Pictogram

De term Bibliotheek 2.0 wordt gebruikt voor de bibliotheektoepassingen die in de nieuwe generatie van het internet, Web 2.0, mogelijk zijn. De essentie van deze gedachte is, dat het internet snel verandert. Niet langer zijn er louter statische websites waar gebruikers hun informatie vandaan halen, maar steeds meer wordt interactiviteit het sleutelwoord.

Because young children lack reading skills, traditional text-based warnings can be rendered ineffective. Pictorials might be an alternative for text to conveying safety-related information. Surprisingly, very little research has been conducted to explore the comprehensibility of safety symbols by young children. In the current study, 15 young children, aged 3-6 years (M = 4.7 years, SD = 1.2) were asked to: (a) identify the hazards associated with five common household items, (b) interpret the meaning of five associated warning symbols, and then (c) play a matching game where household items were paired with appropriate warning symbols. Results indicated that successful hazard identification varied considerably between household items. All children were able to identify the fall or crush hazard associated with an open window but almost none of them identified the strangulation hazard associated with window-blind cords. When symbol comprehensibility was initially assessed, fewer than half exceeded 50% correct identification but training provided by the experimenter benefited the children in understanding their meaning. Performance on the matching game illustrated that children were able to successfully acquire the safety information after being provided with definitions of the symbols and were able to pair them with the appropriate household items.

Mere distribution and accumulation of facts, and many more so-called facts, I consider possessive teaching and learning, challenging memory more than imagination, placing theory before practice, and retrospection before creation, and thus "re-search" before search.Josef Albers, Search Versus Re-Search (Albers, 1969, p. 13)Josef Albers-design seacher/re-searcher?To make a vast understatement, Josef Albers was a talented individual. His art is world renown. But far from being a narrow specialist, he succeeded in multiple roles: teacher, artist, designer, and as this paper will argue - researcher.When viewed from a career perspective, Albers' CV would say he was foremost a teacher. Indeed, most of his life was spent teaching first in elementary school, then art and design at the Bauhaus, at Black Mountain College, and finally at Yale University (Horowitz & Danilowitz, 2006). Interaction of Color (abbreviated here IC) was his most comprehensive record of his teaching. More...

Le nsibidi est un système d’écriture pictographique et idéographique originaire du sud du Nigeria. On ignore encore la date de création du nsibidi, mais les plus anciennes traces mises au jour sur un site archéologique au centre de Calabar, prouvent son existence aux alentours du IXe siècle. Le premier rapport de missionnaires britanniques qui confirma l’existence de ces signes fut écrit par le commissaire de district de Calabar, Thomas Doveton Maxwell en 1904. C’est ensuite le révérent J.K. MacGregor qui en 1909 rapporta 24 signes traduits, suivi en 1911 par Elphinstone Dayrell (également commissaire de district) et le botaniste et anthropologue Percy Amaury Talbot en 1912. Les efiks (ethnie de 200 000 individus habitant principalement la capitale de la Cross River, Calabar) sont considérés par beaucoup comme les inventeurs du nsibidi mais il est possible qu’ils l’aient acquis par les ekoïs (groupe ethnique de 400 000 individus vivant à la frontière Nigeria-Cameroun). Par les emprunts successifs et les échanges avec d’autres codes locaux, le nsibidi est donc commun à diverses populations de la région de la Cross River au sud-est du Nigeria, région où l’écriture, l’art et le rituel sont intimement liés.

A ideia de união da cultura humana se expressa em muitos exemplos do design, na busca da cadeira ideal, da tipografia ideal, e indo além, de uma linguagem visual capaz de transmitir mensagens de forma universal, como a ideia geradora dos pictogramas. Surgido no contexto universalizante do Projeto Moderno, os pictogramas seguem com sua importância padronizadora, no sentido de dar mais autonomia para os usuários de um sistema de sinalização, como o de um aeroporto, por exemplo. No entanto, sedimentam ideias ou conteúdos comunicacionais que podem ser preconceituosos e excludentes, pois partem de demandas socioculturais hegemônicas. Um desses exemplos é o pictograma do banheiro, dividido historicamente por gênero binário (masculino e feminino). O artigo procura, além trabalhar a teoria e a reflexão da práxis do designer, apresentar a experiência acadêmica de alunos na proposição de um pictograma para banheiros de gênero neutro – o que também se revela como prática de inovação no campo do design social, ao propor uma alternativa à cultura visual do status quo. pictograma, banheiro neutro, design social, educação em design

