- Dipartimento Di Lettere E Filosofia, Communication, Philosophy Of Language, Semiotics, Advertising, Jewish Studies, and 16 morePolitical communication, Moral Philosophy, Television Studies, Political Ecology, Fashion Theory, Television Journalism, Silence, Philosphy of Language, Communcation, Media Studies, Cultural History, Literary Theory, Michel Foucault, Philosophy, Computer-Mediated Communication, and Facebookedit
- Ugo Volli is full professor of "Semiotics of the text" and "Philosophy of Communication" at the University of Turin, ... moreUgo Volli is full professor of "Semiotics of the text" and "Philosophy of Communication" at the University of Turin, where he directs the Center for Research on Communication (CIRCe), and coordinates the program in Semiotics and Media of the PhD school in Humanities and is Deputy Director for Research in the Department of Philosophy and Education. He has worked in a number of Italian and foreign universities, including for long periods of time in Bologna University, IULM University, New York University, Brown University, Haifa University. He was was awarded an honorary doctoral degree from the New Bulgarian University. He directs “Lexia – Journal of semiotics” and is member of the scientific board of many international journals.His research deals with communication both from the theoretical point of view (Il libro della comunicazione, Il Saggiatore 1994edit
Research Interests: Art, Cinema, Teatro, Théâtre, An, and 8 moreCinéma, Yiddish theater, PER, Yiddish Theatre, APF, Radio Television Film, Theater, and Yiddish filmography
Título: Dez perguntas mais uma a Thierry Salmon Resumo: Entrevista realizada no contexto das temporadas italianas do espetáculo Fastes-Foules, as questões e as reflexões seguem pertinentes a todo coletivo artístico: origens, referências,... more
Título: Dez perguntas mais uma a Thierry Salmon Resumo: Entrevista realizada no contexto das temporadas italianas do espetáculo Fastes-Foules, as questões e as reflexões seguem pertinentes a todo coletivo artístico: origens, referências, objetivos, princípios, procedimentos de trabalho; destacando como é possível encontrar uma estrada pessoal no teatro, como não estão esgotadas as capacidades objetivas de mudanças e de invenção cênicas. Palavras-chave: Fastes-Foules, Processo de Criação, Criação Coletiva, Espaço Cênico, Encenação. Titolo: Dieci domande più una a Thierry Salmon Riassunto: Intervista eseguita nel contesto dalla stagione italiana dello spettacolo Fastes-Foules, le domande e le riflessioni rimandano ai collettivi artistici contemporanei: origine, riferimenti, obiettivi, principi, processi di lavoro; sottolineando come sia possibile trovare una strada personale nel teatro, come non siano esaurite le capacità obiettive di cambiamento e di creazione scenica. Parole chiav...
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... Gilles LIPOVETSKY: La moda moderna celebra la seduzione e l'estetica giovane 96 Ludmila KYBALOVA - Olga HERBENOVA - Milena LAMAROVA: La moda e la sua storia 101 James LAVER: La moda: una detective story ... di Gianni Tibaldi,... more
... Gilles LIPOVETSKY: La moda moderna celebra la seduzione e l'estetica giovane 96 Ludmila KYBALOVA - Olga HERBENOVA - Milena LAMAROVA: La moda e la sua storia 101 James LAVER: La moda: una detective story ... di Gianni Tibaldi, Angeli, Mi-lano, 1982, 3a ed., p. 120 ...
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The collection of articles in this issue of Versus on the semiotics of concealment proposes theoretical reflections and some of their possible applications on the many facets of secret communication. The aim of these texts is to bring... more
The collection of articles in this issue of Versus on the semiotics of concealment proposes theoretical reflections and some of their possible applications on the many facets of secret communication. The aim of these texts is to bring together a semiotic methodology, to enunciate the logic of decryption, to highlight some rhetoric of dissimulation and to offer an anthropological overview of secret communication. The resulting material is offered to the scientific community, which often finds itself unarmed in the face of new occurrences of concealment whose traditional patterns are difficult to identify. After a brief account of the current state of research and of the practice of concealment over time, the articles published below are presented.
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Research Interests: Philosophy and NB
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... Cambiar idioma Idioma Català. Cambiar. Ideografie dell'interazzione. Autores: Ugo Volli; Localización: Lineagrafica, ISSN 0024-3744, Nº. 309, 1997 , págs. ...
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This paper explores the differences between Fashion and gargment and the laws who organize the changing on it. Semiotics could be a good key analysis if it’s give up the metaphor fashions as a language. Wardrobe is rather a kind of text... more
This paper explores the differences between Fashion and gargment and the laws who organize the changing on it. Semiotics could be a good key analysis if it’s give up the metaphor fashions as a language. Wardrobe is rather a kind of text which could be study with a pragmatic approach. Seduction and irony are also steady characteristics of this process.
