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Basic laws of linguistic Basic laws of linguistic and visual semiotics: and visual semiotics:

From the Paleolithic to From the Paleolithic to PicassoPicasso

Lecture given in Valladolid Lecture given in Valladolid (Spain)(Spain)

4th of April 20064th of April 2006Wolfgang Wildgen, Bremen (Germany)

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Table of contentsTable of contents

►Part I: The Evolution of a Protolanguage Part I: The Evolution of a Protolanguage or The evolutionary baseline of symbolic or The evolutionary baseline of symbolic behaviorbehavior

►Part II: Symbolic Evolution in the late Part II: Symbolic Evolution in the late Paleolithic: Dynamics and ComplexityPaleolithic: Dynamics and Complexity

►Part III: Referential and abstract art Part III: Referential and abstract art after the Renaissanceafter the Renaissance

►Part IV:Part IV: Intertextuality and Intertextuality and Metasemiosis: Velasquez interpreted Metasemiosis: Velasquez interpreted figuratively by Picassofiguratively by Picasso

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Part IPart IThe Evolution of a ProtolanguageThe Evolution of a Protolanguage

ororThe evolutionary baseline of The evolutionary baseline of

symbolic behaviorsymbolic behavior

4

► The plausible time span of a protolanguage The plausible time span of a protolanguage is 2 my to 300.000 y.is 2 my to 300.000 y.

► A protolanguage must categorize events A protolanguage must categorize events and actions (by proto-verbs) and must and actions (by proto-verbs) and must discriminate stable entities (by proto-discriminate stable entities (by proto-nouns). nouns).

► The question arises, if temporal, dynamic, The question arises, if temporal, dynamic, quantitative, qualitative relations between quantitative, qualitative relations between them can be mastered and to what degree. them can be mastered and to what degree.

► I will argue that there are intrinsic I will argue that there are intrinsic complexity barriers which could have complexity barriers which could have blocked the elaboration of the blocked the elaboration of the protolanguage for a long (evolutionary) protolanguage for a long (evolutionary) time-span, e.g. 2 my to 300 ky.time-span, e.g. 2 my to 300 ky.

5

Representation of Representation of actions/events and involved actions/events and involved

stable entitiesstable entities► The action-concept GRASP involves two stable entities: The action-concept GRASP involves two stable entities:

the body (the hand) and the object. Every point on the the body (the hand) and the object. Every point on the lines in Fig. lines in Fig. 22 is an attractor, i.e., the perception of a is an attractor, i.e., the perception of a stable entity in the 30 msec window (cf. Pöppel, 1998). stable entity in the 30 msec window (cf. Pöppel, 1998). The whole schema should fit into the 3 sec window, e.g., The whole schema should fit into the 3 sec window, e.g., in the sentence: in the sentence: The fatherThe father took took the bookthe book (from the (from the table)table)

► Catastrophe schema of GRASP.Catastrophe schema of GRASP.

The book

The father

Catastrophe of capture (took)

The father (has the book)

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One may distinguish three ways of grasping:One may distinguish three ways of grasping:► the force-grip (e.g., of a branch)the force-grip (e.g., of a branch)► the precision-grip (e.g., of a small tool)the precision-grip (e.g., of a small tool)► the refined grip (e.g., of a needle)the refined grip (e.g., of a needle)

finger

thumb

object

force-grip

precision-grip

finger

thumb

Topological difference between power grip and precision-grip.

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A manual dynamic archetype of A manual dynamic archetype of an assumed protolanguagean assumed protolanguage

►The GRASP schema constitutes a The GRASP schema constitutes a structured (bivalent) action schema structured (bivalent) action schema with a long evolutionary history and with a long evolutionary history and includes a manner specification includes a manner specification categorized on topological cues.categorized on topological cues.

As the distinction between several precision As the distinction between several precision grips shows, more elaboration appears as grips shows, more elaboration appears as soon as more precise manipulations on soon as more precise manipulations on objects and instruments are developed.objects and instruments are developed.

