{"title":"提香的神话绘画:一种绘画的个人密码","authors":"Valerio Marconi","doi":"10.1016/j.biosystems.2025.105543","DOIUrl":null,"url":null,"abstract":"<div><div>This paper aims to introduce <em>pictorial personal codes</em> that differ from linguistic ones. Since individual norms distinguish personal codes, the concept of norms serves as the starting point for extending their scope beyond language. Indeed, there is a strong case for nonverbal norms within the philosophy of normativity. Gestures and drawings can establish these nonverbal norms. Drawn norms, such as those enforced by traffic signals, are part of a pictorial code in our everyday experiences. However, the application of this code view has been challenged in the field of semiotics, particularly in art and visual semiotics. Conversely, the <em>pictorial turn</em> suggests that cultural history involves a struggle between words and pictures. Pictures differ from words, yet are not purely visual media. This distinction can be traced back to Marcello Barbieri's differentiation between the <em>world of</em> perceptual <em>objects</em> and the <em>world of names</em>. I hypothesize that pictorial personal codes lack an abstract system of rules but still present a set of norms that can be categorized into shared and individual. I exemplify this with a case study of the Venetian painter Tiziano Vecellio (Titian). By integrating research results from art history, I show that Titian transformed his workshop into a modern firm and, as a form of legitimization, defined his original style in terms of tragic painting, specifically a personal approach to painting that connotes a literary genre such as Greek tragedy. I also evaluate the role of a graphic code in Titian's productive system. Finally, I draw certain conclusions regarding the social ontology of the firm, suggesting that Titian's tragic painting illustrates how firms endure, thanks to personal or brand-specific codes, and propose that gestural personal codes, like pictorial ones and unlike linguistic ones, should include unsystematic <em>legisigns</em> and a set of norms that can be divided into shared and individual ones.</div></div>","PeriodicalId":50730,"journal":{"name":"Biosystems","volume":"255 ","pages":"Article 105543"},"PeriodicalIF":1.9000,"publicationDate":"2025-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Titian's mythological paintings: A pictorial personal code\",\"authors\":\"Valerio Marconi\",\"doi\":\"10.1016/j.biosystems.2025.105543\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><div>This paper aims to introduce <em>pictorial personal codes</em> that differ from linguistic ones. Since individual norms distinguish personal codes, the concept of norms serves as the starting point for extending their scope beyond language. Indeed, there is a strong case for nonverbal norms within the philosophy of normativity. Gestures and drawings can establish these nonverbal norms. Drawn norms, such as those enforced by traffic signals, are part of a pictorial code in our everyday experiences. However, the application of this code view has been challenged in the field of semiotics, particularly in art and visual semiotics. Conversely, the <em>pictorial turn</em> suggests that cultural history involves a struggle between words and pictures. Pictures differ from words, yet are not purely visual media. This distinction can be traced back to Marcello Barbieri's differentiation between the <em>world of</em> perceptual <em>objects</em> and the <em>world of names</em>. I hypothesize that pictorial personal codes lack an abstract system of rules but still present a set of norms that can be categorized into shared and individual. I exemplify this with a case study of the Venetian painter Tiziano Vecellio (Titian). By integrating research results from art history, I show that Titian transformed his workshop into a modern firm and, as a form of legitimization, defined his original style in terms of tragic painting, specifically a personal approach to painting that connotes a literary genre such as Greek tragedy. I also evaluate the role of a graphic code in Titian's productive system. Finally, I draw certain conclusions regarding the social ontology of the firm, suggesting that Titian's tragic painting illustrates how firms endure, thanks to personal or brand-specific codes, and propose that gestural personal codes, like pictorial ones and unlike linguistic ones, should include unsystematic <em>legisigns</em> and a set of norms that can be divided into shared and individual ones.</div></div>\",\"PeriodicalId\":50730,\"journal\":{\"name\":\"Biosystems\",\"volume\":\"255 \",\"pages\":\"Article 105543\"},\"PeriodicalIF\":1.9000,\"publicationDate\":\"2025-07-16\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Biosystems\",\"FirstCategoryId\":\"99\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0303264725001534\",\"RegionNum\":4,\"RegionCategory\":\"生物学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"BIOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Biosystems","FirstCategoryId":"99","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0303264725001534","RegionNum":4,"RegionCategory":"生物学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"BIOLOGY","Score":null,"Total":0}
Titian's mythological paintings: A pictorial personal code
This paper aims to introduce pictorial personal codes that differ from linguistic ones. Since individual norms distinguish personal codes, the concept of norms serves as the starting point for extending their scope beyond language. Indeed, there is a strong case for nonverbal norms within the philosophy of normativity. Gestures and drawings can establish these nonverbal norms. Drawn norms, such as those enforced by traffic signals, are part of a pictorial code in our everyday experiences. However, the application of this code view has been challenged in the field of semiotics, particularly in art and visual semiotics. Conversely, the pictorial turn suggests that cultural history involves a struggle between words and pictures. Pictures differ from words, yet are not purely visual media. This distinction can be traced back to Marcello Barbieri's differentiation between the world of perceptual objects and the world of names. I hypothesize that pictorial personal codes lack an abstract system of rules but still present a set of norms that can be categorized into shared and individual. I exemplify this with a case study of the Venetian painter Tiziano Vecellio (Titian). By integrating research results from art history, I show that Titian transformed his workshop into a modern firm and, as a form of legitimization, defined his original style in terms of tragic painting, specifically a personal approach to painting that connotes a literary genre such as Greek tragedy. I also evaluate the role of a graphic code in Titian's productive system. Finally, I draw certain conclusions regarding the social ontology of the firm, suggesting that Titian's tragic painting illustrates how firms endure, thanks to personal or brand-specific codes, and propose that gestural personal codes, like pictorial ones and unlike linguistic ones, should include unsystematic legisigns and a set of norms that can be divided into shared and individual ones.
期刊介绍:
BioSystems encourages experimental, computational, and theoretical articles that link biology, evolutionary thinking, and the information processing sciences. The link areas form a circle that encompasses the fundamental nature of biological information processing, computational modeling of complex biological systems, evolutionary models of computation, the application of biological principles to the design of novel computing systems, and the use of biomolecular materials to synthesize artificial systems that capture essential principles of natural biological information processing.