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  • 1.
    Atã, Pedro
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Emergent Sign-Action Classical Ballet As A Self-Organized And Temporally Distributed Semiotic Process2019In: European Journal of Pragmatism and American Philosophy, E-ISSN 2036-4091, Vol. 11, no 2, p. 1-19Article in journal (Refereed)
    Abstract [en]

    We explore Peirce's pragmatic conception of sign action, as a distributed and emergent view of cognition and exemplify with the emergence of classical ballet. In our approach, semiosis is a temporally distributed process in which a regular tendency towards certain future outcomes emerges out of a history of sign actions. Semiosis self-organizes in time, in a process that continuously entails the production of more signs. Emergence is a ubiquitous condition in this process: the translation of signs into signs cannot be inferred from the properties of the components of a semiotic triad alone, but has to take into account a complex interaction between a micro-semiotic and macro-semiotic level of description. This interaction can be understood as an interplay of potentialities and tendencies, or upward constitutive determinative relations and downward selective determinative relations. According to this view, emergence is a central defining condition of processes of meaning. Ballet is a sign in action. The emergence of classical ballet is a self-regulatory process, in which a system of different kinds of cognitive artifacts (musical, bodily/motor, spatial/architectonic) and agents obtained a stable semiotic relation throughout many phases of development between the 16th and the 19th Century. One case is the development of the verticality of dance in classical ballet as a semiotic relation connecting proscenium arch stages, dancing bodies, and audiences. This development is micro-semiotically determined by the spatial constraints of the proscenium arch stage, and macro-semiotically determined by a historical construction of the dancing body as a sign within a network of semiotic chains, such as the intersemiotic regulation of body of the dancer by principles coming from painting. This is not only the emergence of actual meaning, but also the emergence of an open-ended field of potential and general meanings, an autonomous tendency of development. To say that ballet, as sign action, emerges, is to say that cognitive artifacts such as dancer's bodies, stages and audience's point of view, musical compositions, costumes, all sorts of supporting institutions, etc, constitute a niche for sign action, interacting according to tendencies of development that didn't exist before.

  • 2.
    Atã, Pedro
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queiroz, João
    Universidade Federal de Juiz de Fora, Brazil.
    O externalismo semiótico ativo de C. S. Peirce e a cantoria de viola como signo em ação: The active semiotic externalism of C. S. Peirce and the "Cantoria de viola" as a sign in action2021In: Trans/Form/Ação, ISSN 0101-3173, E-ISSN 1980-539X, Vol. 44, no 3, p. 177-204Article in journal (Refereed)
    Abstract [en]

    The main purpose of this work is to provide a semiotic ontology for redescription of active cognitive externalism, recently developed by the paradigm 4E (embodied, embedded, enactive, extended cognition). In our approach, distributed cognitive systems (DCSs) are described as semiosis, signs in action. We explored the relationship between semiosis and cognition, as conceived by C. S. Peirce, in association with the notion of distributed cognitive system (DCS). We introduce Peircean externalist approach with an emphasis on the notion of temporal distribution of semiosis, and describe DCSs, and their elements, as "sign in action". To develop this argument, we describe an example of DCS -- verbal-musical improvisation of repente, repentismo, or viola singing. It is a phenomenon of verbal-musical improvisation that takes the form of a challenge in versified oral poetry. We describe the phenomenon as the embodiment of the formal structure of a cognitive task and an inferential process. This embodiment corresponds to a semiotization of the repente performances as DCSs. The temporally distributed tendency of repentismo organizes the DCS as a system that performs metasemiotic experiments on the action of signs.

  • 3.
    Fernandes, Ana Luiza
    et al.
    Univ Fed Juiz De Fora, Brazil.
    Vitorio, Ana Paula
    Univ Fed Juiz De Fora, Brazil.
    Queiroz, João
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Inst Artes Design, Brazil.
    Quarenta Clics em Curitiba: Leminski and Pires' intermedial haikus2015In: Ipotesi, ISSN 1415-2525, Vol. 19, no 1, p. 14-27Article in journal (Refereed)
    Abstract [en]

    ''Quarenta Clics em Curitiba" is a rare, almost unprecedented, collaborative photobook of Brazilian literature. Its structure - with loose, unnumbered pages - hinders any attempt of reading them in an already established sequence. Because it prevents the creation of privileged focus of attention, since its many possible sequences suggest different narrative structures, the book "recreates" on the reader the feeling of a procrastination through the city, immersed in trivial events. We present this complex intermediatic phenomenon, and analyze briefly some examples of the "dense coupling" between verbal poetry of Paulo Leminsky and the photography of Jack Pires.

  • 4.
    Queiroz, João
    et al.
    Univ Fed Juiz de Fora, Brazil;Icon Res Grp IRG, Brazil;Univ Free State, South Africa.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Intersemiotic Translation as a Creative Thinking Tool From Gertrude Stein to Dance2020In: Transmediations: Communication across media borders / [ed] Salmose, N;Elleström, L, Routledge, 2020, p. 186-213Chapter in book (Refereed)
    Abstract [en]

    Intersemiotic translation can be described as a “cognitive pump”, a cognitive artefact, or a thinking tool that is designed to scaffold and distribute artistic creativity. Thinking tools (physical and virtual tools employed by cognitive systems) are part of the material and cultural niches of human cognition. We describe intersemiotic translation as such a thinking tool. How does it work? As an anticipatory augmented intelligence technique, intersemiotic translation works as an anticipatory and predictive tool; it anticipates new, unexpected events and patterns of semiotic behaviour and keeps the emergence of new patterns under control. From this perspective, intersemiotic translation decreases the cost of choice for an agent (artist) operating in a cognitive niche by increasing the predictability of the emergence of patterns of semiotic behaviour in that niche. At the same time, it works as a generative model, providing new, unexpected, surprising data in the target system and affording competing results that allow the system to generate candidate instances. From this perspective, intersemiotic translation increases the complexity of the cognitive niche. We explore these ideas here, taking advantage of an example of an intersemiotic translation of Gertrude Stein’s experimental prose to theatrical dance.