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Beyond the grasp-scenarioBeyond the grasp-scenario

Agent

Instrument

Object (pebble)

Substracted piece

Conjecture: With the elaboration of a rich culture of artefacts and a selection on the proficiency of the species in this field, a richer schema of action emerged which could be used to improve artefact related communication.

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Conclusions for Part IConclusions for Part IThe grammar of a protolanguage specifies three The grammar of a protolanguage specifies three

hierarchically scaled levels of primary categorization:hierarchically scaled levels of primary categorization:► Stable entitiesStable entities (no change in the perceptual and (no change in the perceptual and

classificatory time window and recurrence as pattern classificatory time window and recurrence as pattern (statistical relevance),(statistical relevance),

► dynamic aspects dynamic aspects of entities in change and motionof entities in change and motion ((inchoative, egressive, durative), andinchoative, egressive, durative), and

► a bivalenta bivalent GRASP-schema GRASP-schema with qualitative change with qualitative change (capture or emission); this starts the valence (capture or emission); this starts the valence hierarchy.hierarchy.

In this perspective, syntax is a consequence of the In this perspective, syntax is a consequence of the complexity increase due to a richer lexicon (more complexity increase due to a richer lexicon (more differentiations) and a parsimonious organization of differentiations) and a parsimonious organization of the lexicon via a relational structuring and a quick the lexicon via a relational structuring and a quick combinatorial production and analysis of more combinatorial production and analysis of more complex utterances.complex utterances.

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Part IIPart II

Symbolic Evolution in the late Symbolic Evolution in the late PaleolithicPaleolithic

Dynamics and ComplexityDynamics and Complexity

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Auditive versus visual Auditive versus visual symbolizationsymbolization

►The use of color-pigments by humans can The use of color-pigments by humans can be assumed since 700 ky (south Africa).be assumed since 700 ky (south Africa).

►The first realistic drawings show their The first realistic drawings show their derivation from natural arm- and hand-derivation from natural arm- and hand-movements.movements.

►Very early the dynamic aspect is a basic Very early the dynamic aspect is a basic goal of „art“. i.e. the picture re-animates goal of „art“. i.e. the picture re-animates the depicted and contains a magic of the depicted and contains a magic of animation.animation.

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Dynamics in drawing Dynamics in drawing techniquestechniques

The drawing of a horse (Peña de Candamo)

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Grotte ChauvetGrotte Chauvet

Battle between two rhinozeros (ca. 30ky B.P.)

14A group of chasing lions; Grotte Chauvet

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A bison which turns ist head in attack;

Grotte Chauvet

The human observer or agent mostly remains implicit or is hidden in the shape of an animal (or a dancer having clothes resembling the animal)

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Levante-art in Mesolithic Eastern Spain;

ca. 9-8 000 BP

Appearance of humans in the context of chase and warfare

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Methonymic abstractionMethonymic abstraction

Giant deerContours of a deer’s head

Sketch of a deer’s head

A natural path of abstraction uses partial representations, as shown in the sequence below. Such a process may be spontaneous depending on the actual needs or occur in a historical process due to the established knowledge of a symbolic representation.

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A list of abstract symbolsA list of abstract symbols

Tectiform symbols: 1-16;

1-10 Dordogne ( Les Eyzies)

11-16: Northern Spain (Altamira, Castillo, u.a.)

Vulva-like symbols 17- 23

With the loss of iconic cues and further symbolization, the picture become context dependent memory cues standing for abstract messages.

This evolution finally leads to writing.

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Part IIIPart III

Referential and abstract art Referential and abstract art after the Middle Ageafter the Middle Age

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The pictorial order depends on the space in which the content is The pictorial order depends on the space in which the content is represented:represented:In the case of the church S. Isodoro in Leon (shown below) the In the case of the church S. Isodoro in Leon (shown below) the order of the apostles is partially linear (4+1+4), two apostles are order of the apostles is partially linear (4+1+4), two apostles are placed in the corners below. Judas stands in the diagonal (see placed in the corners below. Judas stands in the diagonal (see right picture, below).right picture, below).

