AI-generated images of “cats” offer novel opportunities to consider the semic role of expectations in sign formation where they act as constraints on semiosis through the potential identification of the AImage as “correct,” or as a “glitch.” Because the identification of “errors” depends on a range of technical and cultural expertise, they offer valuable insights into the interpretive process. The automated generation of media by AI separates the artist’s decision-making process from image production, continuing a trajectory that began with the (...) invention of photography in the nineteenth century that brings the sign formation process into consciousness by distinguishing “intentional” and “unintentional” encoding. The identification AI-produced images as-glitched provides a vehicle to consider how the sign formation process informs identifications of creative action as an intentional action: aesthetic appraisals are central to this process where cultural beliefs about creativity become ideological constraints on interpretation. The potential to understand AI “glitches” as expressive features of the image-object, rather than errors, proceeds via the aesthetics and affects of earlier art, such as the “painterly motion” shown in old master paintings by Peter Paul Rubens, or via the heritage of Surrealism. These affective constraints on sign formation reveal the central role of “glitches” in the distinction of creative and uncreative action. (shrink)

Résumé Dans cet article, nous interrogeons la traduction interlinguistique de la chanson du point de vue de la sémiotique de la traduction. Notre approche se nourrit des travaux de l’École sémiotique de Paris ainsi que des travaux faits sur la traduction de la musique en traductologie. Nous présentons, dans cette étude, une analyse sur le corpus constitué de La chanson des vieux amants de Jacques Brel et de sa version turque intitulée Şarap Mevsimi [Saison du vin] (2012) interprétée par la (...) chanteuse Funda Arar. Notre étude contient deux volets: Le premier volet concerne l’évaluation musicale de la chanson originale et sa comparaison avec la version traduite du point de vue des instruments utilisés, du tempo, des dynamiques musicales, de la mesure et de l’orientation musicale. Quant au second volet, il consiste d’abord en l’étude sémantique et thématique des paroles de la chanson de Brel, puis en celle de la version turque afin de les comparer sur trois éléments d’analyse: titre, refrain et isotopie fondatrice de l’univers sémiotique du chant. Nous concluons en interprétant les changements survenus tant dans la composante musicale que dans la composante sémantique de l’adaptation turque selon les nouvelles significations et valeurs qu’ils actualisent dans le contexte d’arrivée. (shrink)

Current inter-disciplinarity has rendered it feasible to utilize implements and methodologies to navigate around the communication of fashion at textual as well as material levels, reified by inter-semiotic and cultural translation. Fashion communication, from the perspective of post-translation studies, is a process of cultural translation with visual symbols as its text, visual rhetoric as its core meaning system, and visual stylists as its translator. This study takes one of the most formidable and awe-inspiring icons – the Chinese totem Loong 龙 (...) as the main research object, through the analysis of multifarious styles of visual text structures across the entire process of fashion communication, to deconstruct the semiotic transformation of Loong 龙 by means of visual rhetoric. In forging this rhetorical dynamic within the realm of visual art, the cultural translative procedure is orchestrated primarily through the registers of field, tenor, and mode. Furthermore, it is molded by the intricate interplay of transitivity, mood, and modality, culminating in this newly proposed concept – “cultural functionality” through the lens of systemic functional grammar. This study, by means of this rhetorical, semiotic approach, forays into the profundity of what is named as “Made in China” and showcases Chinese spirit in fashion communication. (shrink)

This research investigates how multimodality is applied in logos to build a heritage brand identity for Chinese destinations. As a historical country, China is known for its huge reserves of cultural and natural heritage, which ideally offers abundant resources for developing its tourism industry. These can be taken advantage of in branding its destinations. Kress and van Leeuwen’s Visual Grammar was adopted in this study to conduct a qualitative analysis of the images and words of destination logos collected from 34 (...) provincial-level administrative regions in China. The findings indicate that pictorial and written elements are skillfully used in the logos through the manifestation of heritage, capturing features that convey significant connotations to promote a positive brand identity of the Chinese destinations. This research adds to the existing literature on destination branding through heritage commodification by embodying evocative multimodal features in destination logos, as well as promoting the semiotic approach as an effective tool in constructing the heritage brand identity of Chinese destinations. (shrink)

