The images of the time/Les images du temps
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Prof. Antonio Roberto Chiachiri (prof.arcf@uol.com.br)
Prof. Rodrigo Morais (digo.morais@gmail.com)
Contemporary languages require some adaptations in our way of life.They imply perceive things of everyday life in order to adapt ourselves to the notion that we have about time as inseparable from language, which are signs loaded by time. This round table proposes to discuss the representations of time through imagery signs, whatever it may be the concept of image or semiotics approaches. Paper proposals must be sent to the two directors, Prof. Antonio Roberto Chiachiri and Prof. Rodrigo Morais, stating identity and professional affiliation of the author. Proposals also must contain a short bio (max. 500 words) and a short description of the intended paper (max. 600 words). Papers and presentations will be accepted in English or French.
Abstracts:
1) Maria Celeste de Almeida Wanner, mcwanner@hotmail.com
Space and time in photography image: a dialog between tradition and contemporary
This paper proposes a discussion about space-time in contemporary image, throughout the site-specific photography by a Brazilian artist Maristela Ribeiro, called “Casas do Sertão” (2014), developed in Morrinhos, a village in a dry region called Sertão, in the State of Bahia, Brazil, involving its inhabitants and their houses. The theoretical approach is based on the American Charles Sanders Peirce’s (1839-1914) Semiotic Theory of Signs, Lucy Lippard’s theory of The Lure of the Local (1997), and Lucia Santaella’s “O que é Semiótica” (2005), and “Linguagens Híbridas na Era da Mobilidade” 2007. The methodology analysis and directs investigation of tradition and contemporary space-time-social-geographical photography image concepts. The word image has a great variety of definitions, since its history, back to pre-Socratic time. Mostly applied to photography, in this century [21st], it still also refers from an optical appearance or contrast of an object, to an iconic mental representation, including all psychic life, in its sensitive, sentimental and fantastical aspects. By the second half of the 20th century, photography was also used by artists in the process of appropriation, deconstruction and hybridization. In addition, the content, presented in these art practices required new methods of reading, which rekindle a widespread interest in Semiotics, considered being most appropriate theory of interpretation. Along with this, Peirce’s semiotic became wide ranging in many different fields of knowledge. Peirce’s best known and most malleable definition of his Semiotic is the one laid out in a “Syllabus” he produced along with a series of lectures delivered in 1903, at the Lowell Institute, USA, where three questions are formulated: 1. What is the relation of the Sign with itself? 2. What is the relation between the Sign and its Object? 3. What is the relation between the Sign and its Object for its Interpretant? These three questions are related to his three categories, called Firstness, Secondness, and Thirdness, and to three kinds of signs: icons, indexes, and symbols.Lippard’s theory of The Lure of the Local (1997:6-7), explains that: “Each time you enter a new place, we become one of the ingredients of an existing hybridity, which is really what all ‘local places’ consist of.” The lure of the local is the pull of place that operates on each of us, it is not always about home as an expressive place, a place of origin and return. Santaella (2007) points that notions of time-space in digital era moves smoothly to each other, overlaps, complements each other, congregates up, unites and separates, intertwines, becomes light, wanders, and spaces become more elastic. Based on these considerations, the site-specific photography “Casas do Sertão” challenges many concepts of photography, because the image is really there, outdoor. The artist covers the whole facade of ten adobe houses with printed image in a vinyl, which shows a huge landscape that surrounds the village, such as fields, cows, mountains, etc. For its inhabitants, who never saw photography, this fact is a great experience. At first glance, by a certain distance, there is a moment when the house disappears, and it gives place to the real landscape. It looks like an open gate, a path, framed by the roof of the houses. In that moment reality and art meet each other; tradition meets contemporary, and everything melts in a very subtle way. According to the artist, she wants to give visibility to this village; by making other people sensitive; by giving them a sense of self esteem, throughout her art. Such approach may offer fresh insights, in order to enrich understanding of the relationship between art, image, and social context in the 21st century.
Keywords: Image 1. Time 2. Charles S. Peirce 3. Contemporary photography 4. Maristela Ribeiro 5.
2) Eriel de Araújo Santos, eriel33@hotmail.com
The transitory and the photographic image
This text discusses the work of art that relates to the time, matter and transitoriness, from a photographic image. Are arisen investigations of phenomena that accompany us everyday and that affect our actions and possible reflections; processed in visual and verbal languages. We take as starting point the artwork "Bay, Bahia day by day of All Saints," in poetic discussions on the geography of a place, its cultural aspects and natural phenomenological manifestations. So, some qualities of signs are used for a real intersubjectivity, because the idea or even seizure of a place depend on sociocultural factors for establishing possible connections between the Being and the world. When searching the interlocutions of Being and the environment, we perceive that time is a crucial element for the understanding of its existence, reaching the condition of Being-Time, defined by André Comte-Sponville; where “It contains everything involves everything carries everything: everything that happens happens over time, and nothing without him, could be becoming. It is exactly the condition of the real”. (2000, p.22). However, for being inapprehensible, every moment we try pin it in some way, either by instruments and methods of capture or by the exercise of memory and remembrance. The photographic act seems to reach, increasingly, the condition of an instant through which the image attains other times and places. In this way, these images permit displacements and exchanges of experience, by changing the perception and contributing to this amalgamated by layers that alter and refigure the state of things. We must be attentive to the signs of the present and try to establish connections between past and future. Thus, the contemporary artistic production communes with the past and projected situations for the future. Some results unknown until then of art, arise of new materials and systems to creation and fruition. The resultant of cultural products reflects a condensation of information and procedures toward a polysemic and multicultural work, in which the concept of abduction, can be considered as a probable argument, establishes conditions to debate the three stages of inferences and transitory character of image-work-time. When we discuss the polysemic character of a work of art, we identified a steady stream between the sign and its "kinks" in time, where the images of transitory character, the physical point of view, chemical, conceptual or aesthetic, comprises a "infixu" situation and "insitu" of the state of art.
