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Introduction to Semiotics of Cultures, 2010 Juri Lotman – Universe of the Mind Chapter 2 I-I and I-S/he communication. Vesa Matteo Piludu. University of Helsinki. Chapter 2 I – S/he I - I. Communication system I-S/he Adresser I Context – Message - Contact - Code

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Introduction to Semiotics of Cultures, 2010Juri Lotman – Universe of the MindChapter 2I-I and I-S/he communication

Vesa Matteo Piludu

University of Helsinki

chapter 2 i s he i i
Chapter 2 I – S/he I - I
  • Communication system I-S/he
  • Adresser I
  • Context – Message - Contact - Code
  • AdresseeS/he
  • Information transferred in space
  • Relevance: quantity of information
  • Media
slide3
I - I
  • Self-communication
  • Self-reflection on meanings
  • Information can be transferred in time (reminders)
  • Mnemonic
  • Or creative function (supplementary information)
  • Addresser and addressee remain the same, but the message is reformulated and acquire new meanings or is expressed in new languages
  • Relevance: quality of information
  • Art
the i i communication
The I – I communication
  • The I –I communication is sensible to external codes or different languages (music, visual codes, architecture), or messages and texts
  • Isn’t produced in monastic isolation
example 1 dream at sea by tyuchef
Example 1: Dream at sea by Tyuchef
  • Both the sea and the storm rocked our boat
  • Drowsy I gave myself over entirely to the whim of waves
  • There were two infinites in me
  • An they began willfully to play with me.
  • Around me the rocks sounded like cymbals
  • The winds answered and waves sang.
  • Deafened I lay in the chaos of sounds,
  • But my dreams rose up over the chaos of sounds
example 1 i i and foration of new messages
Example 1:I – I and foration of new messages
  • I - I
  • Message 1 (importance of sounds)
  • Is transformed in Message 2 (importance of sounds for the self)
  • Code 1 (music) – Code 2 (poetry)
example 2 eugene onegin a novel in verse written by alexander pushkin
Example 2: Eugene Onegin a novel in verse written by Alexander Pushkin
  • All translation by Charles Johnson available as Google-book or Penguin classic
  • Chapter 8 / XXXVI - Universe of Mind, page 24
  • What happened? Thought his eyes were reading,
  • His thought were on a distant goal:
  • Desires and dreams and grieves were breeding
  • And swarming in his inmost soul.
  • Between the lines of text as printed,
  • His mind’s eyes focused on the hinted
  • Purport of other lines; intense
  • Was his absorption in theirs sense.
example 2 eugene onegin a novel in verse written by alexander pushkin1
Example 2: Eugene Onegin a novel in verse written by Alexander Pushkin
  • Chapter 8 / XXXVI - Universe of Mind, page 24
  • Legends, and mystical traditions,
  • Drawn from a dim, warm-hearted past,
  • Dreams of inconsequential past,
  • Rumors and threads and premonitions,
  • Long, lively tales from wonderland,
  • Or letters in a young girl’s hand.
example 2 eugene onegin a novel in verse written by alexander pushkin2
Example 2: Eugene Onegin a novel in verse written by Alexander Pushkin
  • Chapter 8 / XXXVII - Universe of Mind, page 24
  • Then gradually upon sensation,
  • And though, a sleepy numbness steals;
  • Before his eyes, imagination
  • Bring out its faro pack, and deals.
  • Chapter 8 / XXXVIII - Universe of Mind, page 24
  • Who could have looked the poet better,
  • As in the nook he’d sit alone
  • By blazing fireplace, and intone
  • Idol mioor Benedetta,
  • And on the flames let fall unseen
  • A slipper, or a magazine?
example 2 eugene onegin a novel in verse written by alexander pushkin3
Example 2: Eugene Onegin a novel in verse written by Alexander Pushkin
  • Codes supporting I-I communication (self reflecion):
  • Printed texts (source for imagination)
  • Flickering of fire
  • The intoned tunes
  • The hero is not searching for an immediate message in the texts
  • He is reading between the lines
  • The book serve to stimulate the flow of the thoughts: the faro pack of his imagination
  • The intrusion of other codes (fire, texts, music) organize and stimulate the internal monologue of the hero
buddist monk and stone park
Buddist monk and stone park
  • The Mathematical rhythm of the sand garden / stone parks evoke a mood conducive to introspection
  • Karesansui, or "dry gardens," are abstract representations of natural landscapes in which stones, gravel, sand, and moss are used to depict mountains, rivers, and islands
