For us to communicate we do not simply engage in thought
transference but have to avail ourselves of codes.
It is the existence of codes and their material manifestation in signs,
which enables the process of information transmission to take place.
Thus codes are, by their very nature, shared processes. The term 'code' always implies the existence of two individuals, a coder and a decoder.
C.S.Pierce (1839-1914) (among others) formulated an analysis
of signs. He begins with his definition of a sign:
It is something which stands to somebody for something in some respect
or capacity.
There are four important elements within this definition:
These elements are represented by:
Pierce specifies a tripartite typology of signs.
Signs are divided into:
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a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional - so that the relationship must be learnt: e.g. language in general (plus specific languages, alphabetical letters, punctuation marks, words, phrases and sentences), numbers, morse code, traffic lights, national flags; |
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a mode in which the signifier is perceived as resembling or imitating the signified (recognizably looking, sounding, feeling, tasting or smelling like it) - being similar in possessing some of its qualities: e.g. a portrait, a cartoon, a scale-model, onomatopoeia, metaphors, 'realistic' sounds in 'programme music', sound effects in radio drama, a dubbed film soundtrack, imitative gestures; |
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a mode in which the signifier is not arbitrary but is directly connected in some way (physically or causally) to the signified - this link can be observed or inferred: e.g. 'natural signs' (smoke, thunder, footprints, echoes, non-synthetic odours and flavours), medical symptoms (pain, a rash, pulse-rate), measuring instruments (weathercock, thermometer, clock, spirit-level), 'signals' (a knock on a door, a phone ringing), pointers (a pointing 'index' finger, a directional signpost), recordings (a photograph, a film, video or television shot, an audio-recorded voice), personal 'trademarks' (handwriting, catchphrase) and indexical words ('that', 'this', 'here', 'there'). |
The historical evidence does indicate a tendency of linguistic signs to evolve from indexical and iconic forms towards symbolic forms. Alphabets were not initially based on the substitution of conventional symbols for sounds.
It could be
asked whether the iconic sign on the door of a public lavatory for men actually
looks more like a man than like a woman. 'For a sign to be truly iconic,
it would have to be transparent to someone who had never seen it before
- and it seems unlikely that this is as much the case as is sometimes supposed.
We see the resemblance when we already know the meaning' (Cook 1992, 70).
Thus, even a 'realistic' picture is symbolic as well as iconic.
Can you interpret the meaning of these symbols?
Most likely you can.
Why? Because you are most likely part of the community that works with computers and so you have learnt the meaning.
This exercise captures the essence of a sign system - sign systems are shared and therefore communal.
Colour can be used as a visual code to identify:
A colour code indicates what category the information being displayed falls into. A properly selected colour coded scheme permits a person to identify a relevant category quickly and without having to read the contents first.(--note awareness of colourblindness issues)
Examples include:
Cross disciplinary and Cross Cultural meanings
Colours have different meanings in different situations to different people.
A colour used in an unexpected way can cause confusion. For example an error
signalled in green would contradict the expected association of red with stop
or danger.
The same colour may also have a different connotation depending on its viewer.
e.g. the colour blue
Use colour meanings that already exist in a persons job, or in the world at
large. They are ingrained behaviour and difficult to
unlearn. Conform to human expectations: In the job In the world