3) Felipe Garcia, felipegeg@gmail.com
Rodrigo Antunes Morais, digo.morais@gmail.com
Perception and cognition inside technological spheres
The contiguity existent among intermediatic immediate objects becomes clearer in contemporaneity, showing the importance to study this signs of the time today. Several technological artifacts that own different functions and dynamizations are available, for example, the interactivity enabled by the relation between videogames and Kinect (first named as “Project Natal”): a motion sensor of great importance at some science areas for bringing complexities never known before. Therefore, this paper aims to explore the universe of the immediate object taken at the spheres of the technological esthetics given by the relation of kinect + videogame, demonstrating part of the perceptive and cognitive process in the intermedia relation observed. Then, also showing how a part of the perceptive process contains temporary events incorporated in given spaces by technological artifacts. This analysis will be based on the deployments made by Lucia Santaella, specifically in the books Applied Semiotics (2002) and the Liquid Languages at the Mobile Age (2007) that show with emphasis a detailed critical analysis about the themes to be explored.
Keywords: Immediate object 1. Perception and cognition 2. Cyberspace 3. Temporality 4. Technological spheres 5.
4) Flávia Mantovani Alves, fla.mantovani27@gmail.com
Antonio Roberto Chiachiri Filho, prof.arcf@uol.com.br
A semiotic analysis on Francesca Woodman’s artwork
Francesca Woodman is a milestone in the history of photography. At just 17 years old she started a large project: to photograph her own life, from birth to death; creating symbolic images of the time to represent her reality. This artwork is constituted by several symbolic elements, making use of her body and other objects to compose the scenarios. Therefore, this paper aims to analyze Francesca Woodman’s life and artwork interpreting her photographs through representative forms (Imitative Representation, Figured Representation and Ideational Representation). This study will be based on the work about matrices of language and though written by Lucia Santaella (2001) that presents a critic and detailed analysis about the explored topic.
Keywords: Francesca Woodman 1. Photograph 2. Symbolic elements 3. Representative forms 4.
5) Raoni Carvalho Gondim, raonipaniago@gmail.com
Phantasmagorical images: vintage cards, live mosses, and concept of time in contemporary photography
In light of Rosalind Krauss (1977:75), in Surrealism and Dada avant-gardes, almost everything had a potential to be photography or an image, and reality was also captured in pieces, as an evanescent time. They were not interested in the language of photograph, in whether or not photography was considered art. The development of many experiments in this media became, then, a milestone for new studies until the 21st century. From this perspective, this paper proposes a reflection about the concept of time, taken as a referent a decomposing object, and its resignification, by the series of images by Raoni Gondim (2014), based in Charles S. Peirce’s Semiotic. Peirce’s three categories, Firstness, Secondness and Thirdness, can be described as: First is the conception of being or existing independent of anything else. Second is the conception of being relative to, the conception of reaction with, something else. Third is the conception of mediation, whereby first and second are brought into relation. The 19th century old album of cards, found in a basement of a house, appears strange, and it causes nothing but feelings, from these phantasmagoric silent images. After the encounter with an object, it was noticed that the surface was covered with live moss. Who would be interested in cards being digested by moths? These images may propose a visual dialogue with the photography called “Dust Breeding” (1920) made by American artist Man Ray (1890 -1976) with collaboration with his close friend French American artists Marcel Duchamp (1887 – 1968). The enigmatic photograph “Dust Breeding” that looks like a landscape seen from an airplane is in fact a layer of dust that had gathered on the surface of Duchamp’s “The Large Glass” (1915-23) sculpture, preserving it symbolically as the embodiment of the passage of time. Surrealists’ photographers had a general interest in the capabilities of photography to transformed ordinary things into art. Then, the encounter between an artist-photographer, and an object, could happen in unexpected moment, and the object of ones gaze, was an act of beholding seamlessly transforms into an act of creation. The same interesting in photographing things such a dust glass panel is still alive in artists of all time: curiosity, fascination for the unknown, and a desire to play with time, by bringing an object or memories from past to the present time again and anew. By photographing the vintage old decaying cards, and printing them in a traditional support [digital printing in 100% cotton archival paper], some old memories was brought into the present, and placed in circulation, as Peirce explains, in process of semiose, recollecting, interpreted, recreating,being signified and re-signified as a tool for perception and representation of new concepts. This is the true role of photography: to isolate things so as to render that which is familiar strange. Later, after the photography, Man Ray wrote this beautiful poem: “Dust to Dust - For years these objects lie motionless. Though some are articulated for action. Performing satisfactorily. Entailing no wear and tear. No supervision or directing. Accumulating dust. Which is also an object. Of an amorous nature. That seeks its soul-mate. Everywhere and forever. And will never surrender. To our prosaic gestures…It will return to its accustomed place.”
Keywords: Image 1. Time 2. Charles S. Peirce 3. Semiotic 4. Contemporary Photography 5.
6) Antonio Roberto Chiachiri Filho, prof.arcf@uol.com.br
Rodrigo Antunes Morais, digo.morais@gmail.com
Tradition, innovation and time
This paper proposes a brief discussion about the terms tradition, innovation and their relation with time. Contemporary languages require some adjustments to our lifestyles that involve perceiving things of everyday life in order to adapt to the idea that we have the time. We will use the concept of semiosis, from Charles Sanders Peirce’s semiotic and philosophic theories, and the concept of language proposed by Lev Semenovitch Vygotsky to try to understand the process of interpretants of the time.
Keywords: Tradition 1. Innovation 2. Time 3. Semiosis 4. Language 5. Digital 6.
7) Rodrigo Antunes Morais, digo.morais@gmail.com
Antonio Roberto Chiachiri Filho, prof.arcf@uol.com.br
Transmediation and schizophrenia: a phenomenological proposal
Transmediation in technological environments enables a semiotic equivalence in the translation process of languages in the technological aesthetic territory, thus demonstrating that the digital immediate object may be equivalent to the immediate object transmediated by advents derived by the convergence of telecommunications. So, digital advents for interactivity of gestural control (gestural interfaces) are becoming increasingly more accessible to different audiences, for example, kinetic simulators for the development of environments that assist robotics and its advances in biotechnology. For these reasons, many technologies called “touchless screen”, as kinect or leap motion, demonstrate the possibility of interactive immersion in three-dimensional environments that reveal the opportunity to understand a representative user immersion in technological environments. This demonstrates the possibility of using theses technologies in the treatment of schizophrenic people, because the possibility of creating an ubiquitous universe comprising an aesthetic of simulated environments from the intensification of subjective volatility of personality can help psychiatrists in the development of avatars derived from hallucinations of certain patients to assist in their treatment. This paper aims to show that there is a possibility to create visual avatars from hallucinated data based on a repertoire once auditory hallucinated by a patient. This process enables the interactivity of psychiatrists with their patients so that they can become possible the contact with the hallucinated narrative, demonstrating the quest for understanding the equivalence between immediate objects that are transmediated inside and outside the visual environment, highlighting places of experience from symbols representing something that is not visibly accessible. This study will have base in the avatar therapy by Langlois, which is engaged in treatment via virtual world using avatars, and in the matrices of language a thought by Lucia Santaella for demonstrating sound and visual matrices in contiguity through representation by analogy.
