical history, grounded in a phenomenological and causal concern with philosophical thought and social life, can offer an archaeology of philosophy's contribution to the social (...) oppression of deaf people.This article offers support for such a project while being critical of Rée's philosophical phenomenology, since it presumes, àpriori, two ideas about deafness and sign language: firstly, that deaf experience is like hearing experience but without hearing; and secondly, that the iconic qualities of sign languages are strictly superficial phenomena. Both presumptions, it is argued here, derive from the same philosophical knowledge which has linked deafness to the sense of hearing and the voice, and in doing so secured an intellectual basis for the oppression of deaf people in social life. (shrink)

We argue that the pictorial nature of certain constructions in signs and in gestures explains surprising properties of their syntax. In several sign languages, the standard word order (e.g. SVO) gets turned into SOV (with preverbal arguments) when the predicate is a classifier, a distinguished construction with highly iconic properties (e.g. Pavlič, 2016). In silent gestures, participants also prefer an SOV order in extensional constructions, irrespective of the word order of the language they speak (Goldin-Meadow et al., 2008). (...) But in silent gestures and in Brazilian Sign Language (Libras), intensional constructions can override these SOV preferences, yielding SVO instead (Schouwstra & de Swart, 2014; Napoli et al., 2017). This distinction was argued to be due to iconicity: arguments are expressed before the verb if they correspond to entities that are present before the action, otherwise they follow the verb. While agreeing with this intuition, we propose that the extensional/intensional distinction is neither empirically nor theoretically appropriate. In new data from American Sign Language, we replicate the distinction among extensional classifier predicates: for _x ate up the ball_, the ball is typically seen before the eating and a preposed object is preferred; but for _x spit out the ball_, the ball is typically seen after the spitting and a postposed object is preferred, although both _eat up_ and _spit out_ are used extensionally. We extend this finding to data involving pro-speech (= speech-replacing) gestures embedded in French sentences. We argue for a Visibility Generalization according to which arguments appear before the verb if their denotations are typically visible before the action, and we develop a new formal account within a pictorial semantics for visual animations (inspired by Greenberg and Abusch). It derives the observed word order preferences, it explains how the semantics of classifier predicates combines iconic and conventional properties, and it makes a more general point: sign language semantics combines logical semantics with pictorial semantics. (shrink)

This article explores a unique relationship between iconicity and metaphor: that seen in creative sign language, where iconic properties abound at all levels of linguistic representation. We use the idea of “iconic superstructure” to consider the way that metaphoric meaning is generated through the iconic properties of creative sign language. We focus on the interaction between the overall contextual force and individual elements that build up symbolism in sign language poetry. Evidence presented from the (...) anthology of British Sign Language poetry demonstrates that metaphoric meaning is not inherent in signs. What is inherent is iconic value—and purely iconic signs become metaphorical when situated in a certain poetic context. (shrink)

In the present study, cross-modal (i.e., across sensory modalities such as smell and sound) iconicity (i.e., resemblance) and indexicality (i.e., contiguity) in lexical sensory and emotional signs in Finnish Sign Language will be considered from an articulatory perspective (i.e., the production of signs). Such cross-modal iconicity has not been extensively studied previously, so here, with the help of cognitive semiotics, I aim to carefully describe the cross-modal patterns observed across 118 signs, including 60 sensory signs and 58 emotional signs. (...) The analysis is framed within the theoretical model of Semiotic Hierarchy, which entails a non-reductionist view of meaning. In addition, a pheno-methodological triangulation will be applied: phenomenology (first-person method), literature of phenomenological and semiotic descriptions (second-person perspective) and experimental findings (third-person perspective). The results of this analysis show that (a) 71 of the 118 sensory and emotional signs are cross-modally indexical, (b) only 10 of the 71 signs can be regarded as cross-modally iconic, (c) cross-modal iconicity is highly diagrammatic, (d) iconicity and indexicality are highly integrated, and (e) articulatory feedback matters in the formation of semiotic patterns. This study contributes to our understanding of cross-modal iconicity in signed languages, as well as studies in semiotic systems more generally. (shrink)

