Code (semiotics)

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In semiotics, a code is a set of cultural conventions, contemporary sub-codes, and themes used to communicate meaning. [1] The most common is one's spoken language, but the term can also be used to refer to any narrative form: consider the color scheme of an image (e.g. red for danger), or the rules of a board game (e.g. the military signifiers in chess).

Ferdinand de Saussure (1857–1913) emphasised that signs only acquire meaning and value when they are interpreted in relation to each other. He believed that the relationship between the signifier and the signified was arbitrary. Hence, interpreting signs requires familiarity with the sets of conventions or codes currently in use to communicate meaning.

Roman Jakobson (1896–1982) elaborated the idea that the production and interpretation of texts depends on the existence of codes or conventions for communication. Since the meaning of a sign depends on the code within which it is situated, codes provide a framework within which signs make sense (see Semiosis).

Discussion

To that extent, codes represent a broad interpretative framework used by both addressers and their addressees to encode and decode the messages. Self-evidently, the most effective communications will result when both creator and interpreter use exactly the same code. Since signs may have many levels of meaning from the denotational to the connotational, the addresser's strategy is to select and combine the signs in ways that limit the range of possible meanings likely to be generated when the message is interpreted. This will be achieved by including metalingual contextual clues, e.g. the nature of the medium, the modality of the medium, the style, e.g. academic, literary, genre fiction, etc., and references to, or invocations of, other codes, e.g. a reader may initially interpret a set of signifiers as a literal representation, but clues may indicate a transformation into a metaphorical or allegorical interpretation diachronically. Distinctions of class or memberships of groups will be determined by the social identity each individual constructs through the way the language is spoken (i.e. with an accent or as a dialect) or written (i.e. in sentences or in SMS format), the place of residence (see Americanisms), the nature of any employment undertaken, the style of dress, and nonverbal behaviour (e.g. through differentiating customs as to the extent of private space, whether and where people may touch or stare at each other, etc.). The process of socialisation is learning to understand the prevailing codes and then deciding which to apply at any given time, i.e. acknowledging that there is sometimes an ideological quality to the coding system, determining levels of social acceptability, reflecting current attitudes and beliefs. This includes regulatory codes that are intended to control behaviour and the use of some signifying codes. The human body is a means of using presentational codes through facial expressions, gestures, and dress. So words spoken may change their connotation to unacceptable if accompanied by inappropriate nonverbal signs. The other code forms rely upon knowledge held by, and the interests of, the addressees. Specialised denotational codes may provide a more objective and impersonal form of language for mathematical, philosophical, and scientific texts. Hence, for example, the ability to read this text depends upon a more specialised form of vocabulary and different skills to those required to read a genre text detailing the investigations of a detective or the adventures of a secret agent. There are also specialised connotational and ideological codes to reflect particular social, political, moral, and aesthetic values. Musical and iconic codes would be relevant as between a work by Arnold Schoenberg and a piece of bubblegum pop, and a painting by Rembrandt and a comic book by Frank Miller, etc. Each medium has its own specialised codes and, by making them more explicit, semiotics is attempting to explain the practices and conventions have appeared in each form and to understand how meaning is being communicated. In return, this assists addressers to improve their techniques, no matter what their functional needs, e.g. as politicians, journalists, advertisers, creative artists, etc. Indeed, awareness leads to an intentional blending of codes for effect, e.g. an advertiser may produce a more effective campaign with a slogan, images and a jingle using lexical, social gestural, and musical codes. In communication research and media research, the way receivers act towards the message and the way it is encoded becomes relevant, and generates different reactions:

Related Research Articles

In communications and information processing, code is a system of rules to convert information—such as a letter, word, sound, image, or gesture—into another form, sometimes shortened or secret, for communication through a communication channel or storage in a storage medium. An early example is an invention of language, which enabled a person, through speech, to communicate what they thought, saw, heard, or felt to others. But speech limits the range of communication to the distance a voice can carry and limits the audience to those present when the speech is uttered. The invention of writing, which converted spoken language into visual symbols, extended the range of communication across space and time.

<span class="mw-page-title-main">Sign</span> Entity whose presence indicates the probable existence of something else

A sign is an object, quality, event, or entity whose presence or occurrence indicates the probable presence or occurrence of something else. A natural sign bears a causal relation to its object—for instance, thunder is a sign of storm, or medical symptoms a sign of disease. A conventional sign signifies by agreement, as a full stop signifies the end of a sentence; similarly the words and expressions of a language, as well as bodily gestures, can be regarded as signs, expressing particular meanings. The physical objects most commonly referred to as signs generally inform or instruct using written text, symbols, pictures or a combination of these.

