I will access the piece Burger Time (hence on, BT) assuming that it is a message, and that therefore it should be framed within a situation of enunciation. In short, Mauro Lanza who? I will therefore oppose a methodological distance to a friendly proximity.Ĥ I will start from three basic hypotheses, according to three models of distance that I will discuss later: In agreeing with Fontanille, ignorance will therefore be my guide, primarily in the form of ignorantia auctoris. In dealing with Rothko, the French semiologist thus proposed, as a working hypothesis, rather than to discuss what we already know about the author and the work, to “take the side of ignorance”. A situation in some way analogous to contemporary music, especially in electronic music in which even the reference to instrumental recognition may be missing. 1 Jacques Fontanille, “Sans titre… ou sans contenu ?”, Nouveaux Actes Sémiotiques, 34-35-36 ( Approche (.)Ģ Jacques Fontanille, in an essay dedicated to the analysis of a work by Mark Rothko ( Untitled, 1951) 1, had to deal with a set of translucent chromatic textures, forbidding him any figurative recognition.These two elements, an assumption of significance and a state of incompleteness, are the starting points for the hermeneutic effort of both Lord Glenarvan and the semiologist. Thus, in order to understand the message, a difficult reconstruction attempt is to be tried. But, on the other hand, Glenarvan also observes: “les mots tracés sur ces documents sont fort incomplets”. As Glenarvan says, “les quelques mots qui ont résisté ne me laissent aucun doute à cet égard”. In investigating the three-part document, the only assumption that he makes concerns the enunciation: the message has been certainly written by someone. In Jules Verne’s Les enfants du Captain Grant, Lord Glenarvan retrieves a fragmentary document in a bottle swallowed by a shark. However, this existential proximity is embarrassing for a semiologist as I am: the goal of the semiologist being the description, though certainly problematic, of how sense is constructed as immanent to the object, regardless of its genetic history. Being a close friend of the composer, I would have no problem in extorting him the information that I might deem useful for the description of the piece, from the aesthetic principles at its origin down to the minute details of its technical implementation.
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