Iconic signs are overrepresented in the vocabularies of young deaf children, but it is unclear why. It is possible that iconic signs are easier for children to learn, but it is also possible that adults use iconic signs in child-directed signing in ways that make them more learnable, either by using them more often than less iconic signs or by lengthening them. We analyzed videos of naturalistic play sessions between parents and deaf children aged 9–60 months. (...) To determine whether iconic signs are overrepresented during child-directed signing, we compared the iconicity of actual parent productions to the iconicity of simulated vocabularies designed to estimate chance levels of iconicity. For almost all dyads, parent sign types and tokens were not more iconic than the simulated vocabularies, suggesting that parents do not select more iconic signs during child-directed signing. To determine whether iconic signs are more likely to be lengthened, we ran a linear regression predicting sign duration, and found an interaction between age and iconicity: while parents of younger children produced non-iconic and iconic signs with similar durations, parents of older children produced non-iconic signs with shorter durations than iconic signs. Thus, parents sign more quickly with older children than younger children, and iconic signs appear to resist that reduction in sign length. It is possible that iconic signs are perceptually available longer, and their availability is a candidate hypothesis as to why iconic signs are overrepresented in children’s vocabularies. (shrink)

When naming certain hand-held, man-made tools, American Sign Language signers exhibit either of two iconic strategies: a handling strategy, where the hands show holding or grasping an imagined object in action, or an instrument strategy, where the hands represent the shape or a dimension of the object in a typical action. The same strategies are also observed in the gestures of hearing nonsigners identifying pictures of the same set of tools. In this paper, we compare spontaneously created gestures (...) from hearing nonsigning participants to commonly used lexical signs in ASL. Signers and gesturers were asked to respond to pictures of tools and to video vignettes of actions involving the same tools. Nonsigning gesturers overwhelmingly prefer the handling strategy for both the Picture and Video conditions. Nevertheless, they use more instrument forms when identifying tools in pictures, and more handling forms when identifying actions with tools. We found that ASL signers generally favor the instrument strategy when naming tools, but when describing tools being used by an actor, they are significantly more likely to use more handling forms. The finding that both gesturers and signers are more likely to alternate strategies when the stimuli are pictures or video suggests a common cognitive basis for differentiating objects from actions. Furthermore, the presence of a systematic handling/instrument iconic pattern in a sign language demonstrates that a conventionalized sign language exploits the distinction for grammatical purpose, to distinguish nouns and verbs related to tool use. (shrink)

According to Peirce, iconic interpretation is an associative inference on the basis of similarity. In that sense, nearly all Chinese characters are icons. The more obvious support for this claim comes from the pictorial nature of Chinese characters, which are either ‘pictographic’ or ‘indicative’. A better adjective for both is ‘ideographic’ because they share the same interpretive movement from ‘graphs’ to ‘ideas’ that are similar. There is another direction in which a graph can be turned into an icon. Apart (...) from the semantic connection to the referent, a graph is also related through convention to a particular sequence of sounds which constitute its pronunciation. This has resulted in characters that are ‘picto-phonetic’ in nature. (shrink)

In an earlier paper, I set out to apply to animal mimicry the definition of the sign, and, more specifically, of the iconic sign, which I originally elaborated in the study of pictures, and which was then extended by myself and others to language, gesture, and music. The present contribution, however, while summarizing some of the results of those earlier studies, is dedicated to the demonstration that animal mimicry, as well as phenomena of the human Lifeworld comparable (...) to it, are in a sense the opposite of signs. It has often been observed, not only within speech act philosophy, but also by the semiotician Luis Prieto, that as sign can only function as such once it is recognized to be a sign. Animal mimicry, camouflage, and the like, in contrast, only work as such, to the extent that they are not perceived as signs. Unlike what speech act philosophy claims, nevertheless, the “difference which makes a difference” is not the recognition of a purpose attributed to the subject producing the sign. A footprint, for example, has to be recognized as a sign in order to function as such. Nevertheless, to the extent that a purpose is attributed to the subject setting the sign, it may be considered a sign, but one that hides its nature, a fake footprint. Mimicry and camouflage, however, are similar to such “natural meanings” as footprints in entertaining a different relation to the agent initiating the act and the agent perceiving it. Classical studies of mimicry distinguish its varieties according to what is rather vaguely called function. In this paper, we will investigate whether these classifications can be recuperated from a semiotic point of view, or whether a semiotically valid classification should start from scratch. (shrink)

