An icon is part of the visible world, moreover, of things that are visible in a second degree. It is not only a sensitive thing, but a sensitive image of a sensitive entity. As an eikon, it is located in a platonic sense among the lowest degree of the doxa, and within the lowest degree of the scale of being. However it is not a simple sensitive and illusory representation of God, such as one criticized from a Kantian point (...) of view. The profound sense of an icon lies in its opening towards the invisible. An icon tries to capture the invisible. How is this meeting point of the visible and the invisible entangled? Can an icon really allow us to “see” the invisible or is it only a profanation of the invisible? It is my aim to analyze those questions in the following article. (shrink)

This paper is divided into three sections. In the first section we offer a retooling of some traditional concepts, namely icons and symbols, which allows us to describe an evolutionary continuum of communication systems. The second section consists of an argument from theoretical biology. In it we explore the advantages and disadvantages of phenotypic plasticity. We argue that a range of the conditions that selectively favor phenotypic plasticity also favor a nongenetic transmission system that would allow for the inheritance of (...) acquired characters. The first two sections are independent, the third depends on both of them. In it we offer an argument that human natural languages have just the features required of an ideal transmission mechanism under the conditions described in section 2. (shrink)

Iconicity refers to a resemblance between word form and meaning. Previous work has shown that iconic words are learned earlier and processed faster. Here, we examined whether iconic words are recognized better on a recognition memory task. We also manipulated the level at which items were encoded—with a focus on either their meaning or their form—in order to gain insight into the mechanism by which iconicity would affect memory. In comparison with non‐iconic words, iconic words were associated with a higher (...) false alarm rate, a lower d’ score, and a lower response criterion in Experiment 1. We did not observe any interaction between iconicity and encoding condition. To test the generalizability of these findings, we examined effects of iconicity in a recognition memory megastudy across 3880 items. After controlling for a variety of lexical and semantic variables, iconicity was predictive of more hits and false alarms, and a lower response criterion in this dataset. In Experiment 2, we examined whether these effects were due to increased feelings of familiarity for iconic items by including a familiar versus recollect decision. This experiment replicated the overall results of Experiment 1 and found that participants were more likely to categorize words that they had seen before as familiar (vs. recollected) if they were iconic. Together, these results demonstrate that iconicity has an effect on memory. We discuss implications for theories 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)

This study aims to find out whether speakers of different language backgrounds (English, French, Spanish, and Macedonian) are sensitive to semantic associations (‘fluid’ and ‘forcible contact’) attached respectively to two purported phonaesthemes (/fl-/ and /tr-/). Participants completed the task in oral and written conditions. They had to match phonaestheme-related definitions with either of two non-words (one phonaestheme-bearing and the other containing a distractor). The results obtained indicate that participants significantly chose non-words beginning with /tr-/ when the definition activated a meaning (...) related to forcible contact, and non-words starting with /fl-/ when the definitions made reference to fluids in the four languages. The results point to the existence of non-arbitrary sound-meaning relations. A corpus-driven study of frequencies of lemmas and word tokens starting with the purported phonaesthemes also sheds light on the possible origin of the phonaesthemic associations, suggesting that both iconicity and systematicity motivate such associations. The results obtained are interpreted in the context of a functional, usage-based model of language, which can accommodate the existence of iconic tendencies, the role of learning and linguistic experience in language, and arbitrariness. (shrink)

Modern microscopes create a capacity to see and act at the scale where unassisted human senses are powerless. Images of nanoscale phenomena represent a world that effectively intervenes in human life while remaining distant and ineffable. This combination of an unbridgeable distance between man and technology with a real power of the latter over the human condition is characteristic, not only of nanotechnology, but also of the theology of sacred icons that mediate in the knowledge of divine reality. We draw (...) an anthropological analogy between nanotechnological images and sacred icons, and we employ it to analyze the functioning of such images in society. The questions that we study include: a) the art of mediation in representing the ineffable and its necessity; b) the effects provoked by such images; c) primitive comprehension of nanoscale images. This work has repercussions for a wide variety of disciplinary accounts and practices, from the anthropologist and the philosopher to the laboratory scientist, the art critic, and the engineer who conceives and designs nanoscale instruments. (shrink)

