Friday, November 16, 2012

Week 4: Visual Syntax, Semantics and Pragmatics - Structure, meaning and context


Look at the image of Adam Lambert below. Explore the syntax, semantics and pragmatics of   the fashion shoot

In my last entry, I have briefly explained what Semiotics is all about. However, today's entry will focus on the little details that makes us recognized that something is a sign. How are we able to recognize what an object is and determine its meanings? The semiotic approach to visual communication emphasizes on the idea that images are made up of collection of signs that are connected to one another in some way by the viewer. The study of semiotics are divided into three areas - syntax, semantics and pragmatics.

According to Paul Martin Lester (2006), syntax is the study of signs combined with one another to form complex messages. Syntax arranges signs in order to deliver the meaning of a text precisely. The visual language is made up of colour, information, lines and space. On the other hand, semantic is an area of semiotic that deals with the study of meanings in a visual image. Pragmatics is basically the context and changes in meaning. In this week's lecture slide, it was mentioned that signifiers are the syntax and semantics are made up of signifieds and connotation. Meanings are made up of codes, modality, sender and receiver and also context. These factors are important because they are able to influence meanings. 

To give further details of what these 3 terms mean, I will explore the image given in terms of its syntax, semantics and pragmatics.


An example of a written syntax of the above is: It is an image of the singer, Adam Lambert posing for the camera with a black background.

There are rules fixed for this image. The colours olive green, brown and grey give a huge contrast due to the black background. In the rules of colour by Tufte (1990), pure or bright strong colours have loud or unbearable effects when used over dull background. You can see clearly that the main subject is him and what he wears. Apart from that, tiny information such as his hairstyle and chunk of bracelet (whatever that is called) deliver a message saying that he is all about chic and edgy-ness. 

Semantically, his rather steady, sterned face and fixed pose (body language) shows that he is sturdy. It connotes confidence and determination. Pierce has mentioned that a sign always refer to another sign but never to the actual object "in itself" and Saussure agreed to the same thing because "a sign by itself means nothing". Little details like the expression of his face and his body language give meaning because of the relationship built between these signs.

Another example is his dark olive green skinny jeans. The social and cultural norms of today's men's fashion wear is getting more.. over the top. Men are not supposed to wear skinny jeans because basically, they have a pair of ball down there. It would rather be uncomfortable for them (although I am not a man, I could just imagine how 'difficult' it is) for them to wear such things. Pragmatically, he (sender) is encoding us a message that perhaps, Adam Lambert is bold and he is okay with wearing skinny jeans. However, we must remember how time could change the meaning of things nowadays. Therefore, I apologise if I sound subjective. Another example I would give is the overall of this image. The image is taken from a photo shoot. Griffins (2012) has mentioned that McLuhan's theory of media ecology is best taken in his famous statement, "The medium is the message". A photo shoot delivers a message that who ever is being captured in the photo shoot is the current 'trend' or is confident with him/herself. The modality itself transmits an indirect message into our brains without us being aware of it.

These are the important details that we notice that becomes a sign itself. The syntax, semantics and pragmatics of an object carries a message when linked together. 



References:


Griffin, Em. (2012). A First Look At Communication Theory. 8th Ed. NY: McGraw-Hill

Lester, P. M. (2006). Synthetic Theory of Visual Communication. California State University: Fullerton

Tufte, E. R. (1990). Envisioning Information. Cheshire: Graphics Press


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