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ISSN 2690-3679 (Print) ISSN 2690-3687 (Online) 

Vol. 1, No. 1, 2020 
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68 

Original Paper 

Semiotics of the Image: Addressing the Different Types of 

Mental Operation and Their Sematic Interpretation 

Euphrosyne Efthimiadou
1* 

1 
Department of Aeronautical Sciences, Hellenic Air Force Academy, Dekeleia, Greece  

* 
Euphrosyne Efthimiadou, Department of Aeronautical Sciences, Hellenic Air Force Academy, 

Dekeleia, Greece  

 

Received: May 13, 2020          Accepted: May 21, 2020         Online Published: May 25, 2020 

doi:10.22158/eshs.v1n1p68                       URL: http://dx.doi.org/10.22158/eshs.v1n1p68 

 

Abstract  

Our era is dominated by the prevailing presence of images. The spectator often identifies with the 

characters and aims to interpret the signs evoked by the objects, since every image is governed by 

codes. If we look at the history of image semiotics, we observe a  cognitive and pragmatic approac h. 

According to Kant, the images we receive from the environment are not simply reproductions but often 

creative productions based on patterns generated by the imagination. According to recent research in 

semiotics, we observe that the pragmatic approach is extended by a study of stimuli collected by the 

environment. On the other hand, Köhler’s theory of Gestalt considers perception as a pre-conscious 

activity, linking visual semiology with the functional interpretation of perception. In addition, Tardy 

brings into focus strategies of visual communication by highlighting the semiotic status of represented 

objects. For this reason, it is essential to deepen the versatility of the field o f semantic interpretation of 

a visual support from different types of mental operations. Finally, the semiological approach to the 

image with different types of mental operation will be able to generate a plural and original semantic 

interpretation through the creative exploitation of visual elements. 

Keywords 

Image semiotics, semiotic and cognitive approach, Gestaltian perception, mental operations, sema ntic 

interpretation of an image 

 

 

 

 

 



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1. Introduction 

Images occupy an overwhelming place in today’s life. The spectator tends to identify with the 

characters and interpret the signs evoked by the objects because every image is governed by codes. In 

this case, the viewer is confronted with an  imaginary  reality and is invited to develop a crit ical mind in 

order to counteract the psychological influence on the image. On  the one hand, we are going to look at 

the semiotics of the image by carrying out both a cognitive and pragmat ic approach. On the other hand, 

Köhler’s theory of Gestalt will lead us to the idea that perception is unconsciously pre-constructed, a 

fact which will allow us to deepen the versatility of the field of semantic interpretation of a visual 

stimulus through different types of mental operations. 

 

2. Semiotics of the Image: Cognitive and Pragmatic Approach 

If we consider the history of schemat ism we shall notice that in his work entitled “Crit ique of the 

faculty of judging”, Kant E. (1790) argues that there are two theories simultaneously: an empirical one 

with semantic value as well as a transcendental one (Kant, 1790, Introduction, VIII, pp. 949-952) (Note 

1). In this aspect, the images we receive from the environment are not simply reproductions but often 

creative productions based on the schemas generated by the imagination.  

Formigari, L. (1994, p. 18) po ints out Kant's empirical semiotics by emphasizing the productive 

function of images by linking the concept through the intuitive use of schemas  (Note 2). “In contrast to 

images that are merely  reproductions of empirical data, schemas are generated by the imagination, 

whose function is not only reproductive but productive (i.e., creative), accord ing to an “art h idden in 

the depths of the soul” (Kant, 1787, p. 887) (Note 3). In this way, we can see that the patterns are 

distinguished from pure mental objects aimed at a simple reproduction of the image. Thus, signs 

facilitate the synthesis of original intuit ive images through the use of imagination drawn from ideas 

hidden in the depths of the psyche. 

According to recent research in semiotics, we observe that the pragmatic approach is extended by a 

study of stimuli collected from the environment concerning sensory -motor, social, technological and 

media semiotic mediat ions. According to Darras B. (2006), “The precursors in this field are Jean Piaget 

and Lev Vygotski, but also Jack Goody, Eleanor Rosch, George Lakoff, Mark Johnson and Ron 

Langacker. Today, the work of Jean-Paul Bronckart, Bernard Darras, Jean-Pierre Meunier and Daniel 

Peraya is moving in this direction” (Darras, 2006, p. 6) (Note 4). 

 

3. Gestalt Theory and the Semantic Interpretation of an Image 

On the one hand, it  would  be interesting to approach the theory of Gestalt advocated by Köhler (1938). 

Indeed, Köhler emphasized the idea that visual perception was limited to the external field only. 

