Verbal and Material Signs in Semiology

Keane suggests how the relationship between verbal and material signs is an attempt to create order, to generate sociality, and similar socialise and common community practices and beliefs.

Meaning is conveyed in the act of step in, and the objects selected for exchange derive subject matter from how they ar used in a society, whom they atomic number 18 identified with, what they are do of, how they are made or grown, and similar "biographical" details causing intend to attach at various points to the objects, meaning that is then evoked and transferred along with the exchange. Keane refers to the "excess of meanings" attaching to valuables, noting that valuables poop be understood in terms of iconism, indexicality, and symbolism. Anthropology generally focuses on icon and symbol because they are more accessible to semantic interpretation, though Keane emphasizes that indexicality is also important. These signs "are linked to what they signify by existential connections: they show causative effects . . . or actual proximity" (Keane, 1997, 79).

Objects have mavin meaning and one educate association (with the pre directer) when they are sent into circulation, but they may lose th

The take on "Maya Lin: A Strong Clear Vision" tells the narrative of architect and sculptor Maya Lin, designer of the Vietnam Veterans' Memorial.

The social and political contexts of meaning are highlighted in the Vietnam Memorial by Maya Lin, depicted substantially in the film "Maya Lin: A Strong Clear Vision." As can be seen in the arguments over the design in front it was built, the political element can shape aesthetical discretion in one way, while a less instanter political judgment is reached by the audience to the work of craft making a more reasonable judgment on the value of the work and even on its meaning. Meaning can also change over time as, say, the political passions of the here and now cool or shift, and yet political judgments are invariably influential in some degree on aesthetic reactions made.

ese associations as they travel.

This raises questions about the connection between a work of art and the artist, for instance. Ancient art has lost its direct association with the artist because we do not know who the artist may be, while today we continue repeating the muniment of the object and maintaining the original connection to the degree possible. The works of Maya Lin are clearly associated directly with the artist as well as with the society in which the art was produced, conveying meaning by means of sign and symbol and through other associations as well.

The film about the Vietnam Memorial designed by Maya Lin mixes the observational and synergetic modes, and the voice of the filmmaker enters only infrequently, such as to lay the essence of the film at the beginning. Some sequences are about pure observation, as when people coming to the wall to weigh for names or to remember the war are find as they react to names, to the idea of the memorial, or to their memories of the war and go comrades and relatives. It is in their faces that the real meaning of the wall is etched, while much of Maya Lin's explanation for the elements that make up the wa
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