St. Isidoro, Leon (around 1180)

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The representation may be three-dimensional as in sculptures The representation may be three-dimensional as in sculptures shown during the Semana Santa (before Eastern) or in theatrical shown during the Semana Santa (before Eastern) or in theatrical representations with living persons, which sit around a table, as representations with living persons, which sit around a table, as

in passion plays or “living” sculptures enacted during the in passion plays or “living” sculptures enacted during the Semana Santa in Spain;Semana Santa in Spain;

Three-dimensional representation of the Last Supper in a portable sculpture used during the Semana Santa in Leon (Spain) - here in the cathedral of Leon

(Photo by the author in 2006)

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Leonardo classical solution. His „Last Leonardo classical solution. His „Last Supper“ after the renovationSupper“ after the renovation

Santa Maria delle Grazie, Mailand 1598

Grouping: 3 + 3 +3 + 1 + 3 +3; dynamics of a wave

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Implicit force-fields and the Implicit force-fields and the organization of contentorganization of content

The force fields in Leonardo’s “Last Supper”: Horizontal, vertical, diagonal (spiral). Correspondence with the geometrical perspective

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The basic content complexes The basic content complexes organized in Leonardo’s paintingorganized in Leonardo’s painting

► The table in the foreground.The table in the foreground.► The perspective of the dining room, the The perspective of the dining room, the

windows, the landscape visible through windows, the landscape visible through the window, the subdivision of the the window, the subdivision of the background into three equal sub-fields.background into three equal sub-fields.

► The arrangement of 12 apostles The arrangement of 12 apostles (grouped by 4 x 3) on both sides of (grouped by 4 x 3) on both sides of Jesus.Jesus.

► The gestures (body poses) and glances The gestures (body poses) and glances of Jesus and his apostles superimpose a of Jesus and his apostles superimpose a further dynamical structurefurther dynamical structure

The blending of these different content The blending of these different content complexes constitutes the central complexes constitutes the central message of the painting.message of the painting.

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Cross-cultural dynamics of the Cross-cultural dynamics of the central motive: group on a tablecentral motive: group on a tableThe only things properly conserved are:The only things properly conserved are:► The activity of eating with the mouth helped by hands The activity of eating with the mouth helped by hands

and eventually instruments.and eventually instruments.► The size (approximate) of the human group that comes The size (approximate) of the human group that comes

together for a common meal.together for a common meal.► The central position of a leader.The central position of a leader.► The (cultural) variability concerns the room, table, The (cultural) variability concerns the room, table,

chairs, dishes, the kind of food, and the composition of chairs, dishes, the kind of food, and the composition of the group (its social structure). the group (its social structure).

Two different pathways of cultural variation:Two different pathways of cultural variation:► The path of pictorial abstraction. I will show that it does The path of pictorial abstraction. I will show that it does

not coincide with the kind of abstraction, which is not coincide with the kind of abstraction, which is fundamental for language.fundamental for language.

► The path of intertextual deformation, mainly in the The path of intertextual deformation, mainly in the direction of satire or parody.direction of satire or parody.

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Reanalysis of a classical Reanalysis of a classical painting by de- and painting by de- and

reconstructionreconstruction

Andy Warhol, “The Last Supper”, 1986

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Classical „abstract“ paintings Classical „abstract“ paintings

Wassily Kandinsky, “Rotes Oval”, 1920

The painting has a (deformed) rectangle (like a table) in its center and further objects on it, at it, around it; it thus shows a formal correspondence to Leonardo’s “Last Supper”. Instead of persons, dishes, bread one can only distinguish color-surfaces. Some pseudo-motions replace the action gradients (glance, hands moving).