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Research Interests: Art and Il Saggiatore
Research Interests: Semiotics, Humanities, Journalism, Typology, Narrative, and 12 moreCultural Semiotics, Phenomenology of Temporality, Temporality (Time Studies), Semiotique, Narrativity, Temporality, Journalism And Mass communication, Estudios De Semiotica, Semiotica, Semiotic Analysis, Department of Media Studies and Journalism, and Temporalities
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Umberto Eco’s semiotics, unlike that of most of his colleagues, has always claimed to be a philosophical research. For Eco, general semiotics, that is, the research on the functioning of signs, was a fundamental part of philosophy,... more
Umberto Eco’s semiotics, unlike that of most of his colleagues, has always claimed to be a philosophical research. For Eco, general semiotics, that is, the research on the functioning of signs, was a fundamental part of philosophy, because the knowledge of objects and the formulation of the ideas that characterize them takes place by means of signs. This paper shows how Eco’s semiotic work derives from his philosophical training and how interest in the mass media and political commitment have not changed the nature of his philosophical project. His research itinerary is compared with that of other semiotics scholars to show the originality of his approach.
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Research Interests: Humanities and Art
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Research Interests: Philosophy and Art
... Factoides y mnemos: por una ecología semiótica. Autores: Ugo Volli; Localización: Videoculturas de fin de siglo, 1990, ISBN 84-376-0964-X , págs. 129-136. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios... more
... Factoides y mnemos: por una ecología semiótica. Autores: Ugo Volli; Localización: Videoculturas de fin de siglo, 1990, ISBN 84-376-0964-X , págs. 129-136. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. ...
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Page 1. Ugo Volli Semiotik Eine Einführung in ihre Grundbegriffe A. Francke Verlag Tübingen und Basel Page 2. Inhalt Einleitung -. 1 Kapitel 1 Kommunikation 5 1.1 Man kann nicht nicht kommunizieren 5 1.2 Kommunikation und Bedeutung 7 1.3... more
Page 1. Ugo Volli Semiotik Eine Einführung in ihre Grundbegriffe A. Francke Verlag Tübingen und Basel Page 2. Inhalt Einleitung -. 1 Kapitel 1 Kommunikation 5 1.1 Man kann nicht nicht kommunizieren 5 1.2 Kommunikation und Bedeutung 7 1.3 Empfang und Rezeption 11 ...
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The paper begins by posing the theoretical problem of the foundation of reasonable interpretation and arguing that it cannot be realized by calculable rules or pure common sense or a hermeneutic “art”. There must be rules that make the... more
The paper begins by posing the theoretical problem of the foundation of reasonable interpretation and arguing that it cannot be realized by calculable rules or pure common sense or a hermeneutic “art”. There must be rules that make the interpretation strategy explicit. This thesis is studied with the example of the Talmud, who theorises different levels of interpretation and above all builds lists of rules of the correct argument. It is shown how these rules have a rhetoric character and are governed by some meta-principles, such as the total significance of the sacred text, the hierarchy of sources, the principle of majority of the competent ones, to show at the end that in this tradition reasonableness is evaluated in terms of responsibility for interpretation.
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Food consumption is one of the primary needs of the human animal, as central to our existence as, for example, sleep, sex, and the elimination of digestive waste. In most human societies, however, these last needs are met in a condition... more
Food consumption is one of the primary needs of the human animal, as central to our existence as, for example, sleep, sex, and the elimination of digestive waste. In most human societies, however, these last needs are met in a condition of more or less formalised and compulsory intimacy, while eating is treated as a social event, which reaches its full satisfaction in a public environment. This public dimension requires the overcoming of numerous difficulties, from the link between food and the killing of animals to injustice in food distribution, to the “natural” and thus potentially offensive character of food ingestion. To overcome all these problems, the act of food consumption must be “civilized”. This happens in different ways. First, there is the preparation of foods, which are rarely left in their natural state. Food processing usually goes beyond the pure needs of conservation or taste, turning edible matter into “dishes”. Second, there is the choice of times, places, gatherings that transform food consumption into an occasion. Then there is the ordering of eating, its serialisation according to a syntagmatic axis (succession) and a paradigmatic one (choice) that often is arranged in advance by those who prepare food, but actualised by those who consume it. This ordering attributes the semiotic character of a text to food. But this textualisation is enhanced by the presence of paratextual elements that envelop and further “civilize” the act of eating. These are very different linguistic inserts (for example prayers, blessings, conversations, toasts, performed in particular moments by specific subjects), but also gestural and performative rules obliging both those who serve and who consume food, which are specified in real grammars of eating (etiquette, good manners, etc.). From these prescriptions derives also the necessity of particular devices supporting the activities of food consumption (plates, cutlery, napkins, etc.). All this gives food consumption a ceremonial aspect that makes it the object of study for anthropologists, sociologists, scholars of religions, but above all semiotics, because the stakes of all this “superfluous” activity with respect to simple eating is the social meaning of food. This chapter illustrates the theoretical categories of this semiotic ceremonial approach and analyses some relevant examples.