This paper analyses “A Message to America,” the 2014 ISIS video that presents the beheading of American photojournalist James Foley. This short film served as a model for the more than 200 graphically violent videos posted online by the terrorist group before the fall of the caliphate in 2019. The main objective of this research is to question the truth-value of violent ISIS videos and to advocate a critical approach to them. To this end, four key issues need to be (...) explored: the quality of the videos; their status as art, documentary, or propaganda; their target audiences; and the purpose of the message being conveyed to each of those audiences. To deconstruct the mechanisms employed by the constructed fallacy of this video and critically expose its literal and metaphorical meaning, we use textual analysis, the methodological tool developed in Greimasian semiotics. The results reveal a carefully planned text with a clearly recognizable narrative structure (crime and punishment). This video is a propaganda documentary that makes use of the tools of fiction to stage a real event: Foley dies, but his death is not shown on camera; it is only staged. Targeting two different audiences, an implicit Muslim viewer, and an explicit Western viewer, the text can be interpreted as a crossing of gazes between East and West. (shrink)

This article proposes a semiotic reading of the most widely recognized internet image macro memes (termed “canonical image macro memes” or CIMMs) and analyzes these memes as individual texts. It demonstrates that memes possess their own language, or system of signs, and form their own literature. By delineating the extent to which the visual and verbal components are customizeable image macro memes, this article strives to understand the language of CIMMs, and the processes and limitations by which meaning is generated. (...) Understanding each meme as a text, this analysis demonstrates that the first-order semiological system of memes is informed and underpinned by a discrete, highly specific second-order semiological system, which guides the way in which a meme user will read memetic texts both individually and in relation to one another, and which must be analyzed as a phenomenon unto itself. The increasingly complex interreferentiality found within the growing corpus of memetic texts engenders sets of memes which only acquire signification when read together; a consideration of such memes demonstrates the codification of a metalanguage, or mythology, of memes, which allows us to understand better how memes have begun to consolidate their own canon. (shrink)

Résumé Depuis le milieu des années 1990, les spécialistes en brand management recourent à une variété de stratégies de marques fortement institutionnalisées et peu contestées. Or, un examen sémiotique de ces stratégies peut amener à questionner la façon dont ces architectures sont construites. L’objectif de cet article est de mettre en lumière les contradictions sémiotiques d’une partie de ces stratégies pour, d’une part, proposer un modèle d’architecture de marques sémiotiquement fondé, et, d’autre part, offrir une définition renouvelée du concept de (...) marque, comme « service ayant une vision propre ». En outre, cet article invite à toujours considérer deux types de services lorsqu’on s’attelle à une réflexion stratégique sur les marques : les « services souverains » et les « services adjoints ». Cette « relation d’appartenance » entre services permet de saisir toutes les relations de marque possibles entre entreprises, filiales, produits, lignes, gammes, offres, etc. Plus généralement, cet article entend valoriser le recours à la sémiotique (post)structurale greimassienne pour enrichir la réflexion et améliorer les pratiques dans le domaine du brand management. (shrink)

Compared with history, which is a compendium of statements of what happened in human past, rumors are a fleeting phenomenon that escapes scholarship from historiography. However, rumors, as the manifestation of local beliefs and the power relationships at the time, can expand the horizons of history by providing decentralized perspectives towards various events. The semiotic relationship between rumor and collective memory delves into respective cultures of social groups on both synchronic and diachronic planes. On the one hand, collective memory provides (...) an integrated framework of rumor studies, which can be stratified by different layers, reaching different depths of the collective concern. On the other hand, it can contextualize rumors in the rich archive of cultural texts preceding rumor texts. In this regard, collective memory functions both as the corpus for rumor discourses to generate and as the context for such discourses to mesmerize the public by pre-selecting the audience as model readers, especially under a particular social concern. Moreover, these discourses can be sedimented for future recurrence of rumors of the same schema under certain social circumstances, which demonstrates the dynamics of culture as new rumor texts are generated out of the cultural context. Rumors, therefore, are framed in cultural history, which leads to further discussions on explosion as a cultural phenomenon. (shrink)

A teacher’s use of classroom space via embodied movement enacts a specific spatial pedagogy and has a significant impact on the nature of teaching and learning that can take place. The ubiquity and large expenditure in renovating university learning environments have not been accompanied by well-informed research due to a tendency to background embodied movement in pedagogic investigations. This paper explores the semiotic potentials and pedagogic functions of one teacher’s embodied movement in an Active Learning Classroom in a tertiary setting. (...) It maps out the interrelationship of embodied movement and space as an entanglement of materiality and practice, which complements existing research that relates movement to space only in terms of layout and composition. By conducting a nuanced multimodal analysis of one teacher’s co-patterns of movement and speech in a tertiary lesson, this paper finds that co-patterns of embodied movement and speech in the classroom can segment phases of pedagogic discourse into five secondary phases and that these phases congruently enact different types of space to modulate the teacher-student relationship and enact different pedagogic roles. The paper concludes with a discussion of the implication of embodied movement on classroom design and pedagogic practice. (shrink)

