Education, Society and Human Studies ISSN 2690-3679 (Print) ISSN 2690-3687 (Online) Vol. 1, No. 1, 2020 www.scholink.org/ojs/index.php/eshs 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 69 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 70 Published by SCHOLINK INC. 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 71 Published by SCHOLINK INC. 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) www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 72 Published by SCHOLINK INC. - 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 www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 73 Published by SCHOLINK INC. 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 Sorbonne. Formigari, L. (1994). La sémiotique empiriste face au kantisme. Traduit par Mathilde Anquetil. Belgique, Liège: Editions Mardaga. Kant, E. (1790). Critique de la faculté de juger. In Œuvres Philosophiques, III. Paris: Gallimard (1985). Kant, E. (1787). Critique de la raison pure. In Œuvres Philosophiques, I. Paris: Gallimard (1980). Köhler, W. (1938). The place of Value in a World of Facts. Londres: Kegan Paul. Saint-Mart in, F. (1990). La théorie de la Gestalt et l’art visuel. Québec: Presses de l’Université du Québec. Stöckl, H. (2004). In between modes: Language and image in p rinted media. In E. Ventola, C. Charles, & M. Kaltenbacher (Eds.), Perspectives on Multimodality (pp. 9-30). Amsterdam/Philadelphia: 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 éducation, Images, 2, 65-72. Retrieved April 20, 2020, from https://doi.org/10.3406/spira.1989.1826 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. www.scholink.org/ojs/index.php/eshs Education, Society and Human Studies Vol. 1, No. 1, 2020 74 Published by SCHOLINK INC. 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.