However, it is essential to study the processes of mental perception and to relate v isual semiology to the 

functional interpretation of perception. Köhler (1938) points out that “Whatever the process underlying 



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Gestalt perception, we know that it occurs pre-consciously, since the articulation of the visual field is 

produced at the same time as the contents of vision are given” (Köhler, 1938, p. 60) (Note 5). Moreover, 

St. Martin F. (1990) highlights perceptive activity, which is unconsciously preconstructed even in 

Freud’s work. “According to Freudian terminology, perception takes place at the level of the 

preconscious, i.e., even if it is likely to become the object of conscious knowledge, perceptive activity 

does not, in most cases, reach this level and remains unconscious” (St. Mart in, 1990, p. 13) (Note 6). 

On the other hand, Tardy Michel (1989) focuses interest on strategies of visual communication by 

highlighting the semiotic status of represented objects. For Tardy, visual communication presupposes 

the shared possession of a trip le culture: a cu lture of knowledge, a culture of thought, a culture of 

images. “In the same image, the same visual element can, depending on the circumstances, be either a 

simulacrum (identification), a clue (inference), a sign (decoding), or a symbol (interpretation). The 

encounter of an image implies, therefore, a decision regarding its semiotic functionality” (Tardy, 1989, 

p. 70) (Note 7). 

If we wish to discern the meaning existing in the semantic interpretation of an image, we can 

distinguish six (6) different types of mental processes in order to explo it the versatility of mental signs. 

First, the operation of perception is related to the form represented by an object, a person or a setting 

and the interpretation of the sign related to the signified. 

Secondly, the operation of identification refers to the brain imaging through the idea of an absent object, 

which can be represented in the imaging consciousness, in  contrast with the perceptive consciousness. 

In this case, similarity or metaphor or even a very strong and powerful perception  can be presented 

when evoking several objects  in relat ion to a single inductive object. As Stöckl H. points out (2004), 

“Most importantly, the image’s metaphoric nature is realized by a morphing technique which allows for 

the carefully engineered b lending of v isual features. As a result, the reader g ets a very realistic 

impression of an imaginary object, which plays tricks on his perception (Stöckl,  2004, p. 24) (Note 8).  

Moreover, the inference operation allows a person to infer ideas from non-existent data. It is possible to 

classify three (3) categories of inferences: a) spatial inferences, by complet ing what is  not shown, b) 

temporal inferences to refer to later or earlier moments, c) psychological inferences to resort to the 

expression of emot ions. It is interesting to deprive oneself of floating  informat ion or incorrect 

inferences.  

Subsequently, the decoding operation focuses on the choice of an object from a general image, taking 

into consideration clues and signs. In this way, codes are generated by the existence of extra -visual 

codes from everyday life ones; specifically, visual codes drawn solely  from the image, and 

semiogenesis by the birth of unprecedented codes by invention or even by combination of edited codes. 

In this case, semiogenesis derives either from the unexpected birth of a new original code or from the 

association of already instituted codes, which result from the combination of old semiogenesis.  

On the other hand, the idea-association operation distinguishes three mental mechanisms: a ) Reacting 



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by similarity (resemblance), b) Reacting by contiguity by associating convergent or even divergent 

elements, c) Reacting by contrast by displaying lateral thinking. With regard to areas of 

idea-association, it is important to regulate the proliferation of ideas either evoked by repetitio n in the 

social areas or emitted by invention in the personal areas. 

Finally, isotopy resolution gives rise to plural interpretations by seeking cohesive and coherent meaning 

through an effective selection during the process of evaluating ideas and selecting ideas which can be 

deployed across the evocation of disparate and heterogeneous elements and the multip le interpretations 

of context. 

 

Table 1. Semiotics of the Image: Six (6) Different Types of Mental Operation and Their Semantic 

Interpretation 

1. OPERATION OF PERCEPTION (FORM) 

Material variat ions 

Gestalten (Shape) 

2. IDENTIFICATION OPERATION 

a. The idea of an absent + a represented object/Representation of an object by the imaging 

consciousness as opposed to the perceptive consciousness 

Similarity / Metaphor 

b. Errors in identificat ion / Images of objects versus real objects 

Induction (1 inductive object - 3 target objects) 

A very strong and powerful perception  

3. INFERENCE OPERATION 

To infer: to overstep the given; to construct and deduce what is not evident 

Three (3) Categories of Inference 

a. Spatial inferences: filling in what is not shown 

b. Temporal inferences: referring to later or earlier moments of time  

c. Psychological inferences: using expression of emotions. Relationship of adjacency: adherence, 

metonymy  

Errors  

a. Floating information 

b. Incorrect inferences  

4. DECODING OPERATION 

Sign/Language: Moving from the general image to the focus of a specific object by taking into 

consideration clues and signs. 

a. Es tablished codes: 

