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The image is a text


This class covers reading Lorenzo Vilches, The image is a text. Start giving us two versifications of semiotics:

• structuralist semiotics - produced from French and Italian studies
• pragmatic semiotics - dominated by the Anglo-Saxon area.

Semiotics structuralist has studied the components of the sign and the relationships between different signs. Hjelmslev speaks of the sign under the concept of relationship, expanding its own field theory: the plane becomes significant level of expression and the level of meaning becomes the content plane. With this sign assumes significance as an act. qye set in motion two terms signifier and signified. The result of this union is the sign. So the language and semiotics is defined as any function that links two levels of solidarity. The value of the sign is determined by its environment (Hjelmslev, 1968)

The notion of text is also widely theorized by textual linguistics and pragmatics that have been selected as the object of analysis. The text should be considered as the main means of communication intentions. This is a whole coherent discourse through which to carry out communication strategies.

It says the outline of the agreed intention of a speaker to communicate a message and producing an effect "(Schmidt, 1973)

Pragmatics is made in the textual language, whose object of study is the designated text the communication process. The theory of the text has as its starting point the act of communication.

If the text is recognized as a communication unit the relevant unit in semiotics is not the sign or the word, but the text. For linguistics, the text is the primary linguistic sign.

text as a place of production and interpretation of communication is a "semantic-pragmatic machine that begs to be updated in an interpretive process generation whose rules match the very rules of interpretation." (Eco, 1979)

The text comes after the oral expression: that is, the speech. Here, the text is derived from the maximum unit that determines the text. This allows you to build units of analysis, as if it were to reconstruct the grammar of a text.

is to interpret the image "as productivity," and emphasizing the iconic text properties set so as to enunciation. The text can be studied as a set of rules determine a set of discourse, semantic and syntactic representation.

From the standpoint of reading the image, a text unit can be described as a syntactic / semantic / pragmatic act is interpreted as communicative competence by the recipient. One type of model relevant textual analysis of the image in the context of mass communication must have five levels: Level

1. matter of expression. Levels
2. text itself of the image or visual isotopies.
3. The contributions of the theory of enunciation and discourse theory.
4. narrative structures.
5. gender levels.

visual text production levels

1. Material production level of the image corresponds to

visual expression. The output of the image here is limited to manipulating visual materials such as colors, tones, lines and forms are still not significant. Is the material manifestation of a visual text before the substance can produce a particular form of reading.

2. Differential Expression Elements

At this level can be studied traos designed codes syntactic brand recognition and graphics, such as point, line, circle, triangle. In general, modifications recognizable forms stable but incomplete prior to the consistency that gives the unit text.

3. phrase
levels
The reader is here with complex operations but separable. Different figures are given in the box iconographic photograph or painting.

5. Intertextual levels

All transcripts narratives can be studied as textual operations that act as multifunctional instruments. It is described as context and serves as a grammar defined by the time the reader must disambiguate the text message has before it.

6. The mechanism of topic

This speaks of the mechanisms of coherence, both productive and interpretive. It is the job of assumptions and abduction of a reader or recipient. It works also as a fixed mark of broad narrative sequences or phrases like "Start Mark", "intermediate", "final" and may be syntactic or / and pragmatic.

7. Gender as a mechanism macrotextual

update is accurate and determined in a large area of \u200b\u200bvisual texts characterized by a specific genre.

8. gender typologies

gender typologies are true social operating mechanisms of the mass media. At this level should be studied various aspects of communication strategy genres. Consistency

visual text

study the picture as a visual discourse analysis requires logical-semantic organization of isotopies to ensure consistency both in terms of expression as in the content. The concept of isotopy has been defined by Greimas as an operational conceptualization according to which it means any iteration of a semiotic unit. The game of isotopies can be established at both the content and the level of expression. The relationship established between these planes is a semiotic function.

The concept of isotopy, there are two theoretical moments: the first refers to the iterativity in a syntagmatic chain of classemes to ensure the speech-set homogeneity.

image structures

to Bertin, the elementary unit of the image is the spot, which is composed deespacio and color. The middle unit of reading is when two spots in perspective. There is a spot called encompassing support, surface or bottom. Their differences can be studied as minimum semes of spatial and color that make up a layer isotopic provide a minimum of consistency in the manifestation of visual text.