According to conceptual metaphor, this study finds and categorizes three metaphors in perfume commercials: FRAGRANCE IS ATTRACTION, FRAGRANCE IS EMOTION, and FRAGRANCE IS OBJECT. Drawing on the analytical tool of multimodal metaphor analysis, the study further analyzes how perfume commercials complete the metaphorical operation mechanism of mapping from visual and auditory modes to olfactory. It is found that, different from the traditional definition of a concrete source domain and an abstract target domain in conceptual metaphors, the joint participation of multiple (...) modes in commercials may cause a reversal of the degree of abstraction between the source and the target. Due to the limitation of transmitting olfactory information in fragrance commercials where the audience can only receive audible and visual information, “scent” becomes a more abstract concept, while the abstract concepts of “attraction” and “emotion” become a more concrete source. Additionally, the three metaphors’ advertising effects in fragrance commercials are evaluated. Theoretical implications for future studies in multimodal metaphor analysis are also discussed. (shrink)

Résumé Dans cet article, il s’agit de montrer que si la machine (co)crée, elle ne (co)énonce pas, si l’on entend par « énonciation » l’acte métadiscursif de définir les conditions de possibilité de la production d’un texte verbal ou visuel, la gestion des modalités qui conduisent des virtualités et potentialités au stade de la réalisation ainsi que l’évaluation du processus a posteriori. D’une part, nous attardant sur la génération texte-image par DALL•E 3, mais aussi analysant des glitches, nous cherchons à (...) montrer que, grâce à l’indétermination inhérente au code, grâce à une dose d’aléatoire, voire grâce à une certaine « organicité » qui n’exclut pas le vague et le flou, la créativité n’est pas seulement humaine: au-delà de l’accident, la machine peut produire du nouveau en « faisant ce qu’elle a à faire ». D’autre part, en ce qui concerne la « (co)énonciation machinique », nous dégageons une séquence énonciative qui atteste la responsabilité de l’humain dans les phases initiale et finale, la phase médiane voyant se multiplier des instances machiniques sous-tendues par des forces anonymes et impersonnelles. (shrink)

Pouvons-nous appliquer les notions traditionnelles de vérité et d’erreur à la production artificielle d’énoncés? A partir d’une tripartition proposée par Umberto Eco, l’article s’interroge sur la pertinence contemporaine des critères de vérité utilisés pour évaluer les énoncés humains. Il s’agit de remarquer que les énoncés artificiels ne sont pas vrais ou faux comme ceux produits par les humains, ce qui remet en question notre conception du langage. L’article identifie la spécificité et les limites de la génération automatique de langage dans (...) l’incapacité des machines de s’ancrer au réel par le biais de la perception. Il conclut en indiquant les potentialités de l’énonciation mécanique et nomme “humilité,” l’attitude, opposée au concept courant d’explicabilité, que l’on pourrait adopter vis-à-vis des intelligences artificielles. (shrink)

This paper explores the relation between images and databases in a twofold way. The first part examines image databases as sources for image computational analysis, while the second part studies image databases as sources for image generation (notably through the generative artificial intelligence model Midjourney). Image analysis and image generation will be analyzed through the concept of enunciative praxis. Traditionally, enunciative praxis concerns cultural transformations over the long term (the relation between sedimentation and innovation); in our case it will be (...) used notably to study the generation of new images through old, traditional ones. (shrink)

Résumé Cet article aborde les intelligences artificielles génératives visuelles telles que Midjourney et DALL·E afin d’analyser leur fonctionnement sémiotique. Le point de départ est la définition de la discipline sémiotique proposée par Pierluigi Basso Fossali, décrivant celle-ci comme la science qui étudie la gestion sociale du sens, et qui s’articule en quatre sphères fondamentales : la perception, l’énonciation, la communication et la transmission. À partir de ce cadre théorique, l’objectif est de proposer et de décrire deux nouvelles configurations qui caractérisent (...) le fonctionnent sémiotique des IA génératives visuelles : à travers une perception d’archives et grâce à des circuits de composition. Le concept de perception d’archives a pour objectif de décrire la manière particulière dont les IA voient, entendent et apprennent, celle-ci étant réalisée sur de grandes quantités de données et à travers une généalogie d’opérations reconfigurables sur les archives. Les circuits de composition, quant à eux, concernent le couplage entre la logique de la composition visuelle et de la prédication verbale : il s’agit du processus d’énonciation par débruitage visuel réalisé par les IA, guidé par les requêtes en langage naturel fournies par des opérateurs humains. À partir de trois critères élaborés en sémiotique – les catégories plastiques, l’énonciation visuelle, ainsi que la traduction intersémiotique entre textes verbaux et images – une série de tests seront proposés afin d’examiner les circuits de composition des modèles génératifs de Midjourney et de DALL·E. Les IA seront enfin définies en tant que machines co-énonçantes : des entités dépourvues d’intentionnalité et d’initiative, qui produisent pourtant des énoncés en collaboration avec un opérateur humain et sur la base d’archives de données hautement structurées et reconfigurables. (shrink)