Keywords: Transmediation 1. Schizophrenia 2. Immediate object 3. Avatar 4. Matrices of language a thought 5.
8) Valter Luis Dantas Ornellas, ornellas.valter@gmail.com
Concept of time in Anselm Kiefer pictorial image: a semiotic approach based on Charles Sanders Peirce
Image and Time’s issue goes back to pre-Socratic, and it continues attracting researcher’s attention from different fields of knowledge. In this interest, it should be emphasized the wide range of meanings that the word “image" has, and its definition depends upon the context, in order to be understood. The aim of this paper, therefore, is to address the issues surrounding the multitude of times presents in the German artist Anselm Kiefer’s (1945) landscape painting, based on the American Charles Sanders Peirce's (1839-1914) Semiotic Theory of Signs. Peirce's best known and most malleable definition of his Semiotic is the one laid out in the "Syllabus" he produced along with a series of lectures delivered in 1903 at the Lowell Institute, USA, where three questions are formulated: 1.What is the Sign with the relation of itself? 2. What is the relation between the Sign and its Object? 3. What is the relation between the Sign and its Object is its Interpretant? These three questions are related to his three categories, called Firstness, Secondness, and Thirdness. In addressing the multiplicity of times inherent in works of art, this subject involves knowledge, based on several theories. In terms of painting, it is not so evident to recognize some dynamics in its space/time. We can mention the temporality of the material, paints, supports, and the process of oxidation that alter deliberately, the artist’s proposals, a phenomenon that is related to Peirce’s first question: What is the Sign with the relation of itself. Moreover, pictorial images offer a narrative aspect, an indexical sign of temporal trajectories, representing real or fiction occurring phenomena. Furthermore, besides these possibilities, the perception experience aspects of Painting must be taken into consideration as a process of passage of time, including sensations and interpretations, an expression permeated by visual signs. Reflecting on his landscapes, Kiefer (cited COLPITT, 2006:110) says: “I need nature, the changing weather, the heat and the cold. Sometimes I leave my paintings out in the rain; I throw acid, earth or water over them. I do not use industrially manufactured paints. The color red is rust, real rust”. By gather together organic materials in his paintings, such as earth, seeds, dried flowers and leaves, Kiefer gets even closer to Nature. As a result of recalling Romantic painters, and Vincent van Gogh’s landscapes, Kiefer builds a new landscape, chaotic and degraded. According to Wanner (2010:266), Kiefer’s landscape "is contaminated with past and present time, and we may say, in a subtle way, that there is a hybridization of time". In the context of semiotics, one must recognize the inaccuracy and fragility of an artistic object, because it is always open to different interpretation. For Peirce, the concept of time emerges as a conception of growth of sign, or semiosis process. By approaching Kiefer’s painting and Peirce’s theory, this paper seeks to show, since the first experience with the qualities of the work, even when those feelings merge into cognition, there is a process of semiosis. This is explained by Santaella (2000:151): "works of art are not only ambiguous incarnations of qualities and feelings, but forms of wisdom, of a kind that invites the reason to integrate playfully to feeling."
9) Marcelo Santos, formarcelo@gmail.com
Valdirene Poçani
Concept of time in Anselm Kiefer pictorial image: a semiotic approach based on Charles Sanders Peirce
Image and Time’s issue goes back to pre-Socratic, and it continues attracting researcher’s attention from different fields of knowledge. In this interest, it should be emphasized the wide range of meanings that the word “image" has, and its definition depends upon the context, in order to be understood. The aim of this paper, therefore, is to address the issues surrounding the multitude of times presents in the German artist Anselm Kiefer’s (1945) landscape painting, based on the American Charles Sanders Peirce's (1839-1914) Semiotic Theory of Signs. Peirce's best known and most malleable definition of his Semiotic is the one laid out in the "Syllabus" he produced along with a series of lectures delivered in 1903 at the Lowell Institute, USA, where three questions are formulated: 1.What is the Sign with the relation of itself? 2. What is the relation between the Sign and its Object? 3. What is the relation between the Sign and its Object is its Interpretant? These three questions are related to his three categories, called Firstness, Secondness, and Thirdness. In addressing the multiplicity of times inherent in works of art, this subject involves knowledge, based on several theories. In terms of painting, it is not so evident to recognize some dynamics in its space/time. We can mention the temporality of the material, paints, supports, and the process of oxidation that alter deliberately, the artist’s proposals, a phenomenon that is related to Peirce’s first question: What is the Sign with the relation of itself. Moreover, pictorial images offer a narrative aspect, an indexical sign of temporal trajectories, representing real or fiction occurring phenomena. Furthermore, besides these possibilities, the perception experience aspects of Painting must be taken into consideration as a process of passage of time, including sensations and interpretations, an expression permeated by visual signs. Reflecting on his landscapes, Kiefer (cited COLPITT, 2006:110) says: “I need nature, the changing weather, the heat and the cold. Sometimes I leave my paintings out in the rain; I throw acid, earth or water over them. I do not use industrially manufactured paints. The color red is rust, real rust”. By gather together organic materials in his paintings, such as earth, seeds, dried flowers and leaves, Kiefer gets even closer to Nature. As a result of recalling Romantic painters, and Vincent van Gogh’s landscapes, Kiefer builds a new landscape, chaotic and degraded. According to Wanner (2010:266), Kiefer’s landscape "is contaminated with past and present time, and we may say, in a subtle way, that there is a hybridization of time". In the context of semiotics, one must recognize the inaccuracy and fragility of an artistic object, because it is always open to different interpretation. For Peirce, the concept of time emerges as a conception of growth of sign, or semiosis process. By approaching Kiefer’s painting and Peirce’s theory, this paper seeks to show, since the first experience with the qualities of the work, even when those feelings merge into cognition, there is a process of semiosis. This is explained by Santaella (2000:151): "works of art are not only ambiguous incarnations of qualities and feelings, but forms of wisdom, of a kind that invites the reason to integrate playfully to feeling."
