this paper I shall make a case for a dynamic semiotics. I list a set of phenomena that are difficult to understand in standard theories, and suggest a model borrowed from theories of complex dynamic systems. Since such theories rely on processes of self-organization that often defy analytical treatment, I use small computational models for assessing the empirical consequences of the theories.

We present Picture This! a new input device embedded in children’s toys for video composition. It consists of a new form of interaction for children’s capturing of storytelling with physical artifacts. It functions as a video and storytelling performance system in that children craft videos with and about character toys as the system analyzes their gestures and play patterns. Children’s favorite props alternate between characters and cameramen in a film. As they play with the toys to act out a story, they conduct film assembly. We position our work as ubiquitous computing that supports children’s tangible interaction with digital materials. During user testing, we observed children ages 4 to 10 playing with Picture This!. We assess to what extent gesture interaction with objects for video editing allows children to explore visual perspectives in storytelling. A new genre of Gesture Object Interfaces as exemplified by Picture This relies on the analysis of gestures coupled with objects to represent bits. Author Keywords Video, gesture object interfaces, children, play, storytelling.

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The notion of "downwards causation" is an old acquaintance in the humanities, for example in the notion of the hermeneutic circle, where textual parts and wholes mutually influence each other's interpretation. The phenomenon of genres is chosen as a possible example of downwards causation (genre constraints). A computer model is constructed on the basis of genre theory and run under various conditions. The model accounts well for the formation and bifurcation of genres, but could not be made to generate the well-known oscillations from the history of literature. The original model is replaced by another one that contains two mutually perturbing systems which can be made to oscillate. This final model does not invite an interpretation in terms of downwards causation; instead an interpretation hinging on semiosis between two systems on different scales is suggested. 1. Introduction The basic question I want to discuss in this paper is whether genres only exist in the eye of the literar...

this paper I shall develop a dynamic variant of formal logic. The motivation for this is the need for a logic that can describe processes. In fact, the present work originally had a very practical purpose, namely to construct a logic that would be helpful in designing interactive multimedia systems (hrstrm & Bgh Andersen 1994).

While still one of the top genres of contemporary American television, sitcom has been making room for a new breed of comedy series, which rely on different technical specifications and take a new stance on television making – to the point of redefining what comedy is. With the “canned laughter” gone, new criteria are needed to understand these shows, less obviously funny, which the idea of “black comedy ” is not enough to explain. With the help of semiotic theory it is possible to explore the mechanisms that drive the evolution of a genre still tied to its theatrical origins into one that is fully integrated into the mature stage of television. 1.

Semiotics draws inspiration for its qualitative methodologies from many fields of scientific and cultural discourse. It aims to understand cultural production and interpretation practices by way of core theoretical notions such as narrativity, enunciation, encyclopedia, and textual openness. A continual refinement and renewal of these notions is driven by comparative analyses of problematic empirical objects. One such object is computer games which are among the hottest contemporary objects of study in new media semiotics. A central theoretical notion used today to understand computer games is practice, which is seen as standing in opposition to the more traditional notion of text. Panel participants will discuss gameplay practices from

In order to show why Eco, Goodman, and others were wrong in their classical critique of iconicity, we will pursue a close reading of Peirce, but we will interpret his text in accordance with more recent findings in cognitive and perceptual psychology. We will arrive at the conclusion that there are two very different kinds of iconicity, which we will call primary and secondary iconicity. Even so, pictorial iconicity has its peculiarities, which we will also try to elucidate. We will also consider to what extent the linguistic model may still be helpful, and in which respects it is misleading. Contents 3.1. Reading Peirce ecologically: From iconicity to iconic signs 5 The night of all iconicities 7 Iconicity in its tripartite structure 10

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