Signage in three-dimensional physical spaces can be considered a message system whose main goal is to inform and influence users, as well as to certify that they translate an advice, an order or an obligation.
The advantage of using pictograms and symbols over text is that they are concise and universally decipherable, crossing the barriers of individual languages or even literacy.
In the beginning of the 20th century Neurath believed that sign language is the medium of all knowledge: empirical facts are only available to the human mind through symbols. Approximately 40 years ago, Otl Aicher drew an extensive series of pictograms that emerged as a completely standardised visual language, i.e., his drawings were designed according to strict mathematical guidelines/rules.
Graphic designers can use different “calligraphies” to support their pictogram design, (like many designers have done for some Olympic Games after Munich or like Paul Mijksenaar have done to Schiphol airport), but they shouldn’t create pictograms in a self-centred and/or inconsiderate manner.
Aicher´s work influenced the “calligraphy” of pictograms because of his systemic approach. Not through the grid. His grid was a reference for the pictogram design, but it wasn’t the most important. We will see this in this paper.
So, how can we understand the Olympic pictogram’s design? Is that cultural, local, traditional or universal?
I can say that it is al about the “calligraphic styles”.
In this paper we will “deconstruct” analyze and understand universal pictographic systems and their construction rules, by applying a systemic approach.

Autores: ​Alix Ribeiro da Silva, Vania Ribas Ulbricht, Joyce Caroline da Silva Teixeira

Esta obra visa contribuir com a comunidade surda, promovendo formas de acessibilidade na comunicação por meio de comunicação alternativa com o uso de desenhos pictográficos simples, utilizando elementos da linguagem visual, voltados à Educação Ambiental. Os desenhos pictográficos foram desenvolvidos a partir de um estudo de caso com alunos surdos em uma escola Catarinense. 

Editora: Pimenta Cultural (2019)

ISBN:
978-85-7221-083-6 (brochura)
978-85-7221-084-3 (eBook)

DOI: 10.31560/pimentacultural/2019.843

İKON TASARIMININ GELİŞİM SÜRECİ VE ARAYÜZ TASARIMLARINA ETKİLERİ Özet Günümüzde kitle iletişim araçlarının yoğun kullanımı, bilginin aktarımını ve iletişimi anlık hale getirmiştir. Sosyal yaşamın hemen hemen her alanında kullanılmaya başlanan bu araçlar ve kullanıcı arasındaki etkileşim, arayüz ve arayüzleri işlevsel hale getiren ikonlarla gerçekleşmektedir. Arayüz tasarımlarında ikonların kullanımı, uygarlık tarihinde de olduğu gibi birçok süreçten geçmiş ve farklı formlarla kullanıcı deneyimini şekillendirmiştir. Ancak ikonların işlevsel kullanımı yalnızca arayüzlerle sınırlı değildir. Bu makalede uygarlık tarihinde ve insan yaşamında ilk görsel iletişim türlerinden biri olarak ikonların tarihteki ilk örneklerinden günümüze gelişim süreci, kullanım alanları ve işlevleri, modern bilgisayarların gelişmesiyle ortaya çıkan grafik kullanıcı arayüzü ve bu arayüzlerde yönlendirmenin, bilginin kolaylıkla iletilmesinin ve işlemlerin hızlı yapılabilmesinin kullanıcı üzerindeki etkileri incelenmiştir. Abstract Nowadays, the intensive use of mass media has made the transfer of information and communication instantaneous. The interaction between these tools and the