10) Silas de Paula, silasdepaula@gmail.com
Selfies aren’t boring
Abstract: Much of the contemporary discourse has become an obstacle to see what's in the photo and many authors repeat, ad infinitum, which they consider a "fatigue image". When we write about photography we have the (almost) impossible task of turning them into words and making the silent vibrate. We need to see the photographic act not as an abstract gesture of detachment and transcendence, but as a way of acting in life, producing variability. In that sense “selfies” have grown into a viral phenomenon that is sweeping the web. We may look at them as self-documentation, self-expression or even as self-obsession, but they have assumed a place of privilege in the dialogue concerning how digital media affects behaviour. So, in November 2013, Oxford English Dictionary pronounced “Selfie” as the word of the year and it noted that the usage of the term increased by 17,000 per cent. This paper intends to argue that as we increasingly live in public, selfies are networked identities, connected, and devoid of context. But, at same time, they have visually broken the scopic regime preceded by the self-portrait - a regular practice for artists – and doing that they have provided fertile ground towards digital interactions with online communities.
11) Sílvio Henrique V. Barbosa, shbarbosa@hotmail.com
The Myth in Triumph of the Will (Triumph des Willens) - An analysis of the symbolism used in the audiovisual narrative of Leni Riefenstahl
Abstract: This research aims to analyze the symbolic images - and clearly inspired by the mythologies of the West and the East - inserted at crucial moments in the narrative of the most important political documentary in film history, Triumph of the Will, directed by German filmmaker Leni Riefenstahl. The symbols of the power of ancient civilizations are reworked by Nazism, as the spread-winged eagle, representing the Roman Empire, and many other people and civilizations, which now appears holding a swastika. The most important Nazi symbol, adapted from Hindu and Buddhist mythology, is also a divine representation: stylization of sunlight expanding symbolizes the divine power itself. Carl Jung distinguishes natural from cultural symbols and both are present in this documentary, which combines ancestral myths - Pagans and Christians - as the Messiah to the figure of the protagonist of the movie: Adolf Hitler.
12) Aparecida Zuin, profaalazuin@unir.br; alazuin@gmail.com
Bruno Valverde Chahaira, professorbrunodireito@gmail.com
Tiago Batista Ramos, tiagoramos8@gmail.com
The law as a sociocultural discursive practice
Many Theorists have already shown ideas that the subject law is not just about logic, so it means that issues like: culture, society, technology and policy, influences the real life facts and the law formulation. Gregorio Robles says: “In men’s social life, used like a mean of communication, the law is language, in other words, the law is just text.”, and the text, while liable of interpretation, but also, “sine qua non” condition to create other texts. In Bobbio’s opinion, he judges that is possible to distinguish three primal functions of the law’s language: descriptive, prescriptive and expressive. So, we can say that is in the language that the law shows its own sociocultural discursive function. Following this reasoning, this work has the objective to extend those statements, considering that the conceptions of language and text transcend what normally are reserved to the usual studies. Here, the proposition is based on semiotics, in a particular way, the north American semiotics, as known as “Charles Sanders Peirce (1839-1914) Semiotics”. The task begins with the presentation of what is Semiotics and the objective of this science. Then, it refers to the sign, the language on the semiotics process, so we can actualize the questions or the themes about the Law and its relation with the World, the society and the culture. And so, to justify how the task is hard and daring, we can use the same words of the Prof. Doc. Tercio Sampaio Ferraz Júnior (2009, p.1): “The act of achieve, even it is a draft, a law and normative communication pragmatic, supposes a certain daring and a great risk. And this happens, because the notion of pragmatic is indeed inaccurate.” It Extends the propositions guided by the work of Norberto Bobbio (1909-2004), The standard law theory, precisely because the author elaborates the thought about the law in the parameters of the functions of language, in other words, we are interested in the subject without major claims (such as previous approaches) to settle in prescriptive language because it is Bobbio’s conception that she is responsible for modifying the behavior of others; therefore, an attempt to trace specific correlations, to the extent possible, in the arguments of Peirce's pragmatic with the prescriptive function of Bobbio. However, such a risk finds itself in the requirements of interpreting legal norms through language studies to promote, in the words of Paul de Barros Carvalho (apud Bittar, 2010): "[...] the possibility for the public, with different backgrounds, not only legal, they can understand and identify interfaces between communication codes and the legal system. "As yet placed in Clarice von Oertzen de Araújo (2005) pleading: "The semiotics shows itself a strategic resource to decode these intercessions."
Keywords: Juridical language 1. Semiotic of Law 2. Sociocultural discourse 3.
13) Cândida Almeida, candidaalmeida@gmail.com
Thinking social media: analyzing the systemic contexts from phenomenological parameters
Abstract: This paper presents a conceptual analysis study of the social medias in its interactive communication context. The proposal starts from the systemic context of these mediatic processes and the proposition of the analysis parameters reasoned by the peircean phenomenology. Thus the objective is presenting a way of the systemic and phenomenological study to understand the modes of informational exchanges occurrence and the complex relationships that establishes in the dynamic contexts of social media, based on the analysis of three parameters: emergency, circumstance, movement. These parameters are therefore understood as essential conditions to clarify languages, contexts and processes inherent to digital social networks in the internet. The proposal is understanding under the phenomenological point of view, how signs in this context can be presented, how they behave in their different systemic contexts - socio-cultural, technological, graphics - and how the mediatics evolutionary processes in social networks tends to occur.
Keywords: Social media 1. Peircean semiotics 2. Social networks 3. Phenomenology 4.