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Formal comparison with Leonardo’s Formal comparison with Leonardo’s

paintingpainting ► It is clear that Kandinsky doesn’t cite any It is clear that Kandinsky doesn’t cite any

content of Leonardo’s painting (whereas content of Leonardo’s painting (whereas Warhol does). But there are basic laws of Warhol does). But there are basic laws of figural composition that are in vigor in both figural composition that are in vigor in both paintings.paintings.

► In other cultures, some of these principles In other cultures, some of these principles may not be observed and, as in the case of may not be observed and, as in the case of Chomsky’s Universal Grammar, one may ask Chomsky’s Universal Grammar, one may ask what the common human base for pictorial what the common human base for pictorial expression is (what a expression is (what a Universal PictureUniversal Picture is). is).

► Cultural variation must be seen in Cultural variation must be seen in comparison with cross-cultural communalities comparison with cross-cultural communalities or even with universal features.or even with universal features.

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Conflict between an artist and the Conflict between an artist and the

religious authoritiesreligious authorities

A central picture in Buñuel’s film “Viridiana”. The film was criticized by the Vatican and forbidden in Spain

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Part IVPart IV

Intertextuality and MetasemiosisIntertextuality and Metasemiosis

Valesquez interpreted figuratively Valesquez interpreted figuratively by Picassoby Picasso

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Comparison of the two Comparison of the two paintingspaintings

•Difference of format and color

•Size of Velasquez

•Replacement of figures (right, bottom)

Las Meninas, Diego Velasquez 1656 (318x276)

Las Meninas, Picasso, 194x260

17.8.1957

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Valence analysis of the Valence analysis of the picturespictures

The painting of Velasquez has three stages:The painting of Velasquez has three stages:► In the foreground five persons are placed (I neglect the In the foreground five persons are placed (I neglect the

dog). The central group is defined by the dog). The central group is defined by the InfantaInfanta and the and the meninasmeninas, Maria Agustina Sarmiento and Isabel de , Maria Agustina Sarmiento and Isabel de Velasco. pattern : 3 + 2 = 5.Velasco. pattern : 3 + 2 = 5.

► In the stage just behind them stands the In the stage just behind them stands the painterpainter himself himself and in the shadow, Marcela de Ulloa and Diego Ruiz de and in the shadow, Marcela de Ulloa and Diego Ruiz de Ancona (1 + 2 = 3).Ancona (1 + 2 = 3).

► In the third stage one can see the queen’s In the third stage one can see the queen’s quartermaster José quartermaster José NietoNieto and in the mirror the and in the mirror the royalsroyals, , who observe the scene (1 + 2 =3).who observe the scene (1 + 2 =3).

The entire valence is: 5 + 3 + 3 = 11 (including the The entire valence is: 5 + 3 + 3 = 11 (including the dogdog 12).12).

Picasso’s first painting reproduces the valence of Picasso’s first painting reproduces the valence of Velasquez.Velasquez.

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Schematic simplification with compact inner group including Velasquez - Triangulation of the figural groups

•mixing of grey and colored surfaces

•Artificial depth

Las Meninas

Picasso

3.10.1957

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Spatial and configurational Spatial and configurational variationsvariations

►Variations of the whole scene painted Variations of the whole scene painted the 18.9/2.10/ and 3.10.57 regroup the the 18.9/2.10/ and 3.10.57 regroup the participants using geometric contours.participants using geometric contours.

► In the painting shown (3.10.), the first In the painting shown (3.10.), the first and second stage are put together in a and second stage are put together in a groupings of 3 (Velasquez, , menina groupings of 3 (Velasquez, , menina Sarmiento, Infanta) + 3 (dog, menina Sarmiento, Infanta) + 3 (dog, menina Velasco, Nieto) + 4 (the others). The Velasco, Nieto) + 4 (the others). The royals in the mirror are lacking. royals in the mirror are lacking.

