SEMIOTICS
Semiotics and aesthetics were the embryo of the research of my Completion of Course Work. Therefore, I wanted to bring to this axis, in a very simple and summarized way, what covers the semiosis process, so that we can understand how we process what exists in the urban environment and how we experience it.
LOGIC
For Peirce, our idea of anything is our idea of its sensible effects, that is, of what appears, of phenomenology. So the sensible does not become the opposite of the logical, it is through it that we arrive at logic.
PERCEPT
A vector of perception that encompasses our five senses. This percept is transformed in our mind by a judgment, which is the first judgment we make, and this is the starting point for all critical thinking.
REPERTOIRE
Peirce also speaks of repertoire, which affects the reception of percepts, selecting them and allowing their communication with ideas, which are our memories and previous judgments. Then we miss what we are not prepared to interpret.
HABITS OF FEELING
There are also the habits of feeling that we create throughout life, which guide our aesthetic feelings when it comes to evaluating a raw fact, be it a work of art or anything else. When we are in a place, we seek certain familiarities and they end up generating feelings according to these habits of feeling, such as: beauty, ugliness, sublime, grotesque, picturesque, etc.
DYNAMIC OBJECT X IMMEDIATE OBJECT
For Peirce, the dynamic object is inapprehensible, it will never be completely involved by a semiosis, we do not access it as a whole. We only have access to the part that it appears to us, which is the immediate object, which determines the sign. This immediate object can change every time we come into contact with it, we can perceive different signs because our repertoire has already changed.
SEMIOTICS
Charles S. Peirce is the philosopher considered the father of semiotics. He says that all thinking is carried out through signs, so semiotics can be considered the science of the general laws of signs, the cognitive experience towards the meaning of things that exist in the world. Therefore, it is through semiotics that we understand and process what exists in the urban scene and, consequently, how we experience it.
SIGN
If all thought is carried out through signs, what are these signs? Sign is anything that, on the one hand, is determined by an object, that is, a brute fact, (which may be imaginary or from the physical world) and, on the other hand, determines an idea in a person's mind, called the interpretant of the sign. .
SEMIOSIS
Process of interpreting signs that involves the cooperation of three elements: the sign, its object and its interpretant. Semiosis can become an unlimited process: when a sign generates a process of semiosis, which generates another sign and so on.
Through semiotics it is possible to analyze urban architectural spaces as experiences that generate meanings conditioned by these different signs and thus also generate habits, symbols and modify and direct human conduct in these spaces.
CITY AS EXPERIENCE
The American philosophers Charles Peirce and John Dewey search for the origin of the aesthetic experience, as well as to explain how it, in the common, can be revived and brought to the surface. We can find an aesthetic element in common experience, some aspect that removes us from temporality and automatic experience, from habit, and transports us to something singular.
For Dewey, the importance of the built world lies in making its perceptual and symbolic richness available on a daily basis; are invasive arts contained in urban scenes. These scenes vary, mainly, according to their spectators, who from mere spectators have nothing.
BIBLIOGRAPHIC REFERENCES
Class content. Subject “ Architectural Semiotics : the architectural space as an experience and sign of engendering human conducts”. Prof. Lucia de Souza Dantas
PEIRCE, Charles Sanders. (1931-35 and 1958) The Collected Papers of Charles Sanders Peirce . Edited by Charles Hartshorne, Paul Weiss, and Arthur W. Burks. Cambridge, Massachusetts, Harvard University Press, 1931-35 and 1958. 8 vols. Electronic Edition. Translated by: Lúcia de Souza Dantas.
DEWEY, John. Art as experience . trans. by Vera Ribeiro. 1. ed. São Paulo: Martins Fontes, 2012.
Innis, R. (2019). Between the thinking hand and the eyes of the skin : pragmatist aesthetics and architecture. Cognitio: Journal of Philosophy, 20(1), 77-90.