Résumé Cet article explore la complexité de l’interaction entre l’Intelligence Artificielle (IA) et les rationalités humaines, en mettant l’accent sur les défis des humanités numériques. À travers une étude exploratoire, on articule deux perspectives : d’une part, la critique de l’idée que l’IA pourrait imiter ou reproduire fidèlement les rationalités humaines, et d’autre part, l’examen des limites et des possibilités de l’intelligence artificielle en tant que système autonome. L’analyse s’appuie sur des interactions prolongées avec ChatGPT, visant à tester les capacités (...) de l’IA dans des contextes pédagogiques et épistémiques. L’article propose une reconceptualisation des relations entre jeux, calculs et mondes possibles, en soulignant les implications pour des sémiosphères différentes (culturelle/artificielle) et les standards de rationalité. Finalement, l’article vise à problématiser les rôles potentiels de l’IA en tant que catalyseur d’énonciation, médiateur dans une cognition distribuée, et agent participant à une intelligence collective, tout en soulignant les limites intrinsèques des capacités réflexives et cognitives de l’IA. (shrink)

The aim of this article is, on the one hand, to take up and discuss some key categories and concepts in semiotics, in an attempt to analyze the mechanisms underlying current artificial intelligence (AI) models, with a focus on ChatGPT. Although many of these concepts are already being debated, they remain crucial in relation to semiotic and sociosemiotic categories. Concepts such as generativity, perception, textuality, and the effects of meaning, as well as the notion of language itself, require a new (...) semiotic evaluation, including in relation to a cultural history of AI, and the metaphors associated with it. In addition, this article aims to propose more of a general observation and review of some theoretical problems and sociosemiotic issues related to the advent of AIs with some correlated examples, such as in the field of political communication and conflict. (shrink)

This article explores the intersection of generative artificial intelligence (AI) and human cognition through semiotics, proposing that generative AI offers a lens through which the essence of human being is revealed and through which semiotic enunciation and meaning can be radically reevaluated. Drawing on semiotic, philosophical, and neurodevelopmental frameworks, it argues that generative AI, as exemplified by language-endowed systems like ChatGPT and others, challenges traditional notions of meaning, subjectivity, and intelligence. By tracing the evolution of enunciation theories and their application (...) to AI, the paper asserts that these machines reveal a machinic essence intrinsic to human beings – our reliance on external cognitive aids and hybridization with the environment that makes us “natural-born cyborgs.” Indeed AI, far from merely simulating intelligence, exposes the limits of human-centric models of meaning and the myths underlying our conceptualization of cognition and language. (shrink)

Programming is a relevant semiotic activity, resulting in millions of lines of written code: the whole digital revolution is still rooted in writing as a semiotic activity. In relation to this, AI applications based on deep learning do not present particular features. They are standard computer programs relying on the von Neumann/Turing architecture. Yet there is an interesting epistemological difference. A distinction can be made between classical programming and machine learning. As the task for programming is always problem solving, in (...) classical programming, the programmer has to input rules and data in order to gather answers in output. A machine learning approach requires a different epistemological wiring: the programmer inputs data and the required answers, while the software learns or discovers the rules. These two approaches to programming can be characterized from a semiotic perspective by referring to the couple “grammar” versus “text” and “allography” versus “autography.” A grammar defines a set of rules to be applied so that an output is generated that is formally consistent with the prescribed rules. Rather, a text acts as an example from which to infer regularities in order to generate a new text. This epistemological shift on the computation side is coupled with an analogous one on the user side. As data, that is – semiotically – texts, are the driving force, users have to focus on sets of examples in order to cope with the algorithms. The contribution discusses this shift by taking into account the relative changes in agency. (shrink)