[-empyre-] Semiotic morphism intro from Troy Innocent

[Troy Innocent <troy@iconica.org>]

Hello -empyre-

Thanks Christina, Melinda, Michael and Jim.

Following on from Christina's introduction (thanks again), I would like  
to discuss 'semiotic morphism' within the context of 'generative  
meaning systems' expressed through the creation of electronic spaces /  
virtual worlds. These systems are hybrids formed from digital media  
language (forms of electronic space), computational semiotics (logic of  
electronic space), and artificial life/generative systems (agency of  
electronic space).

These systems may be used to explore the multifaceted, n-dimensional  
nature of electronic space. Semiotic morphism is a 'generative meaning  
system' in which signified messages can be mapped onto various  
signifiers, multiplying and mutating instances of semiosis.

An abstract (1) on semiotic morphism is included below with the direct  
link to the full paper. An expanded outline of these themes (2) is also  
included below in an artist statement.

Further examples / info will follow in future posts. I look forward to  
hearing of the travels and experiences of others in the transmutational  
spaces of the digital realm.

Troy.


1:[Exploring the nature of Electronic Space through Semiotic Morphism]
Electronic spaces present endemic properties and structural  
relationships that are difficult to decode. Using these spaces to their  
full potential for effective communication and expression is difficult  
without understanding how they signify meaning. Combining theories of  
digital media language, electronic space, computational semiotics and  
formal languages, semiotic morphism may be adopted as a new approach to  
understanding the nature of electronic space. This process is  
demonstrated in an electronic game, entitled Semiomorph. Semiotic  
morphism may lead to new understandings of existing electronic spaces,  
provide a framework for the creation of new space, and demonstrate  
structures and relationships that are unique to digital media.

http://www.cdes.qut.edu.au/fineart_online/Backissues/Vol_17/ 
faf_v17_n08/reviews/pdf/Innocent.pdf


2:[Artist statement]
Where do life and intelligence reside? Until recently, our only  
examples of these phenomena have been earthbound and biological. But  
digital technologies invite us to consider what role life may play in  
electronic space. In the field of Artificial Life, complex systems can  
be represented in cyberspace as a set of algorithmic rules which  
describe certain entities, such as simulated lifeforms. Over time, an  
adaptive, dynamic computer-bound version of the given system emerges in  
accordance with the rule-governed behaviour of the entities.

Iconica presents such a synthetic world populated by plastic knowbots  
that communicate amongst themselves and with the work's audience via an  
iconic language system peculiar to their universe. The work evolves and  
mutates autonomously and in response to audience interaction.

On one level, Iconica is a stylised model or simulacrum of reality. The  
ubiquity of various simulacra in media culture (movies, computer games  
and so on) makes us adept at shifting perceptually between the real and  
the hyperreal, extrapolating from synthesized worlds to our own, or  
accepting simulation as integral to reality itself.

But Iconica also actualizes a coherent alternative world, a project  
that I develop further in Artefact, an immersive three-dimensional  
computer game. In Artefact, I investigate the particular 'language' of  
computer-mediated space as it is expressed in games?its unique internal  
logic and properties.

Artefact, for example, explores 'semiotic morphism', a "systematic  
translation between sign systems" in which signified messages can be  
mapped onto various signifiers, multiplying and mutating instances of  
semiosis. The term captures the shape-shifting plasticity of  
relationships between sound, image, text, and users in virtual worlds;  
the interactions through which meaning is made, transformed and remade  
dynamically and synaesthetically in real time.

These properties animate digital space, and lend a peculiar kind of  
life and intelligence to it - a denatured logic that is reflective of  
the 'nature' of the medium itself.


>>> Troy Innocent : troy@iconica.org : iconica.org