Semiotics is the systematic study of sign processes (semiosis) and meaning making. Semiosis is any activity, conduct, or process that involves signs, where a sign is defined as anything that communicates something, usually called a meaning, to the sign's interpreter. The meaning can be intentional, such as a word uttered with a specific meaning; or unintentional, such as a symptom being a sign of a particular medical condition. Signs can also communicate feelings and may communicate internally or through any of the senses: visual, auditory, tactile, olfactory, or gustatory (taste). Contemporary semiotics is a branch of science that studies meaning-making and various types of knowledge.

A connotation is a commonly understood cultural or emotional association that any given word or phrase carries, in addition to its explicit or literal meaning, which is its denotation.

In semiotics, a sign is anything that communicates a meaning that is not the sign itself to the interpreter of the sign. The meaning can be intentional, as when a word is uttered with a specific meaning, or unintentional, as when a symptom is taken as a sign of a particular medical condition. Signs can communicate through any of the senses, visual, auditory, tactile, olfactory, or taste.

In semiotics, linguistics, anthropology, and philosophy of language, indexicality is the phenomenon of a sign pointing to some element in the context in which it occurs. A sign that signifies indexically is called an index or, in philosophy, an indexical.

Paradigmatic analysis is the analysis of paradigms embedded in the text rather than of the surface structure (syntax) of the text which is termed syntagmatic analysis. Paradigmatic analysis often uses commutation tests, i.e. analysis by substituting words of the same type or class to calibrate shifts in connotation.

In semiotics, the value of a sign depends on its position and relations in the system of signification and upon the particular codes being used.

In semiotics, a modality is a particular way in which information is to be encoded for presentation to humans, i.e. to the type of sign and to the status of reality ascribed to or claimed by a sign, text, or genre. It is more closely associated with the semiotics of Charles Peirce (1839–1914) than Ferdinand de Saussure (1857–1913) because meaning is conceived as an effect of a set of signs. In the Peircean model, a reference is made to an object when the sign is interpreted recursively by another sign, a conception of meaning that does in fact imply a classification of sign types.

In semiotics, the commutation test is used to analyze a signifying system. The test identifies signifiers as well as their signifieds, value and significance.

In semiotics, denotation is the surface or the literal meaning, the definition most likely to appear in a dictionary.

In semiotics, connotation arises when the denotative relationship between a signifier and its signified is inadequate to serve the needs of the community. A second level of meanings is termed connotative. These meanings are not objective representations of the thing, but new usages produced by the language group.

Decoding, in semiotics, is the process of interpreting a message sent by an addresser (sender) to an addressee (receiver). The complementary process – creating a message for transmission to an addressee – is called encoding.

Encoding, in semiotics, is the process of creating a message for transmission by an addresser to an addressee. The complementary process – interpreting a message received from an addresser – is called decoding.

In semiotics, the study of sign processes (semiosis), the meaning of a sign is its place in a sign relation, in other words, the set of roles that the sign occupies within a given sign relation.

Social semiotics is a branch of the field of semiotics which investigates human signifying practices in specific social and cultural circumstances, and which tries to explain meaning-making as a social practice. Semiotics, as originally defined by Ferdinand de Saussure, is "the science of the life of signs in society". Social semiotics expands on Saussure's founding insights by exploring the implications of the fact that the "codes" of language and communication are formed by social processes. The crucial implication here is that meanings and semiotic systems are shaped by relations of power, and that as power shifts in society, our languages and other systems of socially accepted meanings can and do change.

The following is a list of semiotics terms; that is, those words used in discussion, classification, criticism, and analysis of the study of sign processes (semiosis), analogy, metaphor, signification and communication, signs and symbols. Note: in order to help the reader this page also includes terms which are not part of semiotic theory per se but which are commonly found alongside their semiotic brethren - these terms come from linguistics, literary theory and narratology.

Semiotics is the study of meaning-making on the basis of signs. Semiotics of photography is the observation of symbolism used within photography or "reading" the picture. This article refers to realistic, unedited photographs not those that have been manipulated in any way. Roland Barthes was one of the first people to study the semiotics of images. He developed a way to understand the meaning of images. Most of Barthes' studies related to advertising, but his concepts can apply to photography as well.

The following outline is provided as an overview of and topical guide to semiotics:

Film semiotics is the study of sign process (semiosis), or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Film semiotics is used for the interpretation of many art forms, often abstract art.

References

  1. ↑ Champagne, Roland A. (1979). "The Dialectics of Style: Insights from the Semiology of Roland Barthes". Style. 13 (3): 279–291. JSTOR   42945251 . Retrieved 2022-01-18. A whole cultural ensemble arrives with a code. ... more expansive than a thematic series because a code can include several themes that do not that do not have a linear, logically cohesive bond.
  2. ↑ Danesi, Marcel (2009), Dictionary of Media and Communications. M.E.Sharpe, Armonk, New York.
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