Trotz seines Alters, sehen viele Designers auch heute im ISOTYPE-System immer noch eine Inspiration zur Lösung aktueller Designprobleme. Da die Welt sich jedoch sehr verändert hat, stellt sich die Frage: Spielt ISOTYPE heutzutage tatsächlich noch eine Rolle? Und, wenn ja, wie kommt es in der gegenwärtigen Design-Welt zum Ausdruck?. Um diese Fragen zu antworten, ist es nötig den Generierungsprozess seiner Konfigurationselemente weiter zu untersuchen, da diese Elemente nach und nach ISOTYPE gestalteten und das System zum Leben erweckten. Ziel dieser Arbeit ist es, Arbeitsmuster oder Eigenschaften des ISOTYPE-Systems und seines Transformationsprozesses zu erkennen und zu organisieren, um vorherzusagen, welche von ihnen im Laufe der Jahrebleiben werden und was wir noch von ihnen lernen können.

A pesar de su antigüedad, muchos diseñadores ven en ISOTYPE y su metodología una importante fuente de inspiración para la resolución de problemas actuales de diseño. Considerando que mundo de hoy es muy diferente, cabe preguntarse: ¿Sigue siendo realmente vigente el legado de ISOTYPE en la actualidad? Y en caso de que lo sea, ¿cómo éste se expresa en la labor actual de los diseñadores?. Para responder a estas preguntas es necesario revisar en mayor profundidad el proceso de generación de los elementos que conformaron y fueron dando vida gradualmente a ISOTYPE.
Particularmente, el objetivo en este ensayo es detectar y organizar los patrones de trabajo o características presentes en la labor del transformador y en ISOTYPE como sistema que lograron perdurar con los años y de los que actualmente podríamos seguir aprendiendo.

Stefano Zamblera, 2018: "A Dongba Pictographs Dictionary with Iconographic Index Plates"
Dictionary of Dongba pictographs implemented in categories sorted by iconographic index plates of BASIC pictographs.

Iconographic and graphic study of such corpus of glyphs evinced two distinguished sets of pictographs which could be named BASIC and COMPLEX.
BASIC PICTOGRAPHS are those glyphs made by one and just one iconographic unit (signifier) that conveys its meaning through its pictorial resemblance to the physical object meant.
BASIC PICTOGRAPHS are assembled together making COMPLEX PICTOGRAPHS, alias COMPLEX UNITS OF SIGNIFIERS.
As any BASIC PICTOGRAPH consists in a signifier written by a minimal graphic unit,  identification of BASIC PICTOGRAPHS categories to gather them coincides with the study and identification of a set of ICONOGRAPHIC PRIMES into Dongba pictographs corpus.
ICONOGRAPHIC PRIME is then used in the making of iconographic index plates for BASIC PICTOGRAPHS.

Sign systems, consist of symbols and pictograms, has a great role in rapidly developing recent technological systems, complicating city life, mutually understanding of people from different cultures and languages. Signs, symbols and pictograms, which are having functions like informing, directing and forming a vernacular, have the aim of providing an universal communication that can be understand by all people despite the language, culture and religion differences.

Otto Neurath's ISOTYPE picture language, which is trying to form "a wordless global language", is an important milestone while considering much rapid and effective communication need and the process about developing an easy and universal visual communication system without any needs of words. The aim of this graphic language, which is formed with simple pictograms, is to communicate easily without any needs of knowing any language with removing the borders between cultures and languages. Simple pictograms system, used by Otto Neurath in ISOTYPE, is pioneering the modern data visulization and information graphics as presenting the complicated statistical data in simple graphic forms. Pictograms and data visualizations, prepared by Otto Neurath in social, political, economical, healthcare and education topics are the first ones in this field and also directing more than effecting the pictograms, data visualizations and information graphics in recent visual communication design scope.