This isotopy minimum becomes the visual medium, before being "iconized", ie in a purely plastic nivle, presignificativo.

The visual text was created through negotiation between the different variables that determine the isotopy produced. An image is crossed by a complex Isotope: variables of different nature and in constant interaction. The isotopes are read in a context by a reader.

discourse coherence and relationship to the image supposed to be beyond the perceptual dimension to access the cognitive dimension. Congnoscitiva dimension of the image, in turn, is possible because through a majority of the code of perceptual similarity is given a limited contract which involved both poles of the communication.


Vilches, Lorenzo. The image is a text. reading the image. Paidos: Mexico, 1991.

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Encoding / Decoding


In this class we talk about Stuart Hall : Encoding / Decoding . In this reading is critical to the communication model (sender-message-receiver). He raises process based on the moments of discursive production: production, circulation, distribution, consumption and reproduction, where if no meaning is acquired, there is no consumption and effect. It is also important to note that in this exchange of communication are present two important elements: the encoding and decoding.

The effect of the message, the language should appropriate the discourses that are significantly decoded. To do this involved the influence, instruction or persuasion with a complex consequence of the cognitive, emotional, ideological or behavioral problems.

was said that based on this model, in itself, but there is no recoding decoding, because the receiver built their own messages based on the acquired.

In any message intended to create an encoding and decoding to be symmetrical, that what you want to convey is interpreted in the same level as it was issued, and all this depends in part on identifying codes, for a missing correspondence leads to distortions.

The term visual codes natural and realistic is the result of a discursive practice, which does not reveal the transparency of a code, but the universality and habituation of the use of codes. Thus, "the articulation of an arbitrary sign, verbal or visual reference to the concept of the product is natural but conventional, requiring intervention and support of the codes.

language used in the terms of denotation and connotation. In the denotation is talking about the literal meaning of the sign, which confuses the comparison as reality. The connotation is used to refer to conventional and associative meanings.

In this reading used them in combination to the speech. So they are used as analytical tools to distinguish the contexts of different levels of intersection between the ideologies and discourses.

The denotative level, the codes are closed and limited, while in the connotation coded signs intersect with semantic codes of culture.

Thus it was the subject of misunderstanding or lack of effectiveness in communication. The author mentions that this is due to the lack of effectiveness in key codes or viewer favorite. We therefore must set limits and parameters in which the decoding will operate. Otherwise the viewers interpret what they wanted in a message, entering, systematically distorted communication.

Stuart Hall identifies three hypothetical positions that can be built in decoding:

1. Hegemonic dominance: the observer operates within the dominant code. Coupled with this position is also the professional code, which serves to reproduce dominant definitions.
2. negotiated code: there are opposing elements adapted and based on a particular logic.
3. oppositional code: the viewer is able to understand the literal and connotative decoded speech but in a globally contrary.

Hall, Stuart. Encoding / Decoding . Culture, Media and Language. London: Hutchinson, 1980.

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Linguistics and Poetics


This time we read a part of Linguistics and poetics of Roman Jakobson . He speaks mainly about the relationship of poetry and linguistics. Tells us that the main object of poetics is the specific difference of verbal art in relation to other arts and other types of verbal behavior, has a preeminent position in of literary studies. These are problems of verbal structure and because linguistics is the science that encompasses the whole verbal structure, poetics is considered as an integral part of it.

Many poetic features belong not only the science of language, but the whole theory of signs of semiotics in general. This is true for verbal art and all variants of the language, since it shares many properties with any other system of signs, and even with all of them (traits pansemióticos).

The question of relations between the word and the world does not concern exclusively to art verbal, but to all types of speech. The values \u200b\u200bof truth, as extralinguistic entities, beyond the limits of poetics and linguistics in general.

literary studies, with the poetic to fre nte, consist-like linguistics, in two groups of problems: synchronic and diachronic. Synchronic description considered, not only literary, but also that part of the tradition has remained alive or has been revived for a certain period.

addition, the language should be investigated in the range of its functions. You must define the place of poetry within other functions and this requires analysis of factors involved in any act of speaking, any act of verbal communication. The speaker sends a message to the listener. To be operational, the message requires a context to refer to, susceptible of being grasped by the listener, and verbal ability or to be verbalized, a common code to speaker and listener and last contact, and a transmission channel psychological connection between speaker and listener, allowing both to enter and stay in communication.