14) Simonetta Persichetti, spersich@uol.com.br
From elfs to selfies
Abstract: This article aims to discuss and analyze the new phenomenon that pervades social networks, the selfies. What meanings can hide such wave, such profusion almost ad nauseam of self images in this era of pretty much endless images? What is the cultural and imagetic difference between the old self-portrait and the contemporary selfie? Old and new dialogue in this text, passing through semiotics, communication and archetypal ideas of the Jungian thought, in this world of image-representation, image-editing in which the photographed is at the same time the editor of an imagined image.
15) Antonio Roberto Chiachiri Filho, prof.arcf@uol.com.br
Eric de Carvalho, ericdecarvalho@ig.com.br
Brazilian beer advertising and gender representations in time
Advertising campaigns of beer brands often use resources from applicants persuasion: direct language, elementary mood and sensual appeal. These techniques aim to establish an assertive communication with the target male audience, the traditional consumer of beer. In any case, advertising is prodigy to accompany changes in social dynamics and consumption habits of their consumers in order to update the representations of their customers and maintain a persuasive communication with them. It is known that women represent a significant public consumer of beer, as well as some techniques of persuasion gifts in traditional advertising campaign category no longer pose as well (and therefore do not establish a communication channel so persuasive with) their male audience . Thus, advertising has updated its approach and arguments for public communication of both genders. This article aims to analyze the representations of gender in advertising campaigns for brands of beer over time, from the observation of their advertisements and brand expressions. The brands were chosen for analysis Brahma, Stella Artois and Heineken, by adopting different creative lines in their campaigns, establishing a dialogue with different audiences, as will be seen below. The features present in the campaigns that were targeted for analysis in this study were defined by means of a questionnaire administered to men and women 17-60 years old, who mentioned attributes which best defined the male and female genders. The responses guided the analysis of the campaigns analyzed in order to confirm or deny the presence of such attributes in advertising communication of brands studied. The details of the methodology used and the attributes listed below will be performed in this research. Thus, the article analyzes techniques often used in advertising campaigns for brands of beer, as well as its definition of public and brand positioning. Then reveals the methodology of survey and the definition of the attributes that best define the masculine and feminine genders. Then, it analyzes the presence or absence of the attributes mentioned in the search advertising campaigns of brands studied. It concludes with reflections on brand positioning and the representations of their genres of public communication in your mark. The article analyzes the expressiveness of Brahma brand beers, Heineken and Stella Artois, identifying gender representations present in your mark communication, especially in their advertising campaigns. Campaigns compare to the results of a survey that revealed defining attributes of males and females. Analysis of male and female ethos in advertising campaigns beer brand.
Keywords: Advertising 1. Semiotics 2. Media representations 3. Cultural identities 4. Consumption 5.
16) Ivone Aparecida Pereira de Mello, ivone@fcl.com.br
Communication, time and citizenship
The objective of this paper is to critically present the communication processes developed by UNAS – União de Núcleos, Associações e Sociedades de Moradores de Heliópolis e São João Clímaco (Union of Neighborhood Nucleus, Associations and Societies from Heliópolis and São João Clímaco) in the Heliópolis community, located in the south of São Paulo city, to promote and strengthen the citizenship and the community participation. The studies of Adela Cortina, Cicília Peruzzo, Margarida Kunsch and Paulo Freire helped to understand the context of communication as a practice of citizenship. From this experience it was possible to observe mobilizations and other communication practices that promote citizenship and that seek not only to disseminate information but also to aggregate and to disseminate values, to feed objectives and to give meaning to the act of making, reaffirming the understanding that the wanted transformation is a responsibility of all. A transformation that comes with time and can modify an image of a territory of a forbidden zone in a social mobilization center.
Keywords: Communication processes 1. Heliópolis 2. Forbidden zone 3. Social transformation 4.
17) Miki Okubo (mimi.okb@gmail.com)
Aesthetic consideration of virtuality and physicality of human body with reference to the fashion designs of Jean-Paul Gaultier
Jean-Paul Gaultier, born in 1952, French Haute Couture and Pret-a-Porter couturier, never received formal training for his profession. His diverse, innovative, provoking fashion, explores critical issues like sexuality and is radical when put up against conventional Haut Couture. Unfortunately his works have not been correctly evaluated partly because of an excessively provocative slogan. People lose sight of the most interesting aspects of Gaultier’s expression. What I attempt to revaluate is his designs concerns his manner of representing the human body as a way to radically influence our body consciousness. Throughout all kinds of innovative choices, including new scenography, using untraditional types of fashion models, exploring sculptured costumes for Madonna, what has Jean-Paul Gaultier accomplished?
In his work, the human body is often both abstracted and concretized. These strong, opposite expressions are present simultaneously. “Abstraction” means human body represented as numerical/digital information while “concretization” means vivid existence in a real, physical sense. Today, the human body seems to be becoming an increasingly informational object. People have very detailed numerical knowledge about the body. In addition, technological developments allow us to construct our body image in a way similar to androids or robots: an ensemble of complicated wire circuits transmit electrical signals to be integrated into a central part like a brain. When it comes to the perception of heat, for example, people can comprehend according to a specific color shown on a thermometer’s screen. Virtual images settle progressively in our mind. “Skin Series”, where Gaultier used three identical models, illustrate clearly this observation. Each piece represents muscle, blood vessels and bones. His illustration shows a kind of simplification to figure these organs and everyone will understand what he represents. However, in spite of their closeness, these organs will never be visually familiar to us. Our awareness is drawn to them only during specific occasions like an accident or an injury. Advanced medical knowledge and detailed anatomical knowledge have given us a typical human body image. In short, a reconstructed body through new technologies is very different from a real body, accompanied with smell, perspiration and weight.
Furthermore, Gaultier is one of the first couturier to appoint atypical/untraditional fashion models. Today, the an unusual body seen on the catwalk no longer causes sensation because we have become accustomed to this kind of surprise, seeing various models, large, small and different. However, at the time Gaultier first introduced this idea, it caused a scandal amongst the conservative realm of Haut Couture. Certainly, there are many variations on the form of the human body. Gaultier dressed a man of rough structure in his finest feminine dress. He put the finest lace stockings on well-muscled masculine calves.
What I attempt to theorize in my presentation is the modern relationship between virtual image and the true, physical human body in order to understand the reality of contemporary fashion concerning body consciousness and physical perception.