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La trasformazione morfologica, stilistica e formale delle immagini artistiche è stata oggetto privilegiato della storia dell’arte. Tra i paradigmi che hanno inciso profondamente nel corso del XIX e XX sec. non si può non ricordare... more
La trasformazione morfologica, stilistica e formale delle immagini artistiche è stata oggetto privilegiato della storia dell’arte.
Tra i paradigmi che hanno inciso profondamente nel corso del XIX e XX sec. non si può non ricordare l’indagine circa la migrazione di motivi iconografici così come la costruzione di “atlanti” in cui è indagata la sopravvivenza di “formule patetiche” che ritornano con efficacia rinnovata non solo all’interno di opere d’arte, ma anche in immagini prodotto della comunicazione di massa (francobolli, pubblicità etc.).
Se le metodologie di indagine ricordate ipotizzano forme di temporalità differenti sottese al divenire storico, è possibile tuttavia tracciare un filo rosso nell’idea di una ricorrenza e ripresentazione di determinati motivi, temi o figure, dunque di una loro pervasività trasversale o, attingendo a una metafora biologica in uso per il web, di una loro “viralità”.
Le domande a cui la summer school vorrebbe provare a rispondere sono: cosa succede alle immagini d’arte quando sono trasposte su supporto digitale? Qual è il loro destino in seno a un ambiente culturale e sociale, quale quello digitale, che ha profondamente riscritto le nostre pratiche quotidiane, i nostri usi dell’immagine e la nostra percezione della stessa ?
In particolare, i seminari proposti nel corso della settimana destinata agli incontri indagheranno alcune possibili piste inerenti alla più generale questione indicata.
Tra i paradigmi che hanno inciso profondamente nel corso del XIX e XX sec. non si può non ricordare l’indagine circa la migrazione di motivi iconografici così come la costruzione di “atlanti” in cui è indagata la sopravvivenza di “formule patetiche” che ritornano con efficacia rinnovata non solo all’interno di opere d’arte, ma anche in immagini prodotto della comunicazione di massa (francobolli, pubblicità etc.).
Se le metodologie di indagine ricordate ipotizzano forme di temporalità differenti sottese al divenire storico, è possibile tuttavia tracciare un filo rosso nell’idea di una ricorrenza e ripresentazione di determinati motivi, temi o figure, dunque di una loro pervasività trasversale o, attingendo a una metafora biologica in uso per il web, di una loro “viralità”.
Le domande a cui la summer school vorrebbe provare a rispondere sono: cosa succede alle immagini d’arte quando sono trasposte su supporto digitale? Qual è il loro destino in seno a un ambiente culturale e sociale, quale quello digitale, che ha profondamente riscritto le nostre pratiche quotidiane, i nostri usi dell’immagine e la nostra percezione della stessa ?
In particolare, i seminari proposti nel corso della settimana destinata agli incontri indagheranno alcune possibili piste inerenti alla più generale questione indicata.
Research Interests: Semiotics, Cultural Studies, Art History, Performing Arts, Digital Humanities, and 27 moreArt, Art Theory, Digital Media, Contemporary Art, Arts Education, Modern Art, Philosophy of Art, Digital Culture, History of Art, Art Education, Visual Arts, Fine Arts, Arte Contemporanea, Artes, Arte, Historia del Arte, STORIA DELL'ARTE, Kunstgeschichte, Arte contemporáneo, História da arte, Semiotica, Massimo Leone, Historia y Teoria del Arte y la Arquitectura, Artes Visuais, Henri Focillon, Kunstkritiek, and Kunsthistorie
Il libro analizza semioticamente una decina di figure femminili dipinte da pittori italiani degli anni 20 e 30 del 900 (Savinio, Sironi, Campigli, Marussig) cercando di mostrare l'immagine femminile presupposta da tali quadri.
