Code (semiotics)
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In
cultural conventions, contemporary sub-codes, and themes used to communicate meaning.[1] The most common is one's spoken language, but the term can also be used to refer to any narrative form: consider the color scheme of an image (e.g. red for danger), or the rules of a board game (e.g. the military signifiers in chess
).
Ferdinand de Saussure (1857–1913) emphasised that signs only acquire meaning and value when they are interpreted in relation to each other. He believed that the relationship between the signifier and the signified was arbitrary. Hence, interpreting signs requires familiarity with the sets of conventions or codes currently in use to communicate meaning.
Roman Jakobson (1896–1982) elaborated the idea that the production and interpretation of texts depends on the existence of codes or conventions for communication. Since the meaning of a sign depends on the code within which it is situated, codes provide a framework within which signs make sense (see Semiosis).
Discussion
To that extent, codes represent a broad interpretative framework used by both addressers and their addressees to
ideological quality to the coding system, determining levels of social acceptability, reflecting current attitudes and beliefs
. This includes regulatory codes that are intended to control behaviour and the use of some signifying codes. The human body is a means of using presentational codes through facial expressions, gestures, and dress. So words spoken may change their connotation to unacceptable if accompanied by inappropriate nonverbal signs.
The other code forms rely upon Frank Miller
, etc. Each medium has its own specialised codes and, by making them more explicit, semiotics is attempting to explain the practices and conventions have appeared in each form and to understand how meaning is being communicated. In return, this assists addressers to improve their techniques, no matter what their functional needs, e.g. as politicians, journalists, advertisers, creative artists, etc. Indeed, awareness leads to an intentional blending of codes for effect, e.g. an advertiser may produce a more effective campaign with a slogan, images and a jingle using lexical, social gestural, and musical codes.
In communication research and media research, the way receivers act towards the message and the way it is encoded becomes relevant, and generates different reactions:
- In "radical reading" the audience rejects the meanings, values, and viewpoints built into the text by its makers.
- In "dominant reading", the audience accepts the meanings, values, and viewpoints built into the text by its makers.
- In "subordinate reading" the audience accepts, by and large, the meanings, values, and worldview built into the text by its makers[2]
References
- JSTOR 42945251. Retrieved 2022-01-18.
A whole cultural ensemble arrives with a code. ... more expansive than a thematic series because a code can include several themes that do not that do not have a linear, logically cohesive bond.
- ^ Danesi, Marcel (2009), Dictionary of Media and Communications. M.E.Sharpe, Armonk, New York.
- ISBN 0-415-36375-6
- ISBN 90-279-3178-X
- Somov, Georgij Yu. (2016). "Interrelations of codes in human semiotic systems". Semiotica. 2016 (213): 557–599. S2CID 171253958.