18) Edson do Prado Pfutzenreuter (edson.reuter@iar.unicamp.br)
Antonio Roberto Chiachiri Filho (prof.arcf@uol.com.br)
Time as subject or index in works of Art
Denbingh, in his book Three concepts of time, considers time a perplexing topic whose tendency for understanding it something existing, something that is 'out there'. He continues his argument saying that time is an abstract entity, a necessary construction to cope with changes involving existence. Putting his statements in Peircean terms, we can say that time is the result of a sign process in which events and changes are perceived and articulated. This process allows a mental organization in which different things are perceived as different moments of a temporal process. This sign process, the perceived changes become indices of time´s passage. Based on this conceptualization of time, this article analyzes the immediate interpretant of images that bring time as theme or as part of the production of the works and the generation of interpreters. We can illustrate this with an image that does not contain this aspect as Las meninas – Velázquez. A painting that takes a while to be made and each part of the picture was painted inside a different time, returning to parts already made to specification and correction. The vision of this painting - or other images - also takes a while, even if the time of eyes movements, but the time of making this case, not necessarily is correlated with the perceptual time. For some types of analysis, such as the approach of genetic criticism, the perception of time while the artist is making this picture is from the utmost importance, but in this instance, it is not important whether the dress dwarf was painted before or after the dog that is at his feet. In similar cases discussed the incorporation of time in their constitution as image, which assumes greater significance. The time may appear inside the image in different ways, such as deterioration of the material; but there may also be other types of reference to the passage of time. We found significant examples in some works of art that will be analyzed here. In conducting this thought it will also be important the classification of images - with respect to time - shown in studies of Santaella, particularly in books Imagem: cognição, semiótica, mídia and Matrizes da linguagem e pensamento: sonora, visual, verbal: aplicações na hipermídia.
Keywords: Time, Index, Works of Art, Immediate object, Interpretant
19) Liliane Pellegrini (liliane.pellegrini@gmail.com)
Instant communication: a brief history about the time-space compression
The accelerating pace of life and overcoming spatial barriers marked the history of capitalism and that seems to have caused a compression process of the two dimensions. The phenomenon of compression also reflected in the representation of the world, so that the perception of shrinkage experienced throughout history - the once vast world, has been reduced to a global village. Innovations in transport significantly influenced this change gradually annihilate space through time, as outlined by Harvey (1992). This paper intends to comprehend and discuss the transformations of the representation of the world promoted by instant communication and mobility. Therefore, the article discusses the breakdown of the two-way relationship between space and time – brought by Bauman (2001) –, the compression process presented by Harvey and the co-presence relations submitted by Giddens (2000), exploring the development of transportation and telecommunications
in contemporary society.
Keywords: Instant communication 1. Contemporary society 2. Mobility 3. Time-space compression 4.
20) Marcelo Rosa (mbalboa08@gmail.com)
Less time, more content: a reinterpretation of Bauman´s consumerism in digital times
We´re increasingly consumed by consumerism. The "subjectivity" of consumers is made by purchasing options and its potential buyers. This paper aims to discuss how brands and products can make purchasing options closer to consumers through branded content and product placement. It also proposes to show the creation process of branded content through the transformation of information into online content, as well its relation to interaction, semiotics, crossmedia communication and contextualization of product placement in digital media. As this article is based on the relation between brands, products and digital media, some semiotic and marketing concepts will be used to construct a logical and critical analysis of new communication and interactive strategies development in online media. The main objective of this paper is to study the contribution of information and content available on internet to consumerism in digital times.
Keywords: Consumerism 1. Digital times 2. Branded Content 3. Product Placement 4. information 5. Content 6.
21) Rafael Yamaga (rafaelyamaga@yahoo.com.br)
Life re-represented: the after (and during) class impressions. How undergraduate students behave online in face of their classes.
This is a study about students from three Brazilian universities, communication courses, on how they demonstrate interest and reflexes of their thoughts, using digital social networks. The conversation threads, full of images ( the so called selfies, memes, landscapes, situation close-ups, teacher’s photos…) build an imagetic diary; due to the random and non-chronological nature of the digital media (notably, facebook™), the in-class subjects persist through time, gaining new meanings, functions and signs. Furthermore, these interactions seem to help students and teachers since the questions, difficulties and general impressions can be better perceived, allowing the group to deal with its issues. As it has been observed, pictures in “posts” are directly related to the expression of the self but are also chosen in order to catch all the friends’ attention, clearly showing how the environment itself moderates the signs: the verbal and non-verbal visual ones, the verbal and non-verbal non-visual ones (a mix of pictures, texts and videos depending on the resources available on the social network being employed). The usage and choice of the signs seem to be a demonstration of Yuri Lotman’s Modeling Systems in a sense of a development of an inner language, constituted by new arrangement of existing signs forming new ones. The rich and open “umwelt” puts the time and space between the now and then, once threads and posts talk about the concepts and their importance for future reference, even supporting students for papers and tests. Mikhail Bakhtin also provides essential aid amidst the verbal and non-verbal language, sporting the social environment as an ultimate regulator of expressions. Some classes are about semiotics and language (Semiotics – for Publishing and Advertising courses; Communication Sciences – for P&A and Public Relations courses). On these classes there is the phenomenon of metasemiotics as the language discusses language, communication discusses communications and so forth. Other classes are about the general professional practice of Advertising (Introduction to P&A, Ethics, Social Media Management and a plethora of other classes) and on these, the new signs and their meanings are deeply discussed in order to understand the fundamentals of the practice of communication in the modern or post-modern world. These new dimensions on signification, reference and meaning reach new representations along the “timeline” or “feed” (the terms referring to the digital social networks “legacy”, which, by the way, is a collaborative result in most cases) and are related directly to what Charles Sanders Peirce and his connoisseurs call the “Dynamic Object” and its virtually endless possibilities regarding signs and an apparent conflict with the “Immediate Object” as the latter shows the Interpretant trying to put together his day-by-day experience with the definition and the effects of the intended concept. Texts as 1878’s “How to Make Our Ideas Clear” by Peirce and 1929’s “Marxism and the Philosophy of Language” by Bakhtin (Voloshinov) are the base studies for this work.