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Opening essay of the Catalogue What does it mean to be a man in the new millennium? Essays by 19 scholars from various fields, including anthropology, psychology, economics, media, and political science, attempt to answer this question.... more
Opening essay of the Catalogue What does it mean to be a man in the new millennium? Essays by 19 scholars from various fields, including anthropology, psychology, economics, media, and political science, attempt to answer this question. All seem to agree that masculinity is in crisis owing to a variety of 20th-century events. Editor Malossi, director of the Fashion Engineering Unit, a think tank based in Florence that is devoted to creating a culture of fashion, has developed a title with strong Italian roots and a focus on the male human form. One essayist defines virility as cunning tempered by self-awareness, a combination he claims has gotten men in trouble since Odysseus' time. The movie still that closes the book--of Sean Connery as the suave James Bond leaning against a sports car with a devil-may-care attitude--certainly reinforces this definition of virility and masculinity. One of the most positive essayists claims that the new man who will lead us into a new era will use the age-old capacity of giving to others and to the world. The quality of the essays varies from thought-provoking to unsubstantiated, but numerous photographs support the text well throughout. Overall, an interesting look at how culture shapes male identity and visa versa.
-Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, OH
Copyright 2000 Reed Business Information, Inc.
-Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, OH
Copyright 2000 Reed Business Information, Inc.
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Virtual, augmented, and mixed reality are at the center of the contemporary media scenario and the latest expressions of digital culture. These different yet alike technologies are innovating and successfully used in very different fields... more
Virtual, augmented, and mixed reality are at the center of the contemporary media scenario and the latest expressions of digital culture. These different yet alike technologies are innovating and successfully used in very different fields such as entertainment, rehabilitation, professional training, art and urban design. However , these terms also became buzz words and are somehow the preferred subjects of technological myths and technophobic tales. By blending the philosophical reflection and semiotic perspective on virtuality with concrete case studies and detailed analyses of their technical characteristics, the contributions of this volume critically inquire on the means by which the efficiency and meaningfulness of these technologies is achieved. What do we really mean when we talk about the immersive and realistic nature of these media? in what sense can we experience the real in a virtual and digital world? is there a connection between our conception of virtual reality and the social discourses and imaginaries about it? These questions are at the very heart of this book which is thus an investigation on the meaning-making behind, beyond and around virtual, augmented, and mixed reality.
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Final meeting concluding a series of seminars on the semiotics of aspectuality at the University of Turin, Italy
Research Interests: Semiotics, Cultural Semiotics, Visual Semiotics, Semiotics of Music, Cognitive Semiotics, and 22 moreFilm Semiotics, Semiotics Of Culture, History of semiotics, Peirce Pragmaticist Semiotics, Tense and Aspect Systems, Social Semiotics, Peircean Semiotics, Umberto Eco, Aspect, Semiology, Semiótica, Sémiologie, Semiología, Estudios De Semiotica, Semiotica, Tense aspect modality, Massimo Leone, Semiótica musical, Semiotika Roland Barthes, Semiología Musical, Semiotika, and Semiotica Visual
In an epoch in which both global and local representations of time and space seem to undergo a dramatic shifting, the "Meetings of Meaning", the international doctoral seminar for semiotics at CIRCE, the Center for Interdisciplinary... more
In an epoch in which both global and local representations of time and space seem to undergo a dramatic shifting, the "Meetings of Meaning", the international doctoral seminar for semiotics at CIRCE, the Center for Interdisciplinary Research on Communication of the University of Turin, Italy, hosts a series of keynote lectures on the semiotics of aspectuality.
