A Place To Get A Hanging

"You know the cat" 6





By now we have reached the end of the section in Trieste ... our two heroes are aware of our apartment in Venice and Boschi so I'm willing to travel within the city.





Clearly all information is provided by our mysterious friend of the synagogue, which here leaves us with the glimpse of her fine features.




As the night continues with impunity its slow slide towards the sunrise, with the shadows, like a true noir, describing the perimeter of the house and play to create the decorations on the gestural channel Ponterosso




and the only true owner of the truth quietly observes that there is never given to know!

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"You know the cat "5




















Every job has its good side, and also to Mark and Don Ciccio a little 'entertainment is not bad. In the apartment the air we breathe is very friendly and inviting and Laura (that's the name of the whore of the Synagogue) is a great entertainer!
















"The cat has made me and Gianni friends. Gianni came here in a while. Always at night. Also from the rooftops. He was a kind man. .. "

Don Ciccio, "Excuse me sir, what do you think that John Broschi was killed? "Once again the good
Don Ciccio not trust completely in our female lead, lingers, makes a lot of questions and does not hide a certain embarrassment for the costumes for the libertines Laura. The latter when he speaks of Broschi, is seized by a kind of nostalgic poetry, and careless of his guests, leave memories and reminiscences.













Even if the joke does not mind! !

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" knows the cat "4

So our heroes are able to follow the cat and get into the apartment of a bitch (Even if you do not understand why the job that really does). She too, like all women of this comic is good looking, and somewhat ironic 'mischievous. The men then make war and women, the comedy (more than sex!) (F. Carbone)





The cat, that here at last find out why it's called Duchamp (or says Don Ciccio " Dusciamp "), moves in the apartment to make sure and sly, indicating familiarity with the environment. Find your bowl and listen to the speeches of the characters, guessing the contents




talk about Mark and Don Ciccio victim, the discussion turns on the personality of G. Broschi about his passion for chess, the way defined by his kindness whore " had a delicacy that only the thoroughly tormented souls .. ." Don Ciccio does not trust much of this character, and lingers ...

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" You know the cat "You know the 3





Marco Ciccio and, therefore, not convinced of the normality of the death of Broschi, place in his apartment, not far from Saint Mark's coffee. Here Marco begins working immediately to be able to copy the files that are present in the victim's computer, but as often happens, is not technology that solves your life, but life Paving: Duchamp put our cat on the right track, making them come in, after a rooftop chase roccambolesco of Trieste, in the apartment of the whore of the synagogue.





The apartment looks like a small loft in the heart of Trieste, very busy but also very charming, a little 'as the tenant who lives there. Duchamp is now his favorite corner, while the two are a bit 'stiff and awkward compared to the female character who welcomes them with a joke while smoking his cigarettes rolled up: "Did you bring some friends, duchamp? I hope to have dry food for all !!!!"

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The second photograph by Henri Cartier-Bresson

With Bresson photography became "stop living in the moment in which she lived." He understood photography as "the simultaneous recognition, in a split second, the significance of an event."

His ideal camera should be small, as you can get it to work very quickly as an "extension of the eye."

He says: "The camera is for me a sketch pad, the instrument of intuition and spontaneity, the possessor of that, in visual terms, questions and decides simultaneously. The "mean" the world must feel involved in what is framed in the viewfinder. This attitude requires concentration, sensitivity, geometric sense.

E 'through an economy of means and above all self-denial that we reach the expressive simplicity.

photograph is to hold your breath when all faculties agree to capture fleeting reality, at which point the captured image becomes a great physical and intellectual joy. "

Here are some of his works ...

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Photography: Barthes and Peirce

Barthes is also involved in photography and in this area through two stages of thought:

• the first in the 60s, where he believes that photography is a message that does not have a code with which to interpret . Also, at this stage, the picture would essentially denotative value, that denotes what has been photographed, and then impressed, but when it communicates to the level that is associated denotative connotative;
  

• the second phase (80) is characterized by a shift in thinking of Roland Barthes, who believes that a photograph is not a sign, as it is not possible to distinguish the significant from the point of contact.
  