This essay review explores Steven Mithen’s interdisciplinary approach to the origins and evolution of language in _The Language Puzzle_ ( 2024 ). It focuses mainly on what I call his _iconic vocal origins hypothesis_. Mithen challenges the prevalent gestural origins hypothesis, suggesting instead that early prehistoric languages were predominantly vocal and iconic, with conventionalization – as characteristic of symbol use – emerging later. _The Language Puzzle_ draws on research from archaeology, philosophy, computer science, developmental psychology, and many other fields, thus (...) assembling a wealth of insights from various disciplines. While intriguing, Mithen’s suggestion that prehistoric languages may have relied on iconicity instead of conventionalization faces substantial problems, which are discussed in this review essay. In the final section, I also briefly review the important conclusion chapter of Mithen’s book, which contains an imaginative outline of how language evolved from the last common ancestor up until modern _H. sapiens._ My criticisms of the iconic vocal origins hypothesis notwithstanding, _The Language Puzzle_ is a valuable resource for anyone interested in language evolution, and once again showcases Mithen’s wide-ranging expertise and masterful writing. (shrink)

Iconicity, the resemblance between the form of a word and its meaning, has effects on behavior in both communicative symbol development and language learning experiments. These results have invited speculation about iconicity being a key feature of the origins of language, yet the presence of iconicity in natural languages seems limited. In a diachronic study of language change, we investigated the extent to which iconicity is a stable property of vocabulary, alongside previously investigated psycholinguistic predictors of change. Analyzing 784 English (...) words with data on their historical forms, we found that stable words are higher in iconicity, longer in length, and earlier acquired during development, but that the role of frequency and grammatical category may be less important than previously suggested. Iconicity is revealed as a feature of ultra-conserved words and potentially also as a property of vocabulary early in the history of language origins. (shrink)

Maps and realist pictures comprise prominent sub-classes of iconic representations. The most basic, most important sub-class is perception. Other types are drawings, photographs, musical notations, diagrams, bar graphs, abacuses, hieroglyphs, and color chits.

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)

Emotions can be insensitive to certain attributes of a situation: Fear of flying is not always reduced by remembering air crash probabilities. A large body of evidence shows that information on probabilities, large numerical counts, and intentions is frequently disregarded in the elicitation and regulation of emotions. To date, no existing theory comprehensively accounts for the features that tend to be overlooked by emotion. In this paper, I call attention to the common denominator of such features: they do not contribute (...) to the iconic representation of events. For instance, the exceedingly low probability of a plane crash does not affect its imagistic representation (i.e., the iconic representation of the event is silent about the event’s probability). This paper introduces the Iconic Prioritization Hypothesis, positing that the prioritization of input in the iconic format by emotions can explain the neglect of information that is representationally silent in this format. Delving into the causes of this format prioritization, I argue that emotion might favour iconicity as it is the format of immediate information about our surroundings (perception) and of stored first-hand evidence (episodic memory). Lastly, the hypothesis's compatibility with philosophical theories of emotion causation and its implications for experimental research are examined. (shrink)

This paper concerns the role of the structural properties of representations in determining the nature of their content. I take as a starting point Fodor's (2007) and Heck's (2007) recent arguments making the iconic structure of perceptual representations essential in establishing their content as content of a different (nonconceptual) kind. I argue that the prima facie state–content error this strategy seems to display is nothing but a case of “state–content error error,” i.e., the mistake of considering that the properties that (...) characterize the type of content certain representations have are indeed independent of their structural properties. I also consider another objection to the general strategy, namely that it falls short of showing that the nonconceptual content of perceptual experiences thus established is the kind of content that figures in true explanations of intentional behavior. I concede this point in respect of Fodor's version of the strategy, while denying that it has any bearing on Heck's approach. The success of this objection in Heck's case ultimately depends, I argue, upon an unjustified commitment to a certain empirically suspect model of perception. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us with (...) opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM by (...) arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

According to one important proposal, the difference between perception and cognition consists in the representational formats used in the two systems (Carey, 2009; Burge, 2010; Block, 2014). In particular, it is claimed that perceptual representations are iconic, or image-like, while cognitive representations are discursive, or language-like. Taking object perception as a test case, this paper argues on empirical grounds that it requires discursive label-like representations. These representations segment the perceptual field, continuously pick out objects despite changes in their features, and (...) abstractly represent high-level features, none of which appears possible for purely iconic representations. (shrink)

The Russian icon was always related to the soul of the Russian painter, his anxiety and his emotions. Through the icon the russian has always expressed his faith and mentained the bundle with God. The icon has been considered by the russian people a bridge between human and divinity. The Russian people belive into an russian Christ. The Russian icon embodys the russian nature, his strength of creation and of adaption, but especially the russian soul. It (...) is been capitalized the icon painting of the greatest painters: Andrei Rubliov, Teofan Grecul Dionisie, as well as icon painting, starting from the novgorodiana school (the 11th century) till the 20th century, when big names of icon artists appared, such as Kondrafiev, Filatov, Zubov, A. Ivanov. (shrink)