This paper is broadly concerned with Deleuze’s distinction between ‚la loi et les lois’ on the one hand, and jurisprudence on the other. Jurisprudence is the␣creative action of legal practice, the process by which it is forced to think constructively and anew. In such circumstances legal thought is akin to Deleuze’s concept of the event. I explore the distinction between law and jurisprudence by way of Deleuze’s comments on control societies, arguing that, under control, law ceases to be a juridical (...) hierarchy conforming to disciplinary modes to become a regulatory practice of interminable modulation. In order to begin to explore the relations and connections between law/jurisprudence and control, the paper will look to the semiotics of C.S. Peirce (who influenced Deleuze’s work on cinema). In particular it will argue that control operates predominantly through icons. As a consequence I argue that the proper ground of the sign, the event, is co-opted and, following from this, that control functions through the confusing of sense and meaning. (shrink)

In this paper, we try to shed light on the ontological puzzle pertaining to models and to contribute to a better understanding of what models are. Our suggestion is that models should be regarded as a specific kind of signs according to the sign theory put forward by Charles S. Peirce, and, more precisely, as icons, i.e. as signs which are characterized by a similarity relation between sign (model) and object (original). We argue for this (1) by analyzing (...) from a semiotic point of view the representational relation which is characteristic of models. We then corroborate our hypothesis (2) by discussing the conceptual differences between icons, i.e. models, and indexical and symbolic signs and (3) by putting forward a general classification of all icons into three functional subclasses (images, diagrams, and metaphors). Subsequently, we (4) integratively refine our results by resorting to two influential and, as can be shown, complementary philosophy of science approaches to models. This yields the following result: models are determined by a semiotic structure in which a subject intentionally uses an object, i.e. the model, as a sign for another object, i.e. the original, in the context of a chosen theory or language in order to attain a specific end by instituting a representational relation in which the syntactic structure of the model, i.e. its attributes and relations, represents by way of a mapping the properties of the original, which hence are regarded as similar in a relevant manner. (shrink)

This book consolidates and extends the authors’ work on the connection between iconicity and abductive inference. It emphasizes a pragmatic, experimental and fallibilist view of knowledge without sacrificing formal rigor. Within this context, the book focuses particularly on scientific knowledge and its prevalent use of mathematics. To find an answer to the question “What kind of experimental activity is the scientific employment of mathematics?” the book addresses the problems involved in formalizing abductive cognition. For this, it implements the concept and (...) method of iconicity, modeling this theoretical framework mathematically through category theory and topoi. Peirce's concept of iconic signs is treated in depth, and it is shown how Peirce's diagrammatic logical notation of Existential Graphs makes use of iconicity and how important features of this iconicity are representable within category theory. Alain Badiou’s set-theoretical model of truth procedures and his relational sheaf-based theory of phenomenology are then integrated within the Peircean logical context. Finally, the book opens the path towards a more naturalist interpretation of the abductive models developed in Peirce and Badiou through an analysis of several recent attempts to reformulate quantum mechanics with categorical methods. Overall, the book offers a comprehensive and rigorous overview of past approaches to iconic semiotics and abduction, and it encompasses new extensions of these methods towards an innovative naturalist interpretation of abductive reasoning. (shrink)

This paper explores the role of iconicity in spoken language and other human communication systems. First, we concentrate on graphical and gestural communication and show how semantically motivated iconic signs play an important role in creating such communication systems from scratch. We then consider how iconic signs tend to become simplified and symbolic as the communication system matures and argue that this process is driven by repeated interactive use of the signs. We then consider evidence for iconicity at (...) the level of the system in graphical communication and finally draw comparisons between iconicity in graphical and gestural communication systems and in spoken language. (shrink)

Sounds play crucial roles in a poem’s meaning (re)construction. Grasping the content of a literary work such as poetry often requires a profound interpretation of the underlying linguistic cum phonetic codes of its discourse. Extant studies on Nigerian children’s poetry have paid little attention to this aspect of meaning conception, thereby concentrating mainly on the surface lexical constructs. Hence, this study aims to examine imagic iconicity in children’s poems in order to demonstrate how a poem’s thematic realization is inferred through (...) the interpretation of the phonic and acoustic nature of the sounds employed. The study involves five poems: three from Ossie Enekwe’s Gentle Birds Come to me and two from Ikeogu Oke’s Song of Success and Other Poems for Children. The analysis is anchored to insights from Charles Sanders Peirce’s concept of the iconic sign, and exploits the action of acoustic and phonetic articulation of sounds to determine their functions and effects in the poems. The study reveals how specialized lexemic choices and onomatopoeia (kinaesthemes, phonaestheme or sound symbolism) in children’s poems make each poem functional and purposeful. Thus, children’s poetry contains language structures and configurations that transmit sense and embody what the poem is asserting in a way that interestingly engages the reader. (shrink)