Research Interests: Semiotics, Cultural Semiotics, Visual Semiotics, Semiotic Anthropology, Socio-semiotics, and 58 moreSemiotics of Music, Cognitive Semiotics, Film Semiotics, Musical Semiotics, Semiotics And Language, Semiotics Of Culture, History of semiotics, Peirce Pragmaticist Semiotics, Tense and Aspect Systems, Social Semiotics, Peircean Semiotics, Semiotics of sculpture, Mathematics and Language: Functional and Social Semiotics Perspective, Material Semiotics, Sémiotique, Semiotique, Urban Semiotics, Umberto Eco, Semiotica letteraria, Semiology, Semiótica, Semiótica, Análise do Discurso, Retórica, Sémiologie, Semiotic, Linguistic and Literary Stylistics, Semiotics, Pragmatics and Discourse Analysis, Semiología, Multimodality, Social Semiotics, Semiótica, comunicación y cultura, Estudios De Semiotica, Semiosis, Semiotica, Greimasian semiotics, Semiotica della televisione, Semiotic Analysis, Massimo Leone, Semiótica musical, Visual Communication and Visual Semiotics, Arquitetura Semiótica, Semiotik, Temporality and aspectuality, Media Semiotics - Feminism analysis of the media, Semiotika Roland Barthes, Semiología Musical, Semiotika, Aspectual Classification, Semiologia, Semiótica Aplicada Ao Ensino De Línguas, Sémio-pragmatique, Visual Social Semiotics, SEMIOTIKA_KOMUNIKASI(1).pdf, Semiotika Sosial, Semiochemicals, Semiotika Komunikasi Visual, Semiotics and the Philosophy of Language, Biblical Semiotics, Analisis Semiotico, Semiotica Visual, and Semiotics. Biopolitics
Symposium with the Chinese Academy of Social Sciences
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Morphological and stylistic transformation of visual images has been a main topic of the Art History. The investigation of the iconographic migration in art was one of the most important paradigms of the 19th and 20th centuries, so as the... more
Morphological and stylistic transformation of visual
images has been a main topic of the Art History. The
investigation of the iconographic migration in art was
one of the most important paradigms of the 19th and
20th centuries, so as the construction of an “atlas of
images” which studies the survival of the “Pathos
formulas”. Those formulas appear with new strength
inside works of art, but also different images, results of
mass communication (stamps, advertisement, etc.).
The above mentioned methods of research postulate
different ideas of time in the course of history. However
all of them examine recurring motifs, themes or figures,
their across coming over or their “virality”, using a
biological metaphor widespread on the Net.
What does it happen to the works of art transferred to a
digital media? What’s their destiny inside a new social
and cultural context, so as the digital environment that
deeply changed our lives? The Summer School Digital
Life of Forms in Art will try to answer to all of those
questions. In particular, our seminars intend to explore
some aspects of this field of study:
The aesthetic side, the “post-media” condition and
the artistic creation
The immersive media, the social interactions and the
augmented reality stimulate the user body in a similar
way to some artistic experiences. It would be interesting
to investigate the relations between these mechanisms
and the aesthetic involvement of the user, in the sense
of discovery of the world coming through senses.
Many scholars think that the convergence of different
mechanisms on digital media determined the “postmedia”
condition: the old distinction between
traditional media is no yet valid, because the digital
environment comprehends different media. Which
affinities can be pointed out between the post-media
condition and the artistic creation? To what extent the
installation art (artistic genre of three-dimensional works
of art) did contribute to reach the post-media
condition? And how did the digitalisation of the artistic
process change the artistic creation?
The fruition of art and digital media
Always more frequently the fruition of artistic spaces
goes through digital media. What is the effectiveness of
such mechanism? And which are its “models of user”?
Moreover, does digital media amplify playful or
pedagogical dimensions? On the other hand, which
kind of fruition do digital museums, such as Google Art
Project, offer to the world of art?
images has been a main topic of the Art History. The
investigation of the iconographic migration in art was
one of the most important paradigms of the 19th and
20th centuries, so as the construction of an “atlas of
images” which studies the survival of the “Pathos
formulas”. Those formulas appear with new strength
inside works of art, but also different images, results of
mass communication (stamps, advertisement, etc.).
The above mentioned methods of research postulate
different ideas of time in the course of history. However
all of them examine recurring motifs, themes or figures,
their across coming over or their “virality”, using a
biological metaphor widespread on the Net.
What does it happen to the works of art transferred to a
digital media? What’s their destiny inside a new social
and cultural context, so as the digital environment that
deeply changed our lives? The Summer School Digital
Life of Forms in Art will try to answer to all of those
questions. In particular, our seminars intend to explore
some aspects of this field of study:
The aesthetic side, the “post-media” condition and
the artistic creation
The immersive media, the social interactions and the
augmented reality stimulate the user body in a similar
way to some artistic experiences. It would be interesting
to investigate the relations between these mechanisms
and the aesthetic involvement of the user, in the sense
of discovery of the world coming through senses.
Many scholars think that the convergence of different
mechanisms on digital media determined the “postmedia”
condition: the old distinction between
traditional media is no yet valid, because the digital
environment comprehends different media. Which
affinities can be pointed out between the post-media
condition and the artistic creation? To what extent the
installation art (artistic genre of three-dimensional works
of art) did contribute to reach the post-media
condition? And how did the digitalisation of the artistic
process change the artistic creation?
The fruition of art and digital media
Always more frequently the fruition of artistic spaces
goes through digital media. What is the effectiveness of
such mechanism? And which are its “models of user”?
Moreover, does digital media amplify playful or
pedagogical dimensions? On the other hand, which
kind of fruition do digital museums, such as Google Art
Project, offer to the world of art?