In language, recombination of a discrete set of meaningless building blocks forms an unlimited set of possible utterances. How such combinatorial structure emerged in the evolution of human language is increasingly being studied. It has been shown that it can emerge when languages culturally evolve and adapt to human cognitive biases. How the emergence of combinatorial structure interacts with the existence of holistic iconic form-meaning mappings in a language is still unknown. The experiment presented in this paper studies the role (...) of iconicity and human cognitive learning biases in the emergence of combinatorial structure in artificial whistled languages. Participants learned and reproduced whistled words for novel objects with the use of a slide whistle. Their reproductions were used as input for the next participant, to create transmission chains and simulate cultural transmission. Two conditions were studied: one in which the persistence of iconic form-meaning mappings was possible and one in which this was experimentally made impossible. In both conditions, cultural transmission caused the whistled languages to become more learnable and more structured, but this process was slightly delayed in the first condition. Our findings help to gain insight into when and how words may lose their iconic origins when they become part of an organized linguistic system. (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)

This article studies the cognitive and communicative effects of typographical iconicity in poetry from the perspective of relevance theory. It argues that the visual aspect pertaining to an instance of typographical iconicity conveys a sensory impression, which perceptually resembles elements of the semantic material represented via the typographical iconicity’s lexical aspect. It is suggested that the non-propositional information relating to this impression can trigger the derivation of a wide array of weak implicatures which can combine to form an impressionistic and (...) indeterminate cognitive state described within relevance theory as a poetic effect. Furthermore, since the added effort, which the typographical iconicity requires to be perceived and processed, is offset by the derived implicatures, the use of typographical iconicity may be said to produce an optimally relevant level of processing. (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)

Using a cross-modal semantic priming paradigm, both experiments of the present study investigated the link between the mental representations of iconic gestures and words. Two groups of the participants performed a primed lexical decision task where they had to discriminate between visually presented words and nonwords (e.g., flirp). Word targets (e.g., bird) were preceded by video clips depicting either semantically related (e.g., pair of hands flapping) or semantically unrelated (e.g., drawing a square with both hands) gestures. The duration of gestures (...) was on average 3,500 ms in Experiment 1 but only 1,000 ms in Experiment 2. Significant priming effects were observed in both experiments, with faster response latencies for related gesture–word pairs than unrelated pairs. These results are consistent with the idea of interactions between the gestural and lexical representational systems, such that mere exposure to iconic gestures facilitates the recognition of semantically related words. (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)

In this article, the role of abductive reasoning within Peirce's diagrammatic reasoning is discussed. Both abduction and diagrammatic reasoning bring in elements of discovery but it is not clear if abduction should be a part of a fully developed diagrammatic system or not for Peirce. This relates to Peirce's way of interpreting abduction in his later writings. Iconicity and perceptual elements as a basis for discoveries are analyzed, both in deductive and abductive reasoning. At the end, the role of modern (...) ideas of distributed cognition applied to the Peircean scheme is shortly delineated. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures its (...) ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

This article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to meaning (...) is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

The essay proposes a notion of “icon” understood, according to the paradigm born of the Second Council of Nicaea, as a visible image of the invisible qua invisible. In this light, the distinctive feature of the icon-image is its ability to manifest the paradoxical identity-difference relationship that links visible and invisible, and, consequently, representable and unrepresentable, immanence and transcendence, eternity and time. By offering itself as the privileged place for the presentation of an absence and of a “withdrawal”, (...) the icon is distinguished in the first place by its apophatic and kenotic character. In this sense, the salient trait of the icon is its constitutive disquiet: it is founded on the “relational economy” of the image, which implies the need of an incessant articulation of the relation between visible and invisible. We can thus see in the icon the paradigm itself of “great art”: indeed, like the icon, great art is always primarily characterised by its disquiet, that is its ability to make transcendence appear in immanence, the Other of the visible appear in the visible. (shrink)

Philosophy and Phenomenological Research, EarlyView.

