1. 2003.09.03 - SLIDE 1IS246 - FALL 2003 Lecture 03: Semiotics IS 246 Multimedia Information Prof. Marc Davis UC Berkeley SIMS Monday and Wednesday 3:30 pm – 5:00 pm Fall 2003 http://www.sims.berkeley.edu/academics/courses/is246/f03/

2. 2003.09.03 - SLIDE 2IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

3. 2003.09.03 - SLIDE 3IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

4. 2003.09.03 - SLIDE 4IS246 - FALL 2003 What and How Do We Communicate? What “gifts” do we give each other? What do we do with these gifts? How does this gift exchange bring us together (or not)?

5. 2003.09.03 - SLIDE 5IS246 - FALL 2003 Beyond the Conduit Metaphor Reddy –Identification of the Conduit Metaphor –Suggestion of alternate Toolmakers’ Paradigm Iser –The reading process as a primary example of the Toolmakers’ Paradigm –Phenomenology of the reading process Barthes –New conceptions of “author” and “text”

6. 2003.09.03 - SLIDE 6IS246 - FALL 2003 The Conduit Metaphor Language functions like a conduit, transferring thoughts bodily from one person to another In writing and speaking, people insert their thoughts or feelings in the words Words accomplish the transfer by containing the thoughts or feelings and conveying them to others In listening or reading, people extract the thoughts and feelings once again from the words

7. 2003.09.03 - SLIDE 7IS246 - FALL 2003 Toolmakers’ Paradigm

8. 2003.09.03 - SLIDE 8IS246 - FALL 2003 Semantic Pathology –“Whenever two or more incompatible senses capable of figuring meaningfully in the same context develop around the same name” Example –“This text is confusing.” Text(1) = The layout/font of the text is confusing. Text(2) = The argument of the text is confusing. Question: Where is Text(2)?

9. 2003.09.03 - SLIDE 9IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

10. 2003.09.03 - SLIDE 10IS246 - FALL 2003 Iser on the Literary Work Literary work has two poles –Artistic Text created by the author (Reddy’s signals) –Esthetic Realization accomplished by the reader (Reddy’s Repertoire Members) Literary work comes to life in the interaction between text reader –Virtual dimension –Gaps

11. 2003.09.03 - SLIDE 11IS246 - FALL 2003 Iser on the Reading Process Phenomenology of reading process similar to phenomenology of perception –Anticipation –Retrospection –Gestalt –Illusion-building/Illusion-breaking Interaction with repertoire (familiar) Alien associations (unfamiliar) Text(1) and Text(2)

12. 2003.09.03 - SLIDE 12IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

13. 2003.09.03 - SLIDE 13IS246 - FALL 2003 Roland Barthes Death of the Author –Who is the “I” that writes? –The reader constructs the author by means of the text From Work to Text –Method: “The text is experienced only in an activity of production.” –Plurality: “The text is plural.” –Filiation: The author returns to his/her text as a guest –Text is a social space which coincides only with a practice of writing

14. 2003.09.03 - SLIDE 14IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

15. 2003.09.03 - SLIDE 15IS246 - FALL 2003 Foundations of Semiotics Ferdinand de Saussure Course in General Linguistics (1906-1911) One of the founders of modern linguistics –Established the structural study of language, emphasizing the arbitrary relationship of the signifier to signified and the diacritical nature of signs –Distinguished synchronic linguistics (studying language at a given moment) from diachronic linguistics (studying the changing state of a language over time) Creation of “semiology” the study of sign systems Hugely influential on modern literary and media theory

16. 2003.09.03 - SLIDE 16IS246 - FALL 2003 Language and Linguistics The object of study of linguistics is language (langue) not human speech (langage) Linguistic study can be divided up into –Diachronic linguistics How a system of values relates to and changes over time –Synchronic linguistics How a system of values works per se (at a point in time) Linguistics is not just a subset of the general study of signs (semiology) but is its template

17. 2003.09.03 - SLIDE 17IS246 - FALL 2003 Sign, Signified, Signifier –The linguistic sign is the unity of the signifier (a sound-image) and the signified (a concept) Linguistic Sign Concept Sound-Image