La tesis se centra en el registro y análisis de las quilcas o el arte rupestre de la costa central del Perú, que el autor ha estudiado en más de 20 sitios arqueológicos en la zona yunga del departamento de Lima, principalmente en los valles de los ríos Chillón, Rímac y Lurín; incluyendo tangencialmente sitios en la costa norcentral hasta el valle de Supe. Entre los resultados de este trabajo se destaca la comprobación de un notable desarrollo cognitivo de las sociedades antiguas de Lima expresado en las quilcas, con un uso permanente de este tipo de manifestación cultural (petroglifos, pictogramas, geoglifos y arte mobiliar con tradición rupestre) durante toda la historia arqueológica de la región, desde aproximadamente los 3500 años aEC, hasta la invasión española. En el texto se expone una secuencia de 7 fases, en las cuales destaca una serie de relaciones culturales, que articula las quilcas con importantes procesos sociales, como la formación del Estado temprano en Supe-Caral, el impacto de la civilización Chavín en la costa central, el desarrollo de los pictogramas a partir de la formación de los desarrollos regionales tempranos (cultura Lima), o la extensión social en la época Ychma, cuyas quilcas perduraron hasta el Tahuantinsuyu. Un aspecto sustancial de este estudio es la identificación de lo que se ha planteado como la primera escritura andina, sucedida durante la fase 2 de la secuencia, y cuya evidencia ha sido obtenida en 11 sitios estudiados en la costa central; evidencia que constituye la prueba de un avanzado sistema de comunicación gráfica, nunca antes registrado en los Andes. La tesis concluye en el extraordinario valor de las quilcas, como un documento arqueológico y como testimonio del avanzado desarrollo cognitivo de las gentes de Lima, durante toda su historia autónoma.

published under the Alpha Omega motif in June 2019, also released as Iota Alpha Omega motif Oct 2019. The Greek trigrammaton of God(Yaw) hidden in mosaics and Art since  at least the 1st century a.d.
http://www.lulu.com/shop/jeff-friday/iota-alpha-omega/paperback/product-24287708.html

Rjabchikov, Sergei V., 2022. The God Tinilau (Tagaloa) in a Proto-Polynesian Plot: The New Pictogram has been Decoded. Paper. 2 pages.

The original was first delivered by Sergei V. Rjabchikov as the paper “The God Tinilau (Tagaloa) in a Proto-Polynesian Plot: The New Pictogram has been Decoded” on the scientific session of the Sergei Rjabchikov Foundation – Research Centre for Studies of Ancient Civilisations and Cultures in Krasnodar on April 16, 2022.

Abstract. The Proto-Polynesian drawing is deciphered. Two signs of the Proto-Polynesian pictography are the clues to several Proto-Polynesian lexical forms.

Keywords: Polynesia, Polynesian, Proto-Polynesian, Fiji, Fijian, rock art, petroglyph, pictography, folklore, Austronesian