Sign languages are known to display the same general grammatical properties as spoken languages, but also to make greater use of iconic mechanisms. In Schlenker et al.’s ‘Iconic Variables’ :91–149, 2013), it was argued that loci can have an iconic semantics, in the sense that certain geometric relations among loci are preserved by the interpretation function. Here we ask whether plural and height specifications of loci display the formal behavior of phi-features in remaining uninterpreted in focus- (...) and ellipsis-constructions. Data from ASL and LSF show that plural and height specifications may indeed remain uninterpreted in these constructions; furthermore, there are cases in which a single high locus is construed iconically and left uninterpreted in the course of ellipsis resolution. We argue that our data are compatible with two theories. According to the Strong View, plural and height specifications of loci display exactly the behavior of spoken language features. According to the Weak View, our data just show that plural and height specifications share the behavior of features and other non-assertive elements in being separable from the referential terms they specify. Our LSF data are compatible with the Weak View; our ASL data might provide support for the Strong View. While our aim is merely to open the debate about the featural status of iconic specifications, the question is of some importance: if features are innate and primitive elements of grammar, and if some of them have an intrinsically geometric semantics, the signed modality might play a greater role than is usually thought at the very core of Universal Grammar. (shrink)

We argue that some sign language loci (i.e. positions in signing space that realize discourse referents) are both formal variables and simplified representations of what they denote; in other words, they are simultaneously logical symbols and pictorial representations. We develop a 'formal semantics with iconicity' that accounts for their dual life; the key idea ('formal iconicity') is that some geometric properties of signs must be preserved by the interpretation function. We analyze in these terms three kinds of iconic (...) effects in American and French Sign Language (ASL and LSF): (i) structural iconicity, where relations of inclusion and complementation among loci are directly reflected in their denotations; (ii) locus-external iconicity, where the high or low position of a locus in signing space has a direct semantic reflex, akin to the semantic contribution of gender features of pronouns; and (iii) locus-internal iconicity, where different parts of a structured locus are targeted by different directional verbs, as was argued by Liddell and Kegl. The resulting semantics combines insights of two traditions that have been sharply divided by recent debates. In line with the 'formalist camp' (e.g. Lillo-Martin and Klima, Neidle, and Sandler and Lillo-Martin), our theory treats loci as variables, and develops an explicit formal analysis of their behavior. But we also incorporate insights of the 'iconic camp', which emphasized the role of iconic constraints in sign language in general and in pronominals in particular (e.g. Cuxac, Taub, Liddell). However, this synthesis is only possible if formal semantics makes provisions for iconic requirements at the very core of its interpretive procedure. (An Appendix discusses relevant data from Italian Sign Language [LIS].). (shrink)

This article applies some conceptual tools from semiotics to better understand the disastrous impacts of the world economy on global ecology. It traces the accelerating production of material disorder and waste to the logic of the money sign, as economic production processes simultaneously increase exchange-values and entropy. The exchange of indexical and iconic signs is essential to the dynamics of ecological systems and the proliferation of biological diversity. The human species has added a third kind of sign, (...) the symbol, and more recently a fourth: all-purpose money. Money does not refer to any referent either through contiguity, similarity, or convention. It is an empty sign, capable of assuming any significance that its owner attributes to it. The article argues that the concept of symbolic reference should be restricted to cultural and linguistic phenomena. Money qualifies as a new species of sign based on its exceedingly open mode of reference. It does not refer to any object by social convention but owes its specific properties precisely to the absence of such conventions. The logic of money pivots on decontextualisation: it presupposes and encourages the detachment of exchange values, people, and concepts from the particular and the local. Selective advantage is no longer primarily about calibration within local contexts, but increasingly a matter of transcending or emancipating oneself from the specific. This drift toward decontextualisation reverses the evolution of complexity and diversity throughout the planetary biosphere. (shrink)