22) Roberta Cesarino Iahn (roberta.iahn@gmail.com)
Diego Oliveira (diego.oliveira@ipsos.com.br)
Target audience: the concept was killed by contemporary counterculture
The counterculture (Allan Watts) as youth revolution was strengthened by the American psychedelic movement. One cannot be studied without the other because they both found in political activism the most important issues of our time such as questioning on war and armaments, the pursuit of deliverance of mind, the feminist movement and the sex revolution, beyond the evident rupture with established patterns and social behaviors. The main legacy of this movement, very strong in the 60’s, was the use of “mass” media for mobilization and dissemination of ideas and values (Ken Goffman). Mobilization and contestation with libertarian spirit gave rise to what we know by underground culture (alternative or marginal), which transformed values and behaviors, sought new democratized spaces, to build new channels of expression, art and communication (Michel Foucault). The approach of this paper is to research on the formation and union of opposing youth movements (beats, hippies, activists, among others) that have positioned themselves as distinct tribes (Pierre Bourdieu), but integrating themselves to provoke a new concept of community. This study aims to investigate the repertoire of the counterculture and its contributions to our time to question the media phenomena of today (in Brazil as an example we have the so called rolezinhos), the stereotypes created to classify groups/tribes of consumption and the varying concepts of community and collective creation in contemporary. If we can consider that we are who we are because we remember who we are (Yuri Lottman), we pretend to investigate the memory of counterculture to invalidate the adequacy of the concept of target audience to our current scenario that is digital and polimedia. The absence of borders (physical or imaginary) of the symbolic world we know (Mario Vargas Llosa), so noticeable in events like the Arab Spring, is another question of this research.
23) Eduardo Dieb, edudieb@gmail.com
Album covers: discovering Brazilian life under dictatorship
Abstract: Brazil lived under military dictatorship from 1964 to 1985. The censorship was fierce and the freedom of speech too limited. At the dictatorship’s final period, in Sao Paulo city, Brazilian biggest city and cultural pole, some musical groups and artists of many areas began to trace open critics to the government and to the situation they were living. This movement was called as “Vanguarda Paulista” (Paulista Vanguard), and those who were part of it had a strong political and social sense, besides the esthetic preoccupations. “Língua de Trapo” was a group of this movement, and they became quickly known not only due to their acid lyrics, but also due to their humanistic and liberal look, perceptible in the critics to the social behavior. Humor had always been present in the compositions and performances of the group that tried to talk about themes such as political freedom, sexual orientations, urban violence and censorship in a different way of those who were known as “singers of protest”. The humorous and critic spirit of the group appeared in the cover of the albuns and, if it was read as a text, it could show a Brazilian portrait in a particularly important moment of the country’s contemporaneous history. This paper presents a brief frame of Brazilian political situation in the mentioned period, the artistic production of “Língua de Trapo” and how their album covers were already showing a political, ideological and artistic positioning. Reading the image as a complex text in order to analyze and to interpret Brazilian’s socio-historical context will enable to understand the language and the messages in the album covers of “Língua de Trapo” and show a group worried to mark not only a contemporaneous esthetic but also their own political positioning in a very troubled time for Brazilian life. This study is based on theoretical concepts and texts from authors such as Guy Debord (Society of the Spectacle), Adorno and Horckheimer (Cultural Industries) and Michel Foucault.
24) Lars-Henrik Ståhl, Lund University
Gunnar Sandin, Lund University
Material side-kicks in architectural imagery. On tangible consequences of visual mediation.
Usually when images are analysed, the analysis is done more or less in "free interpretation", as in classic art theory and history, or, as in a more cognitive, experimental and third person accounts, as preferences measured by way of eye movements or questionnaires. In every case of image analysis one may talk of the effect that the image has: on an epistemological level, on the (neuro-)logical body of reasoning, or even as a restorative medical function, like in studies of patients’ recovery in health care research. Thus, in regard of this disciplinary spectrum, the fact that images have a factual effect outside its own existence is not a controversial issue in itself. In the field of architecture it is even the normal case, because drawings and other visualisations are simply there to be realised, to be transformed into tangible matter. However, the factual side of what images do, becomes more difficult, and more interesting, if we try to see the many "effects" that may occur from architectural images in the built environment, i.e. not only how architecture emerges through images, but also how architectural effects may emerge as unwanted, or more positively as side-kicks, to the desired programmed effect of architectural drawings or photographic visions. In this presentation we address examples like architecture with unfulfilled or misleading projections of stylistic ideals, but also overlooked material (or physical) qualities that emerges from images in a specific environment. We will thus discuss the images that were there before and during the process of architectonic realisation, but also the realisations themselves and what visual messages they convey. Through an analysis of their iconic, indexical and symbolic features, but also (in a reflection of speech act theory) their persuasive and propositional qualities, we can conclude that the temporality of image-effects appears in several modes: not only directly, but as indirect, sequential and delayed architectural effects. On a theoretical level, we can also argue that acknowledging sequential image production is an urgent issue for visual semiotics as well as for the semiotics of space, and that temporality could be given a more profound role in semiotic reasoning, apart from its traditional presence in notions like “semiosis” (Peirce) and “agency” (Greimas).
Lars Henrik Ståhl is Professor at the Department of Architecture at Lund University, and has for several years participated in the semiotic seminar at Lund University. He has participated with papers in the conferences of IASS: 1994 (San Francisco), 1997 (Guadalajara), 1999 (Dresden), 2004 (Lyon), 2009 (A Coruna) and 2012 (Nanjing).
Gunnar Sandin is Associate Professor at the Department of Architecture at Lund University, and affiliated to Center for Cognitive Semiotics, Lund University. He has participated with papers in the conferences of IASS: 1994 (San Francisco), 1997 (Guadalajara), 1999 (Dresden), 2004 (Lyon), 2009 (A Coruna) and 2012 (Nanjing).
25) Antoaneta Dontcheva, PhD, lecturer of Semiotics and Philosophy of Arts and Culture in Plovdiv University "Paisii Hilendarski" –Bulgaria
Waiting and Silence - The Mythical Signs at the Threshold ( S.Beckett, M.Blanchot and Magritte)
The paper investigates Waiting and Silence as Sings in oeuvre of S. Beckett,
M. Blanchot and paintings by Magritte.Those sings mark the threshold in time and language and are phenomena that hold the extremes – annihilation of Self and at the same time creation of Self.
