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| I feel it is time for a shake up of some of the pages on my site. Until
now I have used the space to present myself, except for some curricular
additions, I suppose we can leave these pages
as they are.
The intriguing part of my site is however in the theoretical field. It is centered on the development of a special visual semiotic theory for industrial design. I must still continue from my explanation of the structural components of that theory. Curious people can also get access to some extra pages by clicking the apostrophe in the andries.page logo. Those pages do extend my observations in the neighboring field of poetry. I would like to make some rather bold suggestions. One in regard to
the peircian categorization of signs and the other in respect to origins
of the semiosis of signs. It seems to me that the exposition of such intuitions
on the waves of internet, open to anybody and way before the building of
solid conceptual frameworks, is one of the more fascinating aspects of
this medium. As a matter of fact I have learned a great deal about my topics
by navigating several sites.
Though some, like Göran Sonesson (1989) and myself (1996) , point to the possible application of rhetoric analysis (e.g. the m group) in visual (or pictural or iconic) semiotics the going gets rough when they approach the, crucial, region of symbolic meaning. Anyway, for pragmatic reasons, I agree with Sonesson that we should really start upside down, in a first instance not analyzing actual, and thus complex messages or products, or images, but searching for the anthropological first steps, a semiosis of ur-images. Just as the rumanian-german poet Paul Celan said in his “Der Meridian” (1960), commenting the novel “Lenz” (1835) of the genial Georg Büchner, “who goes upside down, ladies and gentleman, who goes upside down has the sky as an abyss below him”. The sky is, for a jewish cabbalist, the origin where the ‘sephiroth’ or tree of life has its roots as opposed to the ceiling of our earthly experiences. The question that concerns me is if and how we can learn and teach others to walk upside down. If these premises made you curious you might adventure to the next page concerning product language, semiotics, marketing, morphology, the Cabbala, Charles Sanders Peirce, Floyd Merrell, Roman Jakobson, Rene Thom, D.Arcy Thompson and Paul Celan. You can also visit the following pages if you are interested in design analysis:
Andries Van Onck, ‘Design, il Senso delle Forme dei Prodotti’, Lupetti, Milan, 1994 (only in Italian and in Spanish)
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