Choreographies of Landscape

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Sally Ann Ness. Choreographies of Landscape

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Choreographies of Landscape

General Editors:

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A semeiotic symbol, then, simply by virtue of its definition as a Peircean sign, is conceptualized as an agent of relational movement, mediating or representational, and not necessarily of human design and inspiration. In these most basic respects, it is adaptable to the analysis of a relatively broad array of performative phenomena. However, the Peircean symbol, approached rhetorically, is also relatively general with regard to its own particular semeiotic character. That moving character is defined as emphasizing one main quality, and again, it is not one that humanist sign theories would foreground. It is not arbitrariness or conventionality or intelligent (human) superiority that defines the pragmaticist symbol as it compares and contrasts with other kinds of semeiotic signs. Rather, it is the symbol’s capacity for enduringly creative, intelligently relational recurrence that identifies it as such. This definition, in its own way, further enlarges the pragmaticist symbol’s conceptual adaptability, its rhetorical efficaciousness. Once again, this enlargement has critical consequences for landscape performance in Yosemite National Park.

The Performativity of the Semeiotic Symbol

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