►Composition: 3 + 3 + 4 =10 (total Composition: 3 + 3 + 4 =10 (total valence)valence)

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Groupings and reanalysisGroupings and reanalysis

The central group around the infanta: valence =3

Bystanders:

2 + 2 +1

Group without Velasquez, 17.9.1957

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Partial representations (without Partial representations (without the painter)the painter)

►Two fields (yellow/black) intersect on the Two fields (yellow/black) intersect on the basic group: Infanta + dog (below). basic group: Infanta + dog (below).

►Only the participants with eyes and Only the participants with eyes and mouth are central: Infanta (1) + circular mouth are central: Infanta (1) + circular „circonstants“ (3): dog and meninas.„circonstants“ (3): dog and meninas.

►The bystanders on the right (4) are in The bystanders on the right (4) are in the background.the background.

►The composition is: 1 + 3 + 5 = 9.The composition is: 1 + 3 + 5 = 9.

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Right groups, 24.10. and 8.11.1957

Partial pictures with the participants at the right of the Infanta. Valence 4 (left) and 2 (right).

Colors green, blue, red (yellow, white)

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Reanalysis of the central person: Infanta Margarita Maria

Infanta 14.9.1957, 100x81

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Reanalysis of the interior of Reanalysis of the interior of participantsparticipants

►The rough partinomy , i.e. the The rough partinomy , i.e. the neigborhood of major recognizable parts neigborhood of major recognizable parts is conserved.is conserved.

►The proportions are modified: bigger The proportions are modified: bigger head, smaller fingers.head, smaller fingers.

►The irregular surfaces are reduced to The irregular surfaces are reduced to more regular ones (polyhedrons, cf. the more regular ones (polyhedrons, cf. the cubist program).cubist program).

►The smooth palette (silk and incarnate) is The smooth palette (silk and incarnate) is transformed by the use of simple colors.transformed by the use of simple colors.

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Decomposition and geometrical Decomposition and geometrical transformation of a facetransformation of a face

Rounding and segregation of arcs (parts of a circle)

grey tones

Decomposition of head and face into lines and characteristic contours

Infanta, 6.9.1957; 46x37 Infanta,

27.8.1957

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Summary of Picassos Summary of Picassos intertextual creationsintertextual creations

► Picasso first reorganizes the global space by Picasso first reorganizes the global space by changing the format (high to broad)changing the format (high to broad)

► He flattens the inner space and simultaneously the He flattens the inner space and simultaneously the color-space (color to grey)color-space (color to grey)

► He reanalyzes the complex groupings by partial He reanalyzes the complex groupings by partial groups thus reducing a global valence of: groups thus reducing a global valence of:

► 3 (central group) + 3 (dwarfs and dog) + 2 3 (central group) + 3 (dwarfs and dog) + 2 (background adults) + 1 first to subgroups, finally (background adults) + 1 first to subgroups, finally to the infanta.to the infanta.

► The presence of the painter (metarepresentation) is The presence of the painter (metarepresentation) is mostly neglected.mostly neglected.

► The mirror effect (observing parents outside the The mirror effect (observing parents outside the room) is neglected.room) is neglected.

► The cubist parcels define subspaces in the painting.The cubist parcels define subspaces in the painting.

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General conclusionsGeneral conclusions► Abstraction and realism are basic features Abstraction and realism are basic features

of art since the Paleolithic period.of art since the Paleolithic period.► The configuration, its valence and the The configuration, its valence and the

vectors of interaction (glance, hand vectors of interaction (glance, hand movement, body postures) are basic movement, body postures) are basic constituents of any representation.constituents of any representation.

► The management of space (interior and The management of space (interior and exterior space) and spatial semantics are exterior space) and spatial semantics are a permanent challenge for visual artists.a permanent challenge for visual artists.

► The quality space (color, grey tones), lines The quality space (color, grey tones), lines and component surfaces) are the skeleton and component surfaces) are the skeleton of the figural representation. The remain of the figural representation. The remain even of content is eliminated.even of content is eliminated.

