(Chandler, 157) Is there a rule that says a text has to be in a certain format in order to be a poem? Although rather groundless, yes, there is a generally accepted rule established through repeated practice. In other words, codes define the medium and, in turn, the medium plays a major role in our choices of codes.įor instance, we identify a text that appears in a particular graphic format (groups of shorter lines) on a page as a poem, without reading a single line of it. In addition to forming the reference points in signification, codes also determine the rules showing where and how signs can be used. The thunder reminds us of a sequence of events which most likely will take place according to the information we have learned and stored as a result of our experiences. The rain clouds do not roar “thinking” of codes and conventions for the humans to comprehend, interpret and act accordingly. When we hear the thunder, we expect rain and go shut the window. Let me note that the perceiving mind does not always need another person to compose the message. “Codes are not simply ‘conventions’ of communication but rather procedural systems of related conventions which operate in certain domains.” (Chandler, 148)įor example, if a person says to another person “it is about to rain, we better close the window,” apart from using the language both parties speak, s/he is generating a message based on known and accepted rules (codes) by both sides: If the window is open when it rains, water may come in and wet the belongings around the window. It is important to understand that we do not refer to conventions to generate signs, we refer to codes that have been established as a result of conventions. The function of codes is to enable communication and, thus, coexistence.Ĭodes are the products of “social conventions.” Conventions are built in time through communicative actions of the members of a society and they generate the codes. Similarly, there can be no interpretation and meaning if there are no codes. (Fiske, 64) As was indicated in the previous section, there can be no sign if there is no interpreter. We refer to codes to establish the signs: to form connections between the signifiers and the signifieds. As I explained in the previous sections, this resource, which is generally called “ codes,” consists of the signs we learn and commit to memory.Ĭodes are “systems of signification” established, learned and shared by the members of a society. Where does the brain find these concepts? There ought to be a resource, some kind of a repository or archive. Tags: 3d printing / aadrl / Amy Whittle / artscience / arttech / automato / AV&C / Benjamin Bratton / Benjamin Maus / best of / books / can / Christopher Bauder / Claire Hentschker / creative applications / creative technology / creativeappsnet / Daniel Rourke / Daniel Shiffman / David Newbury / digital art / experimental / experimental art / field / field notes / fuse / Games / Gene Kogan / Generative Design / Georg Nees / Giorgia Lupi / Golan Levin / Haavard Tveito / Harold Cohen / interactive architecture lab / Interface / internet of things / John Russell Beaumont / Kadenze / Kyle McDonald / laser scanning / light installation / Luiz Zanotello / machine learning / media art / media design / mediaart / Mediated Matter / Molleindustria / Morehshin Alllahyari / new media / new media art / performance / Peter Buczkowski / projection mapping / Prokop Bartoníček / Quadrature / R.In the previous two sections I indicated that there has to be a brain (interpreter) that links a signal (signifier) with a concept (signified) for a sign to come into being.
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