Iconicity is a relationship of resemblance between the form and meaning of a sign. Compelling evidence from diverse areas of the cognitive sciences suggests that iconicity plays a pivotal role in the processing, memory, learning, and evolution of both spoken and signed language, indicating that iconicity is a general property of language. However, the language‐specific aspect of iconicity, illustrated by the fact that the meanings of ideophones in an unfamiliar language are hard to guess (e.g., shigeshige ‘staring at something’ (...) in Japanese), remains to be fully investigated. In the present study, native speakers of Japanese and English rated the iconicity and familiarity of Japanese ideophones (e.g., gatagata ‘rattling’, butsubutsu ‘murmuring’) and their English equivalents (e.g., rattle, murmur). Two main findings emerged: (1) individuals generally perceived their native language as more iconic than their non‐native language, replicating the previous findings in signed language, and (2) the familiarity of words in their native language boosted their perceived iconicity. These findings shed a light on the language‐specific, subjective, and acquired nature of iconicity. (shrink)

Mathematical notation includes a vast array of signs. Most mathematical signs appear to be symbolic, in the sense that their meaning is arbitrarily related to their visual appearance. We explored the hypothesis that mathematical signs with iconic aspects—those which visually resemble in some way the concepts they represent—offer a cognitive advantage over those which are purely symbolic. An early formulation of this hypothesis was made by Christine Ladd in 1883 who suggested that symmetrical signs should be used to convey (...) commutative relations, because they visually resemble the mathematical concept they represent. Two controlled experiments provide the first empirical test of, and evidence for, Ladd's hypothesis. In Experiment 1 we find that participants are more likely to attribute commutativity to operations denoted by symmetric signs. In Experiment 2 we further show that using symmetric signs as notation for commutative operations can increase mathematical performance. (shrink)

Two different concepts of iconicity compete in Peirce's diagrammatical logic. One is articulated in his general reflections on the role of diagrams in thought, in what could be termed his diagrammatology — the other is articulated in his construction of Existential Graphs as an iconic system for representing logic. One is operational and defines iconicity in terms of which information may be derived from a given diagram or diagram system — the other has stronger demands on iconicity, adding to (...) the operational criterion a demand for as high a degree of similarity as possible and may be termed optimal iconicity. Peirce himself does not clearly distinguish these two iconicity notions, a fact that has caused some confusion. By isolating them, we get a clearer and more refined conceptual apparatus for analyzing iconic signs, from pictures to logic. (shrink)

The claim of this paper is that Peirce's conception of the iconic sign provides the key conceptual element required to solve the major problem traditionally associated with the doctrine of representative perception, according to which all perceptual awareness of things is mediated through representations or "ideas" of them. The problem this has generated in the philosophical tradition is based on construing the representation not merely as..

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common in (...) sign languages: classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

For a sign to be a sign it must bond an object, a signifier, and the idea to which it gives rise. The paper focuses on the iconicity of silence as a hypoiconic signifier, exploring the semiotics of silence in light of the notions and studies of iconicity. Fascinating parallelisms hold between iconicity and silence. These raise many challenges to the study of each separately, let alone dealing with them jointly. Some icons and some silences are qualities in (...) the real world, others are semiotic forms standing for or denoting objects. Simple, intuitive qualities of iconicity and of silence are naturally grasped and shared from antiquity to the present by cultures and peoples. The paper employs Peirce’s initial basic trichotomy of iconic classes as well as his later hierarchies for studying the iconic stance of silence as a hypoiconic signifier. Analyzing and illustrating the possible complexities between forms, contents, their relations and their interpretations, group hypoiconic silences into silence as an image, silence as a diagram, and silence as a metaphor. (shrink)