This article explores the theoretical and substantive connections between iconicity and consumerism in the field of contemporary iconic architecture within the framework of a critical theory of globalization. Iconicity in architecture is defined in terms of fame and special symbolic/aesthetic significance as applied to buildings, spaces and in some cases architects themselves. Iconic architecture is conceptualized as a hegemonic project of the transnational capitalist class. In the global era, I argue, iconic architecture strives to turn more or less all public (...) space into consumerist space, not only in the obvious case of shopping malls but more generally in all cultural spaces, notably museums and sports complexes. The inspiration that iconic architecture has provided historically generally coexisted with repressive political and economic systems, and for change to happen an alternative form of non-capitalist globalization is necessary. Under such conditions truly inspiring iconic architecture, including existing architectural icons, may create genuinely democratic public spaces in which the culture-ideology of consumerism fades away. In this way, a built environment in which the full array of human talents can flourish may begin to emerge. (shrink)

We investigate the emergence of iconicity, specifically a bouba-kiki effect in miniature artificial languages under different functional constraints: when the languages are reproduced and when they are used communicatively. We ran transmission chains of participant dyads who played an interactive communicative game and individual participants who played a matched learning game. An analysis of the languages over six generations in an iterated learning experiment revealed that in the Communication condition, but not in the Reproduction condition, words for spiky shapes tend (...) to be rated by naive judges as more spiky than the words for round shapes. This suggests that iconicity may not only be the outcome of innovations introduced by individuals, but, crucially, the result of interlocutor negotiation of new communicative conventions. We interpret our results as an illustration of cultural evolution by random mutation and selection. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on the (...) contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

Some twenty years after the term <I>iconic turn has been coined, and with a deluge of digital images, videos and animations surrounding, indeed invading, the learning environment, it appears that educational science, and the everyday practice of education, still very much labour under the impact of the past dominance of alphabetic literacy. But while educators clearly need to retain a measure of conservatism, maintain an acute sense for the logic of the written text and preserve the ability to handle extended (...) hardcopy documents, they have to rise to the task, also, of exploiting the potentials of online networked communication, the constant presence of images, both static and moving, and the continuous interplay of words and images. (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)

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)

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 ...

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)

Philosophers have lately seized upon Sperling's partial report technique and subsequent work on iconic memory in support of controversial claims about perceptual experience, in particular that phenomenology overflows cognitive access. Drawing on mounting evidence concerning postdictive perception, I offer an interpretation of Sperling's data in terms of cue-sensitive experience which fails to support any such claims. Arguments for overflow based on change-detection paradigms (e.g. Landman et al., 2003; Sligte et al., 2008) cannot be blocked in this way. However, such paradigms (...) are fundamentally different from Sperling's and, for rather different reasons, equally fail to establish controversial claims about perceptual experience. (shrink)

While it has become commonplace to use the term “icon” in philosophy of religion, it is an “icon” modeled after the resources of language. We find this for example in the recent Blackfriars article by Adam Glover, which despite its intention to treat the icon as an image, reduces it once again to a general form of reference which immediately feeds back into the linguistic. But might the icon have resources unique to its character as an (...) image that can help us understand what is meant by the paradoxical task of making visible the invisible God? This article takes up this task in conversation with the work of Jean-Luc Marion. (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..

This is one of those rare books whose influence will grow rather than diminish with the years. Icon and Idea is destined to take its place beside Ernst Cassirer's massive and difficult The Philosophy of Symbolic Forms as a basic work on the original, creative power of the human spirit as it is enacted as culture -- in myth, religion, science, art. Sir Herbert Read's book is neither massive nor difficult. It was first delivered as the Charles Eliot Norton (...) Lectures 1953-1954, at Harvard. Text and pictures together illustrate the intellectual courage of a great art critic, aesthetician and intellectual theorist, as well as poet and novelist. Advancing beyond Cassirer's theory of the irreducible autonomy of culture, Read develops his theory that "the image always precedes the idea in the development of human consciousness." Having established this major thesis, Read goes on to elaborate it in a way that will interest not only students of art history and the social sciences but any reader interested in the right basis for education. In arguing the primacy of art work in human development, Read gives the reader a fine general education in the history and psychology of art. (shrink)

Grammatical asymmetries in possessive constructions are overtly coded in about 18% of the world’s languages according to the World Atlas of Language Structures What primarily motivates these grammatical asymmetries is controversial and has been at the crux of the “iconicity vs. frequency” debate This paper contributes to this debate by focusing on the grammatical asymmetries of Paamese possessive constructions, and looking for the primary motivating factor in their multidimensional experiential context. After a careful account of four experiential dimensions of distance, (...) the degrees of experiential distance are shown to systematically correspond to the degrees of formal distance of the possessive constructions used to refer to these experiences. Relevant anthropological and linguistic data concerning Paamese is used to explore whether this correspondence between language and experience is primarily motivated by iconicity or economy. I argue that diagrammatic iconicity is the primary motivating factor for the grammatical asymmetries in Paamese possessive constructions, and that economy can account for some, but not all cases. I also show that economy and iconicity can collaborate in motivating some cases, and thus do not necessarily need to be opposed. (shrink)

