Culture And Explosion

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  • Culture And Explosion

    1. 1. Session Four Culture and Explosion
    2. 2. Whose culture? <ul><li>Visualise an imaginary communication with representatives of a non-terrestrial civilization. </li></ul><ul><li>How would you communicate? </li></ul><ul><li>What would be your starting point? </li></ul><ul><li>How would you make yourself understood? </li></ul>
    3. 3. Understanding Culture
    4. 4. Culture and Explosion <ul><li>“ Culture and Explosion” – Lotman’s last book </li></ul><ul><li>Culture can be observed and described </li></ul><ul><li>Culture can be governed and guided </li></ul><ul><li>Culture can exercise its influence on external reality as well as its formative tendencies </li></ul>
    5. 5. Culture as a Semiotic System <ul><li>Relationship between system and non-system </li></ul><ul><ul><li>Interaction ) as a process of </li></ul></ul><ul><ul><li>Mutuality ) communication </li></ul></ul><ul><li>Static and dynamic attributes of sign systems </li></ul><ul><ul><li>Development of system(s) </li></ul></ul><ul><li>The world of language (natural language) </li></ul><ul><li>The world ‘beyond language’ and the notion of language-independent reality </li></ul>
    6. 6. Culture as Communicative Act <ul><li>Communication as </li></ul><ul><ul><li>code – addresser – addressee </li></ul></ul><ul><li>Cultural repertoire = ‘volume of memory’ </li></ul><ul><li>Communication as </li></ul><ul><ul><li>continuum – complex – composite </li></ul></ul><ul><li>Language </li></ul><ul><ul><li>at least two are required to reflect ‘language-independent reality’ </li></ul></ul>
    7. 7. Continuity and Discontinuity
    8. 8. The Language of Art
    9. 9. Explosion <ul><li>Non-linear </li></ul><ul><li>Unpredictable </li></ul><ul><li>Momentary </li></ul><ul><li>Radical </li></ul><ul><li>Diffuse </li></ul>Author Audience Text
    10. 10. Sequences and Configurations <ul><li>Configurations cannot be reduced to sequences without altering their nature. </li></ul><ul><li>Sequences, in turn, present a structure different from configurations. </li></ul><ul><li>Both are interpreted through a very complex process in which the present and the absent interrelate. </li></ul>
    11. 11. Perspectives <ul><li>Starting point of semiosis </li></ul><ul><ul><li>Is not the isolated sign </li></ul></ul><ul><ul><li>But rather, in semiotic space </li></ul></ul><ul><li>Space is populated by multiple elements </li></ul><ul><ul><li>Relations </li></ul></ul><ul><ul><ul><li>Semantic collisions </li></ul></ul></ul><ul><ul><ul><li>Oscillation between complete identity and absolute divergence </li></ul></ul></ul><ul><ul><ul><li>Simultaneously engenders both potentials </li></ul></ul></ul>

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