Auditory semiotic
We never has taught a question the is absolutely marginal,
but that can assume some importance in the studio of semiotic; a category of
semiotic that is auditory, that isn’t never considered but that is the integral
part of semiotic; when we hearing a CD, musical CD, we can author ,
classic or not because we have read on
the packet, but if we are in competition and the question is : “Who is the
author of this music?”, we can manage of choose the author for the style of the
music; and it is the auditory semiotic, as a discourse or a voice that we are
hearing, we can choose who is the author that has pronounced the discourse from
the style and the voice, and it is the auditory semiotic, because we can
recognize the author from the words that are expressed, hence from the sound of
voice, ton and the words, but above for the sound; hence it is the auditory
semiotic. The written we can identify
the author through the style, but the written is mute, same difficult for the
auditory semiotic, that using the
categories of Peirce, this is the Firstness , this is the essence, or better
the style, that is a peculiarity of human gender, of artists particularly;
inasmuch the auditory semiotic, is a category that can be considered, because
it is brings directly to the author, that we haven’t know before. A language is
other motive for to identify somebody if don’t know somebody, hence if he is
Dutch we may identify him for the language, or netter some compatriot we can
identify his origin for the language, or better his town from determined
expression or inflexion, that he is from the north, south or other; it is the
auditory semiotic; a discourse is the auditory semiotic because the Firstness
is the meaning of this discourse, therefore from the decode the sound, we can
consider the essence, hence we can think that the object of our interest is
changed, because from the sound we now consider the essence, but the essence of
sound is the style, because the composer lavish his style in the music, and in
his composition; but the change is present because from the sound we now
consider now the meaning, thence the style for this we can we can consider the author of
discourse, also without know who pronounce it; in this case the different
object of interest is evident, but the method is similar, because we are
hearing always and the object is same , the discourse, therefore the auditory
semiotic, that consider the meaning of a discourse that is the style; in
classical concert the words aren’t , but the style is evident for the ears, in fact we must hear alone , it
is the style of somebody, in this case alone auditory but the style is always
present, whereby the auditory semiotic is our.
Alessandro Lusana