- Extra-visual codes (from the codes of everyday life)  



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- Specific visual codes (just from the image)  

b. Semiogenesis  (birth of new codes by invention or by combination of established codes) 

5. OPERATION OF ASSOCIATION OF IDEAS  

Emergence of fantastic ideas: proliferation of ideas 

Three (3) Mechanisms for associating ideas  

a. React ing by similarity (likeness)  

b. Reacting by contiguity: associating converging or even diverging elements  

c. React ing by contrast: using lateral thinking  

Idea association zones 

a. Social areas (by repetition) 

b. Personal areas (by invention) 

c. Regulat ion of the association of ideas  

6. ISOTOPY RESOLUTION  

Levels of overload: process of evaluating ideas and selecting ideas 

Evocation of disparate and heterogeneous elements  

Multiple interpretations of context: search for a cohesive and coherent meaning through an effective 

selection of disparate and heterogeneous elements 

 

As a result, the field of interpretation of ideas is mult iplied by the fruit ful explo itation of d ifferent types 

of mental operations through the cognitive and pragmatic approach of a visu al support. Thus, Fisette 

(2006, p. 16) h ighlights a few examples of dynamic interpreters according to the triadic model. At the 

first level, there is an emotional interpreter, designating aesthetic pleasure (or boredom or emot ional 

neutrality) (Note 9). Then there is the second energetic interpreter, designating the effort made to 

produce analysis and research. The third dynamic interpreter is called logic. In this case, the sign is 

strictly mental, aiming to recognize either associations and trans -associations or dis-associations since 

it goes directly from the image to the symbol. Finally, accord ing to the hypo icon, this mental sign 

invites deviations and binds itself to the imaginary. 

 

4. Discussion 

Ult imately, the semiotics of the image are characterized by a close correlation between the form of 

expression and the form of content by linking the signifier to the signified, which leads to a multip le 

interpretation by acting not only by denotation by evoking semiogenesis but above all by associative 

connotation by resorting to complex mental operations, with a view to enriching the semantic 

interpretation with convergent, divergent and even original ideas. “Moreover, it is observed that the 

sequence of ideas by contiguity leads to original associations, emphasizing the appeal to the creative 

imagination. Finally, the scope of the interpretation of the inducing object suggested always remains 



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wide. Thus, the territory of the associated ideas remains unconquered and reveals the psychology and 

the inventiveness of the participants” (Efthimiadou, 2017, p. 58) (Note 10). Consequently, a 

semio logical approach of the image can  be encoding by different types of mental operation and 

generating a plural and an original semantic interpretation through the creative explo itation of visual 

supports. 

 

References 

Darras, B. (2006). Images et Sémiotique: Sémiotique pragmatique et cognitive. Collection Esthétique-8. 

Série Images Analyses. Centre de Recherche Images, Cultures et Cognitions. Paris: Publications 

de la Sorbonne. 

Efthimiadou, E. (2017). Study of Connotation: Kent and Rosanoff’s Test of Association of Words and 

Ideas in a Creat ive Perspective. Asian Education Studies, 2(1), 52-58. Retrieved April 18, 2020, 

from https://doi.org/10.20849/aes.v2i1.111 

Fisette, J. (2006). Man Ray, Violon  d’Ingres. In Images et Sémiotique: Sémiotique p ragmat ique et 

cognitive. Collection Esthétique-8, Série Images Analyses, 7-21. Paris: Publications de la 

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Formigari, L. (1994). La sémiotique empiriste face au kantisme. Traduit par Mathilde Anquetil. 

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Kant, E. (1790). Critique de la faculté de juger. In Œuvres Philosophiques, III. Paris: Gallimard (1985). 

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Saint-Mart in, F. (1990). La théorie de la Gestalt et l’art visuel. Québec: Presses de l’Université du 

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Stöckl, H. (2004). In between modes: Language and image in p rinted media. In E. Ventola, C. Charles, 

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John Benjamins Publishing Company. https://doi.org/10.1075/ddcs.6.03sto 

Tardy, M. (1989). Le texte iconographique : Stratégies et tolérances. Spirale, Revue de recherches en 

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Notes 

Note 1. Kant, E. 1790: Introduction, VIII, 949-952. 

Note 2. Formigari, L. 1994, p. 18. 

Note 3. Kant, E.1787, p. 887. 

Note 4. Darras, B. 2006, p. 6. 

Note 5. Köhler, 1938, p. 60. 



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Note 6. St. Martin, F. 1990, p. 13. 

Note 7. Tardy, M. 1989, p. 70. 

Note 8. Stöckl, H. 2004, p. 24. 

Note 9. Fisette, 2006, p. 16. 

Note 10. Efthimiadou, 2017, p. 58. 


