This article presents silence as a cognitive tool to comprehend the environment. Two dimensions of silence are addressed: a natural mechanism and human beings' social and cultural construction. There is a link between these two dimensions because, on the one hand, agents' cognitive strategies based on silence influence how meanings and uses of silence have been constructed. The meanings of silence we use are contextual shapers of silence-based cognitive strategies. Silence is analyzed as a resource for coping with ambiguity: situations (...) perceived as uncertain provoke doubt and confusion because they can be understood differently or suggest different interpretations. These situations can occur in the face of epistemic disruption. The consequence is a transfer of the ambiguity property of these situations to the usual ways of relating to the world and people. The cognitive approach is based here on a semiotic-hermeneutic interpretation of silence from a phenomenological perspective. This accounts for a paradox: even if silence does not exist (the world is acoustic), it is real. The silence experience is a non-inferential cognitive capacity located at the base of perception: a stimulus that suggests a particular gesture as an action different from the usual one to deal with the environment. (shrink)

This paper outlines a method to assess the effectiveness of diagrams, from semiotic foundations. In doing so, we explore the Peircian notion of signification, as applied to diagrammatic representations. We review a history of diagrams, with particular emphasis on schematics used for representing systems, and uncover the neglect of semiotic analysis of diagrammatic representations. Through application of category theory to the Peircian triadic model, we propose a set of quantitative quality measures for diagrams, and a framework for their assessment, based (...) on the properties of their encoding, pragmatic and perceptual morphisms. These measures include diagram complexity, utility, aesthetics and expert assessment of semiotic content, together with qualitative feedback. We consider the diagrams as an aid to cognitive processes, rather than a purely communication media. This utility-focused perspective on diagram quality dimensions allows for fresh insights into the creation of effective diagrams. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization with the proposed (...) model. Our aim is to provide a further theoretical understanding with respect to the perception of aesthetics and to enrich our models regarding the functionality of aesthetic interpretation, using the theoretical interpretive richness provided by the semiotic perspective. (shrink)

Charles William Morris was a student of George Herbert Mead in the early 1920s when Mead was involved in the Chicago School. Inspired by his mentor, Morris wrote extensively on semiotics, philosophy of mind, philosophy of science, aesthetics, axiology and religion. Morris has received wide acclaim for his writings on semiotics. However, his writings pertaining to religion--the study of which preoccupied him throughout his life--have been all but entirely overlooked.