Each of these six elements determines a different function of language. Diversity is not the monopoly in one of several functions, but in a different hierarchy. The verbal structure of the message depends on the dominant role basically.

The primary task of many messages is the function called referential oriented, context.

Another is the role emotional or expressive, focused on the speaker , which aims at a direct expression of his attitude toward what he is saying. Purely emotive stratum of a language is represented by the interjections, which differ from the means of a language on its sound pattern. The emotive function setting clear in the interjections is e n utterances to their level phonics, grammar and vocabulary.

The listener oriented conative function is , which finds its purest grammatical expression in the vocative and imperative, that from the viewpoint of syntactic, morphological and phonological category are diverted from other denominations and verbal.

According Bühler, the traditional model of language is reduced to these three functions (emotional, conative and referential), and three angles of this model (the first person speaker, the listener's second and third, someone or something already mentioned, message). But there are three new factors constituting verbal communication and language for three functions.


phatic function refers to messages whose primary function is to establish, extend or terminate the communication, to check if the channel is to attract attention or to confirm or partner continuous extend the communication.

metalinguistic function is present whenever the speaker and / or the listener need to check if they use the same code, fixing the attention of speaking in code.

The trend towards the message itself is poetic function, which can not be studied effectively if it deviates from the general problems of language. Serves to deepen the fundamental dichotomy of signs and objects based on promoting the quality of those obvious.


Jakobson, Roman. Linguistics and Poetics. Madrid: Catedra, 1981.

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visual image: its place in


This time we approach the reading of EH Gombrich , visual image: its place in communication. Begins narrating the fact that the image is being imposed on the written word in this event the possibilities of the image in the media are two: what can and can not do better than the spoken or written language. Karl

Buler offers three divisions of language which distinguish the functions of expression, activation and description (symptom, sign and symbol). We say that a speech act is expressive if you inform us of the speaker's mood, on the other hand, can be designed to awaken or activate a mood in the recipient. In the descriptive function, the speaker can inform another of its situation in the past, present or future, or distant observable, real or conditional logical terms this means give the message that the ability to make logical inferences (syllogisms).

visual image takes precedence in terms of deployment capability, its use for expressive purposes is problematic and generally lacks the ability to catch up expository function of language.

also remember how many things we take for granted when we look for the message in an image. It always depends on our previous knowledge of the possibilities. We can only recognize what we already know. The context must be supported by previous expectations based on tradition. When they break those links, the communication also fails.

The possibility of a correct reading of the image is governed by three variables:


* Code * Text * Context


mutual support of language and image facilitates memorization. The use of independent channels, ensuring ease of reconstruction. This is the basis of the ancient "Art of Memory."

In this reading I found a phrase that caught my attention: "The real value of the image lies in its ability to transmit a coded information that can not in any other way." Had not really thought much about it, but actually I think that failing to express the information in any other way (explicit enough) rather than in an image, making it truly functional.

information extracted from an image can be completely independent of the intention of its author. The interpretation by the author of the image must always be matched by the observer's interpretation. No image tells its own story.

We can not separate code from content. The easier it is to separate code from content, the more we rely on the image to communicate a particular type of information. A selective code that is known to be a code allows the author of the image filter certain types of information and encode only the features that are relevant to receiver. A selective representation showing its own principles of selection will be more informative than the replica.

other hand, writing is but one of several conventional forms of symbolism, meaning you have to learn to understand the sign. We can easily conditioned to respond to signs as they respond to things seen. The conventional sign can absorb the potential activation of the visual image.

The symbol conveys and conceals at the same time rather than the medium of rational discourse. The symbol has a diagrammatic aspect, ie the ability to convey relationships more quickly and efficiently than a string of words.

In communication theory are distinguished the expressive sign of the emotions of the extent of activation or description. Popular critics speak of art as communication often imply that the same emotions that give rise to the artwork are transmitted to the viewer, who in turn feels. This naive idea has been criticized by various philosophers and artists.


Gombrich, EH The visual image, its place in communication. E. Debate: Madrid, 2000.