18. 2003.09.03 - SLIDE 18IS246 - FALL 2003 Linguistic Sign “The linguistic sign unites, not a thing and a name, but a concept and a sound- image. The latter is not the material sound, a purely physical thing, but the psychological imprint of the sound, the impression that it makes on our senses. The sound-image is sensory, and if I happen to call it "material," it is only in that sense, and by way of opposing it to the other term of the association, the concept, which is generally more abstract.” (p. 66)

19. 2003.09.03 - SLIDE 19IS246 - FALL 2003 Linguistic Signs and Language The sign is arbitrary A multiplicity of signs is necessary to form any language Language is an over-complex system Language exhibits a collective inertia toward innovation

20. 2003.09.03 - SLIDE 20IS246 - FALL 2003 From Signification to Values “[...] to consider a term as simply the union of a certain sound with a certain concept is grossly misleading. To define it in this way would isolate the term from its system; it would mean assuming that one can start from the terms and construct the system by adding them together when, on the contrary, it is from the interdependent whole that one must start and through analysis obtain its elements.” (p. 113). “Language is a system of interdependent terms in which the value of each term results solely from the simultaneous presence of the others [...].” (p. 114)

21. 2003.09.03 - SLIDE 21IS246 - FALL 2003 Linguistic Values Values are composed of –A dissimilar thing that can be exchanged for the thing of which the value is to be determined –Similar things that can be compared with the thing of which the value is to be determined Signified Signifier Signified Signifier Signified Signifier

22. 2003.09.03 - SLIDE 22IS246 - FALL 2003 Differences “Everything that has been said up to this point boils down to this: in language there are only differences. Even more important: a difference generally implies positive terms between which the difference is set up; but in language there are only differences without positive terms.” (p. 120). “In reality the idea evokes not a form but a whole latent system that makes possible the oppositions necessary for the formation of the sign. By itself the sign would have no signification.” (p. 130).

23. 2003.09.03 - SLIDE 23IS246 - FALL 2003 Syntagmatic and Associative Relations “In discourse, on the one hand, words acquire relations based on the linear nature of language because they are chained together. [...] Combinations supported by linearity are syntagms. The syntagm is always composed of two or more consecutive units [...]. In the syntagm a term acquires its value only because it stands in opposition to everything that precedes or follows it, or to both. Outside discourse, on the other hand, words acquire relations of a different kind. Those that have something in common are associated in memory, resulting groups are marked by diverse relations. [...] We see that the co-ordinations formed outside discourse differ strikingly from those formed inside discourse. Those formed outside discourse are not supported by linearity. Their seat is in the brain; they are a part of the inner storehouse that makes up the language of each speaker. They are associative relations.” (p. 123).

24. 2003.09.03 - SLIDE 24IS246 - FALL 2003 Syntagmatic and Associative Relations

25. 2003.09.03 - SLIDE 25IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

26. 2003.09.03 - SLIDE 26IS246 - FALL 2003 Discussion Questions (Saussure) Aaron Brick on Saussure –De Saussure wrote that “language is a form, not a substance.” Do not languages' mutually-defined units, and the network of their relationships, constitute content - or, dare I say, information? –A spectrum is described between arbitrary, “lexicological” languages and those with strongly motivated relationships, which are called “grammatical”. How does this attribute of language affect our usage and thinking? Can a qualitative judgment be made in favor of one extreme?

27. 2003.09.03 - SLIDE 27IS246 - FALL 2003 Discussion Questions (Saussure) Prof. Davis on Saussure –How could signs (which are not positive units) be represented and manipulated computationally? –How might Saussure’s ideas about linguistic signs apply to media such as video, photography, and music?

28. 2003.09.03 - SLIDE 28IS246 - FALL 2003 Today’s Agenda Review of Last Time –Towards a New Understanding of Communication –Iser on The Reading Process –Barthes on “Author” and “Text” Foundations of Semiotics Discussion Questions Action Items for Next Time

29. 2003.09.03 - SLIDE 29IS246 - FALL 2003 Readings for Next Week Monday 09/08 (Narrative and Narration) –Textbook David Bordwell and Kristin Thompson: Film Art: An Introduction. McGraw Hill, New York, 2003. Pages: 47-105. Wednesday 09/10 (Mise-en-scene and Cinematography) –Textbook David Bordwell and Kristin Thompson: Film Art: An Introduction. McGraw Hill, New York, 2003. Pages: 175-184 & 207-293.