He believes that photography has a value of certification presence: in fact, it represents a symbol not universally valid, but state that there was something that changes from person to person.

A Barthes opposes the ideology of Peirce, who said the indexical value of photography as it is the result of the impression of light, is what is in relation to it.

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... A pop of writers on semiotics Sebeok and Eco

talk about semiotics Sebeok Global : it is a discipline that encompasses every possible area, from linguistics, history, etc. ... Semiosis is global, no area can be excluded in this analysis.

Umberto Eco is opposed to this position: he believes that we must distinguish between natural semiosis semiosis and cultural . In semiotics

the natural relationship between the sign and its object is indeed attributed man, but as natural convection. Eco

For the specific field of semiosis is just to cultural, human, that what man can produce.

He also discusses the process of signification, or the process that exists only with a code that combines these entities and entities absent according to rules, then do not go by analogy (eg "no parking" is a cultural process entirely).

Today we move to a position further, going beyond the definition of Eco, cultural semiosis because it is still too large a container that loses the specificity of the various cultural environments.

no longer speak of a semiotic one, but multiple, based on fields that can be applied. Each area has its own semiosis made of rules, codes and meanings.

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... A pop of writers on semiotics: Peirce

Peirce stated that, so there is semiosis, are three factors to be taken into account: the sign, which is something that is someone ( interpreter) for something ( interpretant ) in some respect or capacity.

An example might be: appearance of red spots on the skin (a sign), the doctor tries to understand what can be (performer), the disease is the object, ie, chicken pox, which in turn is the concept of interpretant.

For Peirce the semiotic process can only happen through an interpretant, which is nothing but a sign that identifies another sign. E 'must share the same context and the same code to assign to an object the same interpretation and the same meaning.

Pierce also discusses the process of unlimited semiosis to: at the same time when you have a concept you can repeat it in different ways.

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... A pop d ' writers on semiotics: Saussure

Saussure believes that there is a sign when you have a significant (that recognizes what a meaning, for example him to stand still before the red light, or acknowledge the unicorn, that even if I admit there as it has cultural value, not material) and a meaning (ie concept, the cultural dimension, not the material).
They are dependent on each other, and their existence is closely linked. Moreover, they exist only if there a reference (ie the object physically exists) that unites them. So the sign is an expression of two terms Corelli, and it is something flexible, but as different, never exhausts its meaning .

therefore; We summarize the Saussurean conception using this form:

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What is semiotics?

Semiotics is defined as the science that studies signs.

These signs are divided into three categories: iconic, indexical and symbols. The

icons are signs that have resemblance to the object you want to represent (eg photo of the Eiffel Tower, a map). There is no complete analogy with reality, it should take for granted that there are some similarities and some not. These signs are the result of an agreement, because we tend to focus on the relationship between the lines, excluding the size (the tower of Pisa and the Leaning Tower of Pisa souvenir).

I indexical signs have relation of physical continuity with what they want to represent (eg footprint left on the sand; flag in the wind that moves in the direction of the wind, pronouns). The size of conventional
is necessary: \u200b\u200bto belong to a given culture is essential to understand this type of sign.

I have no symbols relationship with what they want to represent (eg all traffic signals, signs in mathematics.) There is therefore no kind of analogy, because elements are entirely conventional.
It must understand the meanings that a particular culture attaches to a signal for a process semiottico.

summary, in short ...

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... A pop on the semiotics of authors: Barthes

Barthes identifies a level of denotation and connotation of a sign. With

denotation Barthes means what the sign represents, its objective meaning (eg dog barking = mammal).

With connotation, will, however, a shift of meaning (John communication is a dog), or takes a part of it and you slip into something else.



This distinction is important because the semiotic process

is not static, but dynamic and infinite, because it is beyond the scope denotative, extending it to other different. In the face of every sign there is a field denoting the manifest, but also a connotative field which, though implicit, sometimes affects more than the first. In the process semiotic sphere denotation and connotation are fundamental. The

advertising makes use of both the level and the level connotative denotative ...

An example of advertising in both of these levels may be one of the Panzani Pasta:

The denotative field is the pasta itself ...

The connotative context, however, regards as the choice of colors, ie those of the Italian flag.