From: IN%"[email protected]" "Visual and Verbal Semiotics" 26-APR-1993
21:05:37.30
To: IN%"[email protected]" "Multiple recipients of list SEMIOS-L"
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Subj: gesture
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Date: Mon, 26 Apr 1993 20:07:24 EDT
From: David Lidov <DLIDOV@xxxxxxxxxxxx>
Subject: gesture
Sender: Visual and Verbal Semiotics <[email protected]>
To: Multiple recipients of list SEMIOS-L <[email protected]>
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Emily asked for more on gesture. I didn't know it would be just
in time to help keep her out of mischief. Congradulations, Emily!
OK, I'll byte. There was somethin just about right on the disc
anyway. But this list has to be the greatest form of procrastination
I ever got hooked on, and I ought to follow this up by unplugging
the modem and doing some REAL WORK. Don't you people have anything
to do??? How dare I complain about the local teenager forever on the
telephone and thank goodness she hasn't caught on to what I'm doing!
In its most literal sense gesture is an expressive bodily motion which
literal sense, a gesture is an expressive bodily movement, which
admits analysis into two planes of articulation but not, except
exceptionally, into segments. The two planes of articulation of
gesture are its classificatory structure and its performance
character. The classificatory structure appears to be largely
cultural. Among the classificatory features of gesture are the
regulation of gesture with respect to occasion, the determination
of gross motions (which body parts, which directions, cf.
kenesics), the inhibition or encouragement of gesture generally,
the inhibition or encouragement of particular gesture contents
and the contribution of linguistic patterns to gesture. The
performance character of gesture reflects biological
determinants. These shape the duration and acceleration patterns
of the muscular effort of gesture and are operationally linked
with affect. Gesture is perceived visually unlesss the muscles
in question are the vocal chords.
My analysis of gesture draws on the experimental work of
Manfred Clynes. I have repeated some of his experiments with
enough succuess to protect my faith. (Clynes, _Sentics_,
1977/89.)
Metaphorically, we speak of gesture where bodily gesture
itself is represented in another medium (as in a musical gesture)
or where we can imagine representing another action by a gesture.
(In a defiant gesture, Bush order the 7th fleet....) A major
task for semiotics, in my haughty opinion, is to describe the
ways gestures are embedded in discourses. I suggest that if we
say speech and vision provide culture the primary representation
of the world, we could add that gesture provides the primary
representation of the self. Every linguistic assertion carries
the implicit preface "It is true that..." unless especially
marked as hypothesis or fiction. Every gestural expression
carries the implicit preface "It is I that am..." unless
specifically marked as mimesis. One such mark is exaggeration.
Others occur with the forms of art. In music and dance, gesture
provides one of the roots of reference. I would emphasize that a
gesture is always a transformed action, an action performed in a
particular manner.
Speaking of shrugging your shoulders, do you folks know,
_From Xerox to Infinity_: (Unfortunately, I filed my photocopy
under the author's name, which I cannot remember) "Artificial
intellegence is without intellegence because it is without
artifice." Gesture transforms the discourse to which it
belongs; it is never an independent unit. Oh, yes. Baudrillaud,
Jean (trans. Agitac,London, 1988; `Le Xerox et l'inifi',
Touchepas, Paris, 1987) he continues: "The genuine artifice is
the artifice of the body in a state of passion, the one of the
sign in seduction, of ambivalence in gesture, of ellipse in
language, of the mask on the face..." and so on, mostly down
hill.
David, gesticulately wildly.