  • 5.
    Queiroz, João
    et al.
    UFJF Univ Fed Juiz De Fora, Brazil.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Tradução multinível de poesia e a solução de um problema situado e mal definido [Poetry multilevel translation and the solution of a situated and ill-defined problem]2020In: Revista de Letras (Sao Paulo), ISSN 0101-3505, Vol. 60, no 1, p. 61-74Article in journal (Refereed)
    Abstract [en]

    The notions of "multilevel", "level of description and organization" are quite familiar for the studies of complex systems. Examples include physico-chemical, biological computational, socio-economic, historical, and cultural systems. Poems are complex phenomena and can be described as multilevel hierarchical systems. Different levels of description of a poem correspond to different sets of components, structures and processes (e.g., context, lexicon, syntax, prosody, rhythm, typography) that asymmetrically restrict each others. We suggest the notion of "multilevel translation" to characterize an operation whose focus is a solution of a situated problem. The operation involves selection and re-creation of a hierarchical multilevel system of constraints. This perspective allows us to approach the translation of a poem as the solution of a multilevel, situated and ill-defined problem. We describe the steps of this operation, and we exemplify it by the translation of the poem "The Expiration", by Augusto de Campos.

  • 6.
    Vitral, Leticia
    et al.
    Institute of Arts of the Federal University of Juiz de Fora (UFJF), Brazil.
    Aguiar, Daniella
    Federal University of Uberlândia, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    An intersemiotic translation of a mobile art project to a photographic essay2016In: Photographies, ISSN 1754-0763, E-ISSN 1754-0771, Vol. 9, no 1, p. 91-107Article in journal (Refereed)
    Abstract [en]

    VIA is a mobile art project (video-dance and computational music) semiotically translated to photographic media by means of formal constraints derived from selected properties of Rio de Janeiro’s predefined downtown routes. Under the constraints of street buildings and the morphology of the routes, questions regarding the influence of the bodily movements of the urban space led to the creation of a dance typology. This typology is related to pedestrians in the area and to the structure of the buildings spans where the performance happened. The dance movements captured in the videos were restricted and regulated by the physical environment and its main features. Here, an intersemiotic translation of a mobile art project to a photographic essay is presented and described. It strongly relates, and tentatively explores, both an artistic research praxis and a theoretical discussion. The essay explores an analogous semiotic effect from the VIA project on the photographic essay as a result of this investigation.

  • 7.
    Vitral, Leticia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Aguiar, Daniella
    Federal University of Uberlândia, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Intersemiotic translation as an intermedial strategy for artistic production: the photographic translation of a mobile art project2018In: Media networks now & then: netzwerke der intermedialität: festschrift für Jürgen E. Müller / [ed] Anna Wiehl & Nina Savarini, Hamburg: Verlag Dr. Kovac, 2018, 1, p. 281-296Chapter in book (Refereed)
  • 8.
    Vitral, Leticia
    et al.
    Federal University of Juiz de Fora, Brazil.
    Queiroz, Joao
    Federal University of Juiz de Fora, Brazil.
    Iconically modeling a demolition process in the photobook Palast der Republik2018In: Semiotica, ISSN 0037-1998, E-ISSN 1613-3692, Vol. 2018, no 224, p. 191-209Article in journal (Refereed)
    Abstract [en]

    Palast der Republik, by the photographer Christoph Rokitta, is an independent photobook published in 2013 in Berlin. In the photobook different semiotic resources are coupled in order to iconically model the demolition of the homonymous building in Berlin. In opposition to the trivial notion of icon as sign that stands for its object in a relation of similarity, we are going to analyze the photobook as an icon whose main feature is the possibility of discovering information about its object through its manipulation. This specific feature is called operational criterion for iconicity, and it stresses the inherent quality of icons of revealing information available through their manipulation and observation.  Our aim is to describe and analyze the relations between semiotic resources in this photobook, by exploring the operational criterion of iconicity, and models as epistemic artifacts. We are interested in how couplings between semiotic resources in the photobook can iconically model a spatio-temporal process.

  • 9.
    Vitral, Leticia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    The epistemic role of intermedial visual artworks: an analysis of the photobooks Palast der Republik and Domesticidades2018In: Sign System Studies, ISSN 1406-4243, E-ISSN 1736-7409, Vol. 46, no 1, p. 64-89Article in journal (Refereed)
    Abstract [en]

    This paper presents, describes and analyses two photobooks: Palast der Republik and Domesticidades. We claim that, because of their highly iconic features,they can be regarded as epistemic artifacts (models) since they reveal information about their objects, as well as about their own morphological properties. The analysis focuses on the (i) kind of relations the photobooks establish with their respective objects (we claim that it is a mainly-iconic relation) and (ii) on the semiotic couplings that can be found in them – a type of interaction between semiotic resources (such as photographs, maps, written texts, illustrations, among others). We contextualize this analysis in relation to both a semiotic and an intermedial background. Further, we claim that the epistemic role of such artworks is directly related to their material and structural features that constrain the possibilities of manipulatio nand reasoning upon them. We conclude by presenting some of the information tha twas revealed by the manipulation of these photobooks, claiming that the semiotic-artefactual approach to models can be an epistemically interesting conceptual frame to think about artistic artefacts.

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