American Journal of Semiotics

Kermit Snelson

The American Journal of Semiotics

The Phanerochemical Wedding of Logic and Philosophia Perennis: On Morrissey’s The Way of Logic

逻辑与永恒哲学之显化学联姻：论莫里西的《逻辑之道》

Marc Champagne

Consciousness and the Philosophy of Signs: A New Précis

意识与符号哲学：新概述

Jamin Pelkey

A Watershed for Qualia: Marc Champagne’s Unified Theory of Consciousness

意识质素的分水岭：马克·香槟的意识统一理论

Hongwei Jia

Signs, Language, and Listening: A Review

符号、语言与倾听：综述

De-sign is an activity that is a result of semiotic and design processes combined to give a desired outcome. It is an outcome brought about by the conscious mind. But a De-sign outcome can be either tangible or intangible. Intangible results can lead to either an objective or a purely objective product. In other words, it can be a physical result or an imaginative state of mind. This paper explores the latter process of De-sign and how it relates to fictional subject matters and film. A commentary on language, beginning with the alphabet and moving onto the advent of written language, is included. The paper progresses from the world of written language, to an exploration of the mutable, purely objective world of fiction, to the more objective, rigid world of film, where elements left to the imagination, when reading, become fixed with little left for the purely objective activities of the mind. It will be shown that De-sign is an approach common to all purely objective thinking, whether it has an intangible or a tangible final product.

Baranna Baker

From a Bubbling Swirl of Signs

从沸腾的符号漩涡中

A fundamental issue for music semiotics is how we might address the signification and interpretation of complex amalgams that do not neatly subdivide into what I call “atomistic signs.” At all levels of musical organization, we are confronted with complex amalgams that demand a more synthetic kind of perception and cognition (e.g., gestures) or a more integrative approach to reconstruction and implementation (e.g., musical styles, understood as competencies guiding interpretation). Although many music-theoretical models helpfully address the temporality of musical events, they cannot fully capture the immediacy of a complex musical gestalt that demands qualitative, aesthetic, affective, and, ultimately, synthetic interpretation. This essay considers ways we can enhance our theoretical understanding of, and our own competency for, musically artistic interpretation. I conclude with an application of this approach to the opening of the Sarabande from Bach’s keyboard Partita no. 4 in D Major.

Robert S. Hatten

Toward an Adequate Theoretical Framework for Interpreting Complex Signification in Music

迈向解释音乐中复杂意义的充分理论框架

In this paper, I consider the creation and performance of Leah Asher’s TRAPPIST-1 (2017), a solo piano work in graphic notation that I commissioned and premiered. Musical works that utilize open notations often have a complex relationship to the work-concept and, in turn, an elusive ontology. I consider the role of conceptual palettes as significant sites in the creative process where ontological boundaries are delineated. I analyze four sites in the creation of TRAPPIST-1—from project proposal to premiere performance—where conceptual palettes play a dynamic role in narrowing, restricting, and guiding the identity of the work. Using Jakobson’s notion of the poetic function and Harkness’s concept of qualic transitivity, I show that conceptual palettes facilitate performance as highly cu­rated acts of translation not just of open notations but also of intangible concepts.

Tristan McKay

Conceptual Palettes as Sites of Creative Negotiation in Leah Asher’s TRAPPIST-1

概念调色板作为莉亚·阿舍尔《TRAPPIST-1》中创意协商的场所

Navigating the multicursal pattern of labyrinths is at the core of De-sign (the fusion of design and signs). Due to the ephemerality of de-sign situations and the infinite possibility of outcomes, the navigational trajectory, while intentional, is ambiguous and labyrinthine. Intentionality entices us to engage in the process of creating that which-is-yet-to-become—not deliberately looking for those that are already existent as ontic things but engaging in a process that allows qualities to emerge unexpectedly. Considering the immateriality of intentionality and its indeterminate outcomes, the process of navigating through the labyrinth of De-sign should not be perceived as a set of predetermined activities aiming at an expected result or thing. Navigating through unknown territories for the purpose of seeking qualitatively desired outcomes is the effective, nonlinear, reiterative de-sign process, which is constantly adjusted pragmatically by feedback and feedforward loops in order for the emergent outcome to become compatible with intentionality.

Farouk Y. Seif

Navigating the Labyrith of De-sign

探索设计的迷宫

Gilles Fauconnier and Mark Turner’s model of conceptual blending is especially helpful in illustrating the type of text-music correspondences that often occur in Felix Mendelssohn’s songs and other vocal works. It corresponds to the way he spoke of his “poetics of song” compositions in his writings on the topic. Following a comparison of the Berlin-based approach to the songwriting of Mendelssohn to that of the Vienna-based song composers, such as Schubert, this essay will examine Mendelssohn’s own writings on text-music for such correspondences with the language of conceptual blending. I conclude with a close reading of “Es weiss und räth es doch Keiner,” Op. 99 no. 6, illustrating how Mendelssohn depicts the overall structure and specific meaning of Joseph von Eichendorff’s poem through a variety of musical techniques.

Michael Baker

Conceptual Blending and Mendelssohn’s Poetics of Song

概念融合与门德尔松的歌曲诗学

Charles Tomlinson Griffes was a visionary American composer at the turn of the twentieth century who synthesized highly diverse elements into a new artistic voice. This essay explores two instances of musical irony in Griffes’s oeuvre. “The Vale of Dreams” introduces a new tonal center at the end, which casts doubt on the overall structural role of the recurring bass pedal. Griffes’s use of irony in “Prelude #3” has a more critical character in that he questions underlying theoretical assumptions about scale-degree identity and the traditional concepts of consonance and dissonance. In addition, the double irony awakened in the final chord undermines the model of binary form and the aesthetic principle of closure upon which that model is based. As a result, the third prelude constitutes a kind of musico-philosophical challenge, an aesthetic exclamation point that invites listeners to reconsider traditional definitions of interval quality, tonality, and formal closure.

Taylor A. Greer

A Tale of Two Cadences

两种节奏的故事

短名
Journal Impact	0.51
期刊索引	中科院 4 区

ISSN	0277-7126, 2153-2990
国内分区	社会学(4区)社会学人文科学(4区)

涉及主题	哲学语言学艺术认识论社会学心理学符号学历史
出版信息	出版商: Philosophy Documentation Center，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 2000，原创研究文献占比: 0.00%，自引率:0.00%， Gold OA占比: 0.00%

American Journal of Semiotics

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