Semiotics and the Meaning of Form

Barry, Jackson G.

doi:10.5840/cpsem198449

Cited by 2 publications

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“…Drawing on the work of both Witkin (1995) and Barry (1999) it was possible, however, to extend the analytical scope of the semiotic method to take account of this by developing an understanding of the unique way in which the aesthetic can be explored as a medium of non‐conceptual meaning. In Witkin (1995, p. 57 original emphasis ) discussion of the relationship between art and predominant social systems he notes that while one cannot talk of works of art as symbols in the conventional sense one can understand them as what he terms “sensuous symbols”.…”

Section: Methodology: Studying Artifacts and Their Communicative Capacitymentioning

confidence: 99%

“…One possible source of developing this particular insight was that provided by Barry (1999, p. 3), who deploys the term “ostentation” to denote what, in semiotic terms, would be described as a signifier that refers not to a single signified, but rather to a class of which it is a member, or the properties associated with that class. So for example, the image of a phone could be held to signify all phones, or the particular characteristics of a phone with its mouthpiece, earphone and the like.…”

Section: Methodology: Studying Artifacts and Their Communicative Capacitymentioning

confidence: 99%

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The spatial and temporal mediation of social change

Hancock

2006

Journal of Organizational Change Management

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PurposeThe objective of this paper is to provide insight beyond the internal dynamic of organizational change and explore how organizations contribute, at the symbolic and aesthetic level, to the experiential stabilization of spatio‐temporal change within society more generally. As such, the paper seeks to contribute to critical debates surrounding the relationships between organization and society, particularly in terms of understanding change as an outcome of organizational activity within the broader socio‐cultural environment.Design/methodology/approachConcerned as it is with the critical interpretation of visual image and composition, the paper adopts a broadly structural‐hermeneutic framework directed at the semiotic analysis of a sample of organizational artifacts; in this instance, a sample of company documents chosen by virtue of their communicative intent and rich symbolic and aesthetic content.FindingsIt is argued in the paper that several recurring or generic constellations of meaning can be identified across the documents; vitality, ephemerality, subordination and authenticity, each of which represents an attempt to mediate the experiential tensions that emerge both from the dynamic and spatio‐temporal instabilities generated by the socio‐economic relations of modernity and the mode of organization which predominates within it.Research limitations/implicationsGenerated from an intensive sample, employing a subjectivist mode of analysis the paper does not seek to offer an exhaustive or unduly generaliseable overview of the content of organizational documentation. Rather, it aims to present a plausible account, given the broader socio‐cultural context within which they are generated, of a range of recurring themes or genres which indicate a significant relationship between organizational visual culture and the wider stabilisation of socio‐psychological relations within modernity.Originality/valueThis paper provides an interesting insight into the internal dynamic of organizational change.

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Section: Methodology: Studying Artifacts and Their Communicative Capacitymentioning

confidence: 99%

Section: Methodology: Studying Artifacts and Their Communicative Capacitymentioning

confidence: 99%

The spatial and temporal mediation of social change

Hancock

2006

Journal of Organizational Change Management

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“…Logo, percebemos que a busca do sentido é um movimento que abrange um gesto que se estende para além da corporeidade do icônico. É descobrir como o poema significa como poema, como pensa Jackson Barry (1999). Para entendermos como ocorre a movimentação do icônico para o transuasivo na poesia escrita em papel, devemos partir da ideia de ícone proposta por Peirce (2010).…”

Section: Movimento Transuasivo Na Poesiaunclassified

Lo movimiento transuasivo en la poesía y la pintura

Antonio do Nascimento,

Sena Sousa,

De Oliveira

2023

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Este artigo examina como a materialidade icônica da poesia escrita em papel e da pintura em tela expressa movimento transuasivo. Fundamentadas principalmente em conceitos abordados por Charles Peirce (2010), Donis Dondis (1997) e Fayga Ostrower (1998, 1987), as análises revelam que a operação do icônico ao transuasivo nas duas formas de arte citadas ocorre a partir do esforço físico do receptor sobre a obra. Essa obsistência no ato de leitura como gesto e movimento possibilitou categorizar o movimento transuasivo em endofórico e endoexofórico. Esse processo se torna a força-motriz da cognoscibilidade operante na materialidade icônica.

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Semiotics and the Meaning of Form

Cited by 2 publications

References 0 publications

The spatial and temporal mediation of social change

The spatial and temporal mediation of social change

Lo movimiento transuasivo en la poesía y la pintura

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