Recent experiments have shown that people iconically modulate their prosody corresponding with the meaning of their utterance. This article reports findings from a story reading task that expands the investigation of iconic prosody to abstract meanings in addition to concrete ones. Participants read stories that contrasted along concrete and abstract semantic dimensions of speed and size. Participants read fast stories at a faster rate than slow stories, and big stories with a lower pitch than small stories. The effect of speed (...) was distributed across the stories, including portions that were identical across stories, whereas the size effect was localized to size-related words. Overall, these findings enrich the documentation of iconicity in spoken language and bear on our understanding of the relationship between gesture and speech. (shrink)

Iconicity, or the resemblance between form and meaning, is often ascribed to a special status and contrasted with default assumptions of arbitrariness in spoken language. But does iconicity in spoken language have a special status when it comes to learnability? A simple way to gauge learnability is to see how well something is retrieved from memory. We can further contrast this with guessability, to see (1) whether the ease of guessing the meanings of ideophones outperforms the rate at which they (...) are remembered; and (2) how willing participants’ are to reassess what they were taught in a prior task—a novel contribution of this study. We replicate prior guessing and memory tasks using ideophones and adjectives from Japanese, Korean, and Igbo. Our results show that although native Cantonese speakers guessed ideophone meanings above chance level, they memorized both ideophones and adjectives with comparable accuracy. However, response time data show that participants took significantly longer to respond correctly to adjective–meaning pairs—indicating a discrepancy in a cognitive effort that favored the recognition of ideophones. In a follow‐up reassessment task, participants who were taught foil translations were more likely to choose the true translations for ideophones rather than adjectives. By comparing the findings from our guessing and memory tasks, we conclude that iconicity is more accessible if a task requires participants to actively seek out sound‐meaning associations. (shrink)

The article explores cross-modal iconic relations in nine diverse Western-music songs ranging from 1600 to 2015, all of them thematizing dysphoric weeping. Initial input comes from five recurrent features observed in ancient Greek texts associated with performative events, including the prominence of sound, interjections and strong self-referentiality, repetitions and refrains, the motif of endlessness, and tears associated with streams of water, dew, and libation liquids. The analysis adopts Peirce’s conceptual distinction between image, diagram, and metaphor iconicity, although the continuum reading (...) proposed by several scholars is ultimately favored. The sample turns out to offer plenty of evidence of iconic relations. Interjections, falsetto, verbal repetitions, musical repetitions, musical rendering of sighs and endlessness, ostinato patterns, downward notes, and water images (rain and rivers), all of this is shown to substantiate cross-modal iconicity encompassing weeping, lyrics, music (including musical notation), and images, in different combinations. Quantitative investigations confirming/disconfirming and adding iconicity patterns, and comparative analyses linking Western and non-Western lament traditions constitute desiderata for future work. (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)

The Syllabus for Certain Topics of Logic is a long treatise that Peirce wrote in October and November to complement the material of his 1903 Lowell Lectures. The last of the eight lectures was on abduction, first entitled “How to Theorize” and then “Abduction.” Of abduction, the Syllabus states that its “conclusion is drawn in the interrogative mood ”.1 This is not the first time that Peirce associates abduction to interrogations,2 but the statement is significant because it is the first (...) time that the “interrogative mood” is ascribed to speculative grammar. At the same time, such... (shrink)

The present paper analyzes cultural attires and appearances of Marri and Bugti tribes in Balochistan to find out latent meanings attached to these artifacts. In doing so, the study uses Peirce’s framework of semiotics- an iconic perspective. The analysis has been carried out with the help of close reading of the cultural images and appearances. The results reveal underlying multi-meanings attached to these images and appearances. The findings reflect the richness and diversity of Marri and Bugti cultures and the invisible (...) representational meanings of these objects. This research endeavor may be helpful to promote pluralism, harmony and enhance intercultural awareness necessary for understanding cultural diversities within and across societies. More so, future researchers can explore cultural objects and appearances of Punjabi, Sindhi, Pashtuns, Urdu speaking, and Saraiki people by applying various frameworks of semiotics. (shrink)

Silent Book and Sí por Cuba are paradigmatic examples of photobooks. Those two works are analyzed in this article based on intermedial studies and on C. S. Peirce’s semiotic. As a result, we observe properties and material components of the book working as iconic processes of the photos and of the relationship between them. It constrains interpretive semiotic behavior and reveals certain characteristics of those photographic images. In addition to identifying and presenting examples of it, we demonstrate how the pairing (...) of two or more photos enables semiosis in which the referenced object is developed by the relations between photographs. (shrink)