Many sign languages display crosslinguistic consistencies in the use of two iconic aspects of handshape, handshape type and finger group complexity. Handshape type is used systematically in form-meaning pairings (morphology): Handling handshapes (Handling-HSs), representing how objects are handled, tend to be used to express events with an agent (“hand-as-hand” iconicity), and Object handshapes (Object-HSs), representing an object's size/shape, are used more often to express events without an agent (“hand-as-object” iconicity). Second, in the distribution of meaningless properties of form (...) (morphophonology), Object-HSs display higher finger group complexity than Handling-HSs. Some adult homesigners, who have not acquired a signed or spoken language and instead use a self-generated gesture system, exhibit these two properties as well. This study illuminates the development over time of both phenomena for one child homesigner, “Julio,” age 7;4 (years; months) to 12;8. We elicited descriptions of events with and without agents to determine whether morphophonology and morphosyntax can develop without linguistic input during childhood, and whether these structures develop together or independently. Within the time period studied: (1) Julio used handshape type differently in his responses to vignettes with and without an agent; however, he did not exhibit the same pattern that was found previously in signers, adult homesigners, or gesturers: while he was highly likely to use a Handling-HS for events with an agent (82%), he was less likely to use an Object-HS for non-agentive events (49%); i.e., his productions were heavily biased toward Handling-HSs; (2) Julio exhibited higher finger group complexity in Object- than in Handling-HSs, as in the sign language and adult homesigner groups previously studied; and (3) these two dimensions of language developed independently, with phonological structure showing a sign language-like pattern at an earlier age than morphosyntactic structure. We conclude that iconicity alone is not sufficient to explain the development of linguistic structure in homesign systems. Linguistic input is not required for some aspects of phonological structure to emerge in childhood, and while linguistic input is not required for morphology either, it takes time to emerge in homesign. (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of (...) rule have divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

In the 1890s, Peirce reformulated quantification theory by expressing it in a language of diagrams, called existential graphs. Peirce thought that the iconicity of his graphs made them suitable for analyzing logical reasoning. Iconic signs can be said to show their meaning, and this paper studies the ways in which graphs do this. Peirce's pragmatic analysis of propositions resembles game-theoretical semantics, and existential graphs show what they mean by displaying the structure of the semantic game for the proposition represented (...) by a graph. (shrink)

This commentary supports MacNeilage's dismissal of an evolutionary development from sign language to spoken language but presents evidence of a feature in sign language (echo phonology) that links iconic signs to abstract vocal syllables. These data provide an insight into possible mechanism by which iconic manual gestures accompanied by vocalisation could have provided a route for the evolution of spoken language with its characteristically arbitrary form–meaning relationship.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 210 Seiten: 75-104.

A case study of multimodal systems and a new interpretation of Charles S. Peirce's theory of reasoning and signs based on an analysis of his system of ...

Several language experiments have been carried out on apes and other animals aiming to narrow down the presumed qualitative gap that separates humans from other animals. These experiments, however, have been driven by the understanding of language as a purely symbolic sign system, often connected to a profound disinterest for language use in real situations and a propensity to perceive grammatical and syntactic information as the only fundamental aspects of human language. For these reasons, the language taught to apes (...) tends to discard iconic and indexical elements in favour of symbolic signs. This paper sheds light on the iconic components of human language, with close attention to the iconic properties of language as present in the ape language experiments. We emphasise the role of the body in the interpretation and production of iconic signs, while demonstrating the need to take into account the Umwelt theory in the research paradigm of the experiments. Uexküll’s Umwelt theory is used to exemplify the methodological problems connected to the teaching of human language to other animal species; furthermore, we discuss how the modelling capacities of language affect the biological layer that constitutes the animal Umwelt. Language is analysed as a particular case of Umwelt transition, and as such its implications are further discussed in the article. With this paper, we enrich the discussion surrounding the human-ape pidgin language by advocating for the need to include iconic components as vital parts of this research area. With this inclusion, we uncover the inter-dependency of iconic, indexical and symbolic signs in human language, aiming to further develop the research paradigm of the ape language experiments. (shrink)

Palast der Republik, by the photographer Christoph Rokitta, is an independent photobook published in 2013 in Berlin. In the photobook different semiotic resources are coupled in order to iconically model the demolition of the homonymous building in Berlin. In opposition to the trivial notion of icon as sign that stands for its object in a relation of similarity, we analyze the photobook as an icon whose main feature is the possibility of discovering information about its object through its manipulation. (...) This specific feature is called operational criterion for iconicity, and it stresses the inherent quality of icons of revealing information available through their manipulation and observation. Our aim is to describe and analyze the relations between semiotic resources in this photobook by exploring the operational criterion of iconicity, and models as epistemic artifacts. We are interested in how couplings between semiotic resources in the photobook can iconically model a spatio-temporal process. (shrink)