21:05:37.30
To: IN%"[email protected]" "Multiple recipients of list SEMIOS-L"
CC:
Subj: gesture
Return-path: <[email protected]>
Return-path: SEMIOS-L <@PSUVM.PSU.EDU:[email protected]>
Received: from Jnet-DAEMON by ARCH.PSU.EDU (PMDF #12866) id
<01GXHBQ0FEMG8WVYK1@xxxxxxxxxxxx>; Mon, 26 Apr 1993 21:05 EDT
Received: From PSUVM(MAILER) by PSUARCH with Jnet id 6940 for HRL@PSUARCH; Mon,
26 Apr 1993 21:05 EST
Received: from PSUVM.PSU.EDU (NJE origin LISTSERV@PSUVM) by PSUVM.PSU.EDU
(LMail V1.1d/1.7f) with BSMTP id 2883; Mon, 26 Apr 1993 20:59:38 -0400
Date: Mon, 26 Apr 1993 20:07:24 EDT
From: David Lidov <DLIDOV@xxxxxxxxxxxx>
Subject: gesture
Sender: Visual and Verbal Semiotics <[email protected]>
To: Multiple recipients of list SEMIOS-L <[email protected]>
Reply-to: Visual and Verbal Semiotics <[email protected]>
Message-id: <01GXHBQ0FEMG8WVYK1@xxxxxxxxxxxx>
Emily asked for more on gesture. I didn't know it would be just
in time to help keep her out of mischief. Congradulations, Emily!
OK, I'll byte. There was somethin just about right on the disc
anyway. But this list has to be the greatest form of procrastination
I ever got hooked on, and I ought to follow this up by unplugging
the modem and doing some REAL WORK. Don't you people have anything
to do??? How dare I complain about the local teenager forever on the
telephone and thank goodness she hasn't caught on to what I'm doing!
In its most literal sense gesture is an expressive bodily motion which
literal sense, a gesture is an expressive bodily movement, which
admits analysis into two planes of articulation but not, except
exceptionally, into segments. The two planes of articulation of
gesture are its classificatory structure and its performance
character. The classificatory structure appears to be largely
cultural. Among the classificatory features of gesture are the
regulation of gesture with respect to occasion, the determination
of gross motions (which body parts, which directions, cf.
kenesics), the inhibition or encouragement of gesture generally,
the inhibition or encouragement of particular gesture contents
and the contribution of linguistic patterns to gesture. The
performance character of gesture reflects biological
determinants. These shape the duration and acceleration patterns
of the muscular effort of gesture and are operationally linked
with affect. Gesture is perceived visually unlesss the muscles
in question are the vocal chords.
My analysis of gesture draws on the experimental work of
Manfred Clynes. I have repeated some of his experiments with
enough succuess to protect my faith. (Clynes, _Sentics_,
1977/89.)
Metaphorically, we speak of gesture where bodily gesture
itself is represented in another medium (as in a musical gesture)
or where we can imagine representing another action by a gesture.
(In a defiant gesture, Bush order the 7th fleet....) A major
task for semiotics, in my haughty opinion, is to describe the
ways gestures are embedded in discourses. I suggest that if we
say speech and vision provide culture the primary representation
of the world, we could add that gesture provides the primary
representation of the self. Every linguistic assertion carries
the implicit preface "It is true that..." unless especially
marked as hypothesis or fiction. Every gestural expression
carries the implicit preface "It is I that am..." unless
specifically marked as mimesis. One such mark is exaggeration.
Others occur with the forms of art. In music and dance, gesture
provides one of the roots of reference. I would emphasize that a
gesture is always a transformed action, an action performed in a
particular manner.
Speaking of shrugging your shoulders, do you folks know,
_From Xerox to Infinity_: (Unfortunately, I filed my photocopy
under the author's name, which I cannot remember) "Artificial
intellegence is without intellegence because it is without
artifice." Gesture transforms the discourse to which it
belongs; it is never an independent unit. Oh, yes. Baudrillaud,
Jean (trans. Agitac,London, 1988; `Le Xerox et l'inifi',
Touchepas, Paris, 1987) he continues: "The genuine artifice is
the artifice of the body in a state of passion, the one of the
sign in seduction, of ambivalence in gesture, of ellipse in
language, of the mask on the face..." and so on, mostly down
hill.
David, gesticulately wildly.