This article examines the Netherlandish chapter of the Renaissance fascination with pictograms, or beeldletteren, as a key aspect of the scientific enterprise to decode, represent and master the Book of Nature.  What did Van Hoogstraten mean when he wrote that painting speaks ‘hieroglyphically’? Clearly, he should not be interpreted according to the twentieth-century trend of highlighting the ‘textual’ nature of artistic utterances, but rather an opposite approach: the idea that communication through images is more fundamental than that through alphabetic signs. When Renaissance writers on the visual arts used the formula ut pictura poesis, they elaborated upon Aristotle’s assumption that ‘the mind never thinks without images’.  Pictography was just one expression of a more general desire to sidestep the contingency of alphabetic signs and arrive at pure communication of knowledge. Although Plato had rejected the idea of a natural language ‘in which the shapes and sounds of letters indicated the essential nature of things’, Dutch scholars forgot his conclusions and focused on isolated statements that suggested idea of a language that directly mirrored reality.  To quote Descartes, they aimed at the identification of ‘simple ideas that (...) form the basis of all the things that man can think (...) [these] would help the judgement to represent things so distinctly that it would be impossible to be mistaken about them, whereas the words that we actually use have mostly confused meanings’.  Thus, just like Dutch painters saw their art as a ‘mirror of nature’,  so Descartes envisioned a specular doctrine of knowledge and language denoting individual things ‘similar to a picture or mirror that represents with absolute precision the image of the universe and its parts’. 
As we shall see, ideas of pictography touched on a wide range of speculations about the essence and origin of language, remote civilisations, memory, logic, and finally the study of the natural world and how it could be ‘read’ by scientists. Combining different strands of scholarship with the skills of painters and engravers, pictography was a consummate effort to arrive at encyclopaedic knowledge joining art, language, history, geography, and philosophy, which, like many of the century’s other encyclopaedic projects, did not fulfil its scientific promises but had striking spin-offs especially from an artistic point of view. Studying this phenomenon by zooming in on the Netherlands is somewhat problematic, as it had a broad European scope linking scholars and artists in the Low Countries to their counterparts in Rome, the German states, and England. Nevertheless, the Netherlands was fertile ground not only for a sophisticated visual culture but also for innovative linguistics and alternative interpretations of divine revelation, which were interwoven with the revolution of knowledge that pictography promised.
Without aspiring to be comprehensive or incontrovertible, I will focus on four interrelated aspects. The first is the hieroglyphic argument. Archaeological remains and documents suggested that pictograms were revelatory of lost, ancient, or geographically remote ‘hidden knowledge’. Second, when joined to ideas about non-European languages this historical research inspired a linguistic argument. Ideas about a primitive vocabulary from which the modern languages were spurious offshoots were widely popular in the Netherlands; in a related context, the notion of Real Characters – signs that stand in direct relation to the things they represent – explored the art-theoretical commonplace that drawing and writing were fundamentally identical activities. The third argument is the encyclopaedic one. Ideas about the ‘alphabet of nature’, or the visible world as a text in which God addresses humankind, inspired the organisation of encyclopaedic collections according to a similar alphabetic structure. The fourth argument, finally, is logical. Crucial here is the importance of images in the tradition of mnemonic logic, as well as the idea that the creative process resides in the combination of primitive concepts.

Los sitios arqueológicos con quilcas en las lomas del Perú son un notable recurso cultural, con un gran valor histórico, y un testimonio de relación entre este ecosistema y las poblaciones antiguas del Perú desde hace miles de años. Sin embargo, estos yacimientos no están bien estudiados y muestran en muchos casos serios problemas de conservación y tratamiento. Este artículo trata sobre tres zonas arqueológicas con quilcas relacionados a las lomas de la costa central del Perú, exponiendo su secuencia y cronología, sus problemas de conservación debido a su exposición y habilitación turística, que en la mayoría de los casos ha redundado en el deterioro y destrucción de esta importante evidencia arqueológica.

A modern paradigm of Oriental-Occidental translatio is presented by ... Andrés Claro ... in his comprehensive study “Montage as East-West Poetic Configuration. Ezra Pound’s Translation of Chinese Images”. The critic demonstrates that Ezra Pound’s principle of montage, developed at first in his early collection of translated Chinese poems called Cathay (1915) that contributed  to revolutionize English and Western poetry, is not only a re-orientation of euro-centred literature and of global translatio studii, but a reconfiguration of poetic form and representation as such. As a result, montage ‘formally’ emerged as “a hybrid figure of mixed origins”.
In order to illustrate the complexity of cultural transfer or translatio studii in the field of translation between Eastern and Western languages and literatures, Claro starts with the presentation of Pound’s iconical notice on the front cover of Cathay. This notice synoptically displays in the shape of an inverted cone the creative translation process leading to East-Western Cathay: it goes from the Chinese poems, many of them by Li Po (jap. Rihaku), to Ernest Fenollosa’s English translation and notes, via a Japanese sinologue – Pound’s professor, ignoring English – and via an auxiliary Japanese-English interpreter – up to Ezra Pound himself who, besides retranslating in Cathay Fenollosa’s cribs and paraphrases of Chinese poetry, was to edit Fenollosa’s essay The Chinese Character as a Medium for Poetry (1918) whose ideas had inspired his own translational poetry and poetics since he was handed over the manuscript in 1913, after the author’s death (1908).
In the first chapter on “East-West Poetic Figurations” Claro analyses the principles of Pound’s creative transpositions of the Chinese images into the English language, with constant reference to Fenollