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Peirce's Semiotics and the Arts: Workshop with Francesco Bellucci and Frederik Stjernfelt

The result's identifiers

  • Result code in IS VaVaI

    <a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11240%2F22%3A10453817" target="_blank" >RIV/00216208:11240/22:10453817 - isvavai.cz</a>

  • Result on the web

    <a href="http://inhumanity.eu/" target="_blank" >http://inhumanity.eu/</a>

  • DOI - Digital Object Identifier

Alternative languages

  • Result language

    angličtina

  • Original language name

    Peirce's Semiotics and the Arts: Workshop with Francesco Bellucci and Frederik Stjernfelt

  • Original language description

    Seminar at the Faculty of Humanities (Dec 14th, 16:00, Room 003): The Deduction of the Dicisign. A joint reading and commentary of a section of R 478, the first version that Peirce wrote of a Syllabus for his Lowell Lectures in the autumn of 1903. In this section Peirce set forth an argument designed to prove, or better to deduce, that propositions (here for the first time re-named &quot;dicisigns&quot; or &quot;dicent sign&quot;), provisionally defined as those sign that are capable of truth value, are necessarily compounded or complex entities. The deduction&apos;s conclusion is that a dicisign is a structured sign in which two parts are connected. In this joint reading and commentary, we reconstruct Peirce&apos;s argument, outline its connections to other aspects of his semiotic theory, and explore some important development of the theory that is based on its conclusions.Workshop at the Academy of Fine Arts in Prague (Dec 15th, 13:00, Main Lecture Hall): Two distinct talks on a common theme: Peirce&apos;s Semiotics and the ArtsBellucci: &quot;Legisigns and Their Variants&quot; In his celebrated Languages of Art (1968) Nelson Goodman said that any theory of art must do some preliminary work into the theory of symbols or notational systems. A crucial element in Goodman&apos;s theory of notation is the distinction between a &quot;character&quot; and the &quot;instance&quot; of a character. This, as Goodman recognizes, is the distinction made by Charles S. Peirce between a &quot;type&quot; sign and a &quot;token&quot; sign. In this talk, I will reconstruct the steps by means of which Peirce arrived at his type/token distinction in the context of his classification of signs.Stjernfelt: &quot;Propositions and Artworks&quot;. Much work has been done using aspects of Peirce&apos;s semiotics in the analysis of artworks in literature, painting, film, etc., oftentimes using the icon-index-symbol distinction. Rarely, however, has the central role of propositions, or Dicisigns, in Peirce been acknowledged in the art context. Here, I shall address the role of propositions in artworks along two axes: 1) the role of Ingardian &quot;quasi-propositions&quot; in fictional artworks; 2) the deliberate modernist aesthetic strategy of weakening or blurring propositional structure of the artwork - which may coincidentally have contributed to the failing recognition of artistic propositions more generally.

  • Czech name

  • Czech description

Classification

  • Type

    W - Workshop organization

  • CEP classification

  • OECD FORD branch

    60401 - Arts, Art history

Result continuities

  • Project

    <a href="/en/project/GA22-17984S" target="_blank" >GA22-17984S: Focal images: Violence and Inhumanism in contemporary art and media culture</a><br>

  • Continuities

    P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Others

  • Publication year

    2022

  • Confidentiality

    S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Data specific for result type

  • Event location

    Prague

  • Event country

    CZ - CZECH REPUBLIC

  • Event starting date

  • Event ending date

  • Total number of attendees

    2

  • Foreign attendee count

    2

  • Type of event by attendee nationality

    WRD - Celosvětová akce