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► BibliographyBibliographyWildgen, Wolfgang. 2003. Die Sprache – Cassirers Auseinandersetzung Wildgen, Wolfgang. 2003. Die Sprache – Cassirers Auseinandersetzung

mit der zeitgenössischen Sprachwissenschaft und Sprachtheorie, in: mit der zeitgenössischen Sprachwissenschaft und Sprachtheorie, in: Sandkühler and Pätzold, 2003.Sandkühler and Pätzold, 2003. Kultur und Symbol. Die Philosophie Kultur und Symbol. Die Philosophie Ernst CassirersErnst Cassirers. Stuttgart: Metzler: 171-201.. Stuttgart: Metzler: 171-201.

---, 2004a. ---, 2004a. The Evolution of Human Languages. Scenarios, Principles, and The Evolution of Human Languages. Scenarios, Principles, and Cultural DynamicsCultural Dynamics. Amsterdam: Benjamins.. Amsterdam: Benjamins.

---, 2004b. Conceptual Innovation in Art. Three Case Studies on Leonardo ---, 2004b. Conceptual Innovation in Art. Three Case Studies on Leonardo da Vinci, William Turner, and Henry Moore, in: Frank Brisard, Michael da Vinci, William Turner, and Henry Moore, in: Frank Brisard, Michael Meeuwis und Bart Vandenabeele (eds.), 2004. Meeuwis und Bart Vandenabeele (eds.), 2004. Seduction, Seduction, Community, and Speech: A Festschrift for Herman ParretCommunity, and Speech: A Festschrift for Herman Parret. . Amsterdam, Benjamins : 183-196.Amsterdam, Benjamins : 183-196.

---, 2004c. ---, 2004c. Éléments narratifs et Éléments narratifs et argumentatifsargumentatifs de l’ «Ultime Cène» dans la tradition picturale du de l’ «Ultime Cène» dans la tradition picturale du XIIeXIIe au au XXeXXe siècle siècle. . Espaces perçus, territoires imagés en art, Espaces perçus, territoires imagés en art, ed. by Stefania Caliandro ed. by Stefania Caliandro and Anne Beyaert, 77-97. Paris: L’Harmattan.and Anne Beyaert, 77-97. Paris: L’Harmattan.

---, ---, 2004d2004d. . The Palaeolithic Origins of Art, its Dynamic and Topological Aspects, The Palaeolithic Origins of Art, its Dynamic and Topological Aspects, and the Transition to Writingand the Transition to Writing, in: Bax, Marcel, Barend van Heusden and Wolfgang Wildgen (ed.). , in: Bax, Marcel, Barend van Heusden and Wolfgang Wildgen (ed.). Semiotic Evolution and the Dynamics of Culture.Semiotic Evolution and the Dynamics of Culture. Bern, Lang: 117- Bern, Lang: 117-153.153.

---, 2005.---, 2005. VisuelleVisuelle Semiotik der elementaren Kräftefelder der Hände Semiotik der elementaren Kräftefelder der Hände (Gestik) und der Augen (Blicke) in einigen Werken von Leonardo da (Gestik) und der Augen (Blicke) in einigen Werken von Leonardo da Vinci und Barocci, in: Winfried Nöth / Anke Hertling (eds.),Vinci und Barocci, in: Winfried Nöth / Anke Hertling (eds.), 2005. 2005. Körper - Verkörperung – Entkörperung, Reihe: Intervall, Bd. 9. Kassel, Körper - Verkörperung – Entkörperung, Reihe: Intervall, Bd. 9. Kassel, Kassel University Press: 149-179. Kassel University Press: 149-179.

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Further materials on the topicsFurther materials on the topics evolution of evolution of language and language and

visual semiotics may be found on my visual semiotics may be found on my homepage:homepage:

http://www.fb10.uni-bremen.de/homhttp://www.fb10.uni-bremen.de/homepages/wildgen.htmepages/wildgen.htm

Some of them are unpublished and Some of them are unpublished and protected by the password: ling25protected by the password: ling25

I thank Prof. Sabine Geck for I thank Prof. Sabine Geck for the invitation to Valladolidthe invitation to Valladolid