Semiotics of Visual Language

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Indiana University Press, 22‏/10‏/1990 - 276 من الصفحات

"... the details of Saint-Martin's argument contain a wealth of penetrating observations from which anyone with a serious interest in visual communication will profit." -- Journal of Communication

Saint-Martin elucidates a syntax of visual language that sheds new light on nonverbal language as a form of representation and communication. She describes the evolution of this language in the visual arts as well as its multiple uses in contemporary media. The result is a completely new approach for scholars and practitioners of the visual arts eager to decode the many forms of visual communication.

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المحتويات

Two The Visual Variables
16
Three Syntax of Visual Language
65
Five Effects of Distance and Perspectives
109
XlVd Topological depth and illusory depths estimated in meters
127
Six The Grammar of Sculpture
145
Seven Semiotical Analysis
183
Positioning of coloremes inside the grid
198
Five structural levels of visual grammar
203
Topological and illusory depths measured in meters
215
Linear representation of the vectorial curve of surfaces
216
Establishment of three frontiers
217
Boundaries outlined to regroup regions into superregions
218
Positioning in depth of some regions and subregions according to syntactic analysis
222
Graphic model of a syntactic structure of a visual work
225
Appendix I
227
Appendix IV
240

Schema of the spatial energetic structure of the Basic Plane
206
Liaisons between similar elements in separate regions of the visual field
209

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الصفحة 80 - The geometric line is an invisible thing. It is the track made by moving the point; that is, its product. It is created by movement— specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static into the dynamic occurs.
الصفحة 184 - But the decisive point is that the existence of a system is a necessary premiss for the existence of a process: the process comes into existence by virtue of a system's being present behind it, a system which governs and determines it in its possible development. A process is unimaginable — because it would be in an absolute and irrevocable sense inexplicable — without a system lying behind it.
الصفحة 80 - The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero. Hidden in this zero, however, are various attributes which are "human" in nature. We think of this zero — the geometric point — in relation to the greatest possible brevity, ie, to the highest degree of restraint which, nevertheless, speaks. Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. The geometric...
الصفحة 5 - ... the problems that arise on the lower levels of phonemics and morphology are unsolved. It is quite true that the higher levels of linguistic description depend on results obtained at the lower levels. But there is also a good sense in which the converse is true. For example, we have seen above that it would be absurd, or even hopeless, to state principles of sentence construction in terms of phonemes or morphemes, but only the development of such higher levels as phrase structure indicates that...
الصفحة 25 - A paradigm in one language and a corresponding paradigm in another language can be said to cover one and the same zone of purport, which, abstracted from those languages, is an unanalyzed, amorphous continuum, on which boundaries are laid by the formative action of the languages. Behind the paradigms that are furnished in the various languages by the designations of color, we can, by subtracting the differences, disclose such an amorphous continuum, the color spectrum, on which each language arbitrarily...
الصفحة 39 - For when we find ourselves surrounded by a given colour which excites its corresponding sensation on the eye, and compels us by its presence to remain in a state identical with it, this state is soon found to be forced, and the organ unwillingly remains in it. 805. When the eye sees a colour it is immediately excited, and it is its nature, spontaneously and of necessity, at once to produce another, which with the original colour comprehends the whole chromatic scale. A single colour excites, by a...
الصفحة 28 - Orange-Yellow, and vice versd. (7.) It must not be supposed that a red or yellow body reflects only red and yellow rays besides white light ; they each reflect all kinds of coloured rays : only those rays which lead us to judge the bodies to be red or yellow, being more numerous than the other rays reflected, produce a greater effect.
الصفحة 39 - ... in some degree pathologically affected by being long confined to a single colour ; that, again, definite moral impressions were thus produced, at one time lively and aspiring, at another susceptible and anxious — now exalted to grand associations, now reduced to ordinary ones. We now observe that the demand for completeness, which is inherent in the organ, frees us from this restraint; the eye relieves itself by producing the opposite of the single colour forced upon it, and thus attains the...
الصفحة 2 - A language is defined by giving its 'alphabet' (ie, the finite set of symbols out of which its sentences are constructed) and its grammatical sentences. Before investigating English directly, let us consider several languages whose alphabets contain just the letters a, b, and whose sentences are as defined in...
الصفحة 20 - ... fundamental similarity is, let us observe more closely how it figures in the learning of language. One learns by ostension what presentations to call yellow ; that is, one learns by hearing the word applied to samples. All he has to go on, of course, is the similarity of further cases to the samples. Similarity being a matter of degree, one has to learn by trial and error how reddish or brownish or greenish a thing can be and still be counted yellow.

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