Silence and Waiting are in some way Sings of an unbearable time just like the absence of color – the prevalence of black in Magritte painting.
They put together tenses: Past – something is left uncomlited, unknown and invisible.
Present- an absence – waiting and hope something to be completed and
Future- as the call, desire and fear.
Waiting and Silence in works of Beckett, Blanchot and Magritte are gaps in Language and Time where the Self could postpone the death, forget to answer, be free of the Other - a forgetfulness for hope and fear. They are signs of affirmation trough and inside negation and show the crisis of personal identity and at the same time create a “ timeless” Self in Beckett.
For him and Blanchot waiting and speaking endlessly interrupt the time and make the death “impossible”. The lack and surplus of time and words go together- the lack and surplus of time in Waiting. the lack and surplus of language in Silence, the lack an surplus of color in twilight of Magritte``s painting.
And so we are invited to the questioning of language, time and image and what comes next.
Key word: time, identity, Self, Beckett, Blanchot, Magritte
26) Izabella Demercian, izabella.demercian@gmail.com
Urban visual interventions and its developments in contemporaneity
Visual interventions in urban environment can be perceived as a form of reappropriation of the city through different mediums in history. The agent of intervention speaks for all those who pass through the streets; he communicates with everyone wandering around town, not restricting his work for a particular social group. It is a living expression that incorporates the changes occurring in the world. And, throughout history, this kind of expression has left its marks on various surfaces by paints and assorted instruments. They are manifestations of a time, fragments of perceptions and experiences, cultural traces, records of man history. Therefore, this paper aims to explore such manifestations and its development in the possibilities of different media in contemporaneity, contemplating this theme from the concepts of liquid modernity in Bauman and ubiquity for Santaella.
Keywords: Urban visual intervention 1. Liquid modernity 2. Ubiquity 3. Media 4.
27) Emil Simeonov, University of Applied Sciences Technikum Wien, Department of Applied Mathematics and Sciences
Structure, Semiosis and Time - Anticipation and Surprise
(Recognition of Structure and Gestalt – exemplified by similarities between music and mathematics)
Anticipation and surprise are genuinely human-bound, culturally determined but also linked to the perception of external structures and hence to the phenomenon of memory. There is neither a formal representation of anticipation nor one of surprise – neither in mathematics nor in music. Thus it cannot be automatized. The question is to what extent anticipation is enculturated and to what extent it may be independently immanent to structure (e.g. the structure of a piece of music or of mathematics). Can we say that something like a micro-enculturation happens during listening to a piece of music or during dwelling into a piece of mathematics? An analogy to dance will be discussed in order to show the interplay between composition, interpretation and perception where the materialization of abstract structures, their communication and the enjoyment of them may be conveyed. Intensely studied in musicology (Meyer, Narmour, Huron but actually going back to Hanslick), these issues might be fruitfully transferred to the Philosophy of Mathematics and since mathematics deals with structures in a more general way a benefit in the other direction may also be ‘anticipated’. Apart of the specific examples of music and mathematics, this is an issue of general semiotics and seems to lie on the edge between philosophy and physics. In the minimal case a structure (or ‘thing’ in colloquial language) signifies itself as long as the subject (we) is able to remember it until the next time when it is percepted. This ‘next time’ is actually the basis of ‘time’ and it is interesting (a problem as well as an advantage) that the English language uses the same word. Moreover it turns out that gestalt perception is equivalent to memory and this fact is nicely hidden in the word ‘re-cognition’ and it is the perceptual basis of semiotics and hence of abstraction. All this happens in time but one can go into exactly the opposite direction and take the position that time is not basic but semiosis and hence abstraction and its counterpart – metaphor - are basic. Semiosis creates (or better enables) structure and by this creates time or at least a change of time, a transition from one time-perception to another.
Emil Simeonov: mathematician; works in Philosophy of Mathematics (including semiotics and rhetoric), Mathematics Education and Intelligent Transport Systems (ITS). Head of the Department of Applied Mathematics and Sciences and director of the MSc programme in ITS at the University of Applied Sciences Technikum Wien; studied piano at the Vienna Conservatory; cooperates with Robert M. Weiss – lectures and exhibitions on Music and Mathematics.
28) Leandro Anderson de Loiola Nunes (leandroloyola77@gmail.com)
Roberta Cesarino Iahn (roberta.iahn@gmail.com)
The logic of relations in the systems of culture: diagram of names in advertising and digital social media
This paper intends to discuss the relations diagram, from the logic of human reasoning elaborated by the mind in the communication process, transposed to the thinking devices of the mind of culture, in contemporary society, through languages, dialogism and signs constitutive of the relations that occur in systems of signs in culture in the context of naming process in advertising, from a digital social media point of view. Those names will become utterances, within modeling semiotic systems, which makes their reading and deciphering possible in a given context. Our focus is not facing those purely linguistic aspects in the development and use of names such as occurs in logical relationships operated by the human mind in the process of appointing or creating a name. What we propose is to address diagrammatic relationships of culture, in our current time, from the understanding of the logic in human reasoning, so that we can establish any relationship between semiotic languages through the names with the advertising medium, since the manifestations of the mind of culture, and that includes the names, are not owned by a single person, but belong to the social spheres that exert power over the understanding, acceptance and circulation, or not, of certain names. Digital social media integrate audiovisual culture in the realm of cyberspace, as forming a cultural environment in which information flow and there is sharing of content on digital networks. This information will become cultural texts, Semiosphere components, as proposed by studies in culture semiotics. The texts of culture also constitute the media organizing themselves semiotically in the development of new signs, generators of language in the mechanisms of culture from hybrid zones of sensory interaction. The article intends to describe, propose and clarify the ways in which the diagrammatic procedure for naming in these media, in our contemporary advertising context, and from them, enable the understanding of the semiotic mechanism generator of new communication experiences, in human interaction with advertising in audiovisual digital medium, through the process of naming in texts of culture.
Keywords: Semiotics 1. Naming 2. Advertising 3. Time 4. Culture 5.