human communication
Human communication
  • Based on two models
  • I-s/he:
  • Already given information transmitted from one person to another using the same code
  • I-I
  • Increase of information (new ideas), its transformation, reformulation using new codes
  • Self-discovery, auto-psychotherapy
problems of i i communication
Problems of I-I communication
  • Vygotsksy
  • The internal speech is soundless
  • This create a problem when it’s necessary to express it by sounds or words
  • Kyukhebeker(prison diary):
  • “I have been dreaming not of objects, or events, but some kind of abbreviations which relate to them like hieroglyphs to a picture”
  • Intense symbolization
  • This can lead to cryptography or a form of writing understandable only by the writer
  • Sometimes mnemonic draft (done by musicians or writers) are not comprehensible for other people
example pushkin love anagrams
Example: Pushkin love anagrams
  • Creative I – I communication could lead to a kind of innovative cryptography, anagrams, creative writing
  • Pushkin, 1928, poem: Alas! The tongue of garrulous love
  • Dedicated to Anna Alekseevana Olenina
  • Jotting:
  • Ettenna eninelo
  • Eninelo ettenna
  • Olenina
  • Annette
  • Anagram of the name and surname of Anna, Annette in French
  • The repetition create an hypnotic rhythm, similar to a love spell
tension between the codes
Tension between the codes
  • If a message in a natural language
  • Is followed by a supplementary code (rhythmical)
  • There is tension between the two codes
  • As a result the
  • the text could be interpreted following the secondary code (the rhythmical)
  • But the normal semantic values remain valid
texts used as codes
Texts used as codes
  • A text is used as a code
  • When it does not add simple informative messages
  • But it transform the self-understanding of the person who has engendered the text
  • And it transfers already existing messages into a new system of meanings
example pushkin s tatyana onengin
Example: Pushkin’s Tatyana (Onengin)
  • Tatyana read novels in that way:
  • Seeing herself a creation
  • Clarissa, Julie, or Delphine
  • By writers of her imagination,
  • Tatyana, lonely heroine,
  • Roamed the still forest like a ranger,
  • Sought in her book, that text of danger
  • And found her dreams, her secret desire;
  • She signed, and in trance co-opted
  • Another’s joy, another breast,
  • Whispered by hearth a note addressed
  • To the hero that she’d adopted.
tatyana
Tatyana
  • The text of Tatyana is not a simple media message, like news
  • But a code, a new language, a model for reinterpreting reality
poetic and artistic texts
Poetic and artistic texts
  • Oscillate between the I – s/he and the I-I communication
  • Both are present
literature
Literature
  • As a whole is more oriented towards self-reflective communication, but the element of I-s/he communication are always present
  • The literate generally has a negative attitude towards the standard message texts
  • The poetic text could be even in conflict with some laws of the natural language
  • But also in the most extreme cases, avant-garde poetry is perceived as a text in a natural language (French, Russian)
  • Otherwise it couldn’t fulfill his communicative function
  • Poetry is a pendulum, oscillating between I-s/he and I-I systems
art and culture
Art and culture
  • The laws of construction of an artistic text are very largely the laws of construction of culture as a whole
  • There are cultures (media) where the I-s/he channel is predominant:
  • Cultural consumer as ideal addressee
  • great quantity or bombing of information
  • few self-reflection, passivity
  • Education as acquisition of knowledge
  • And other more oriented to auto communication (avant-garde)
folk culture
Folk culture
  • The participant of a carnival are all receivers and senders of information: they are generally all actives
  • The system of language (folk song) could be formal and structured, but the contents are often free
  • The listener could be a singer and he could transform the song in his future performance
  • A modern theatergoer, if isn’t a theatre professional, is more passive than a storyteller
  • The folk cultures are however less dynamic in terms of acquisition of new knowledge
the perfection in the middle
The perfection in the middle
  • The most viable cultures are those system
  • Where the struggle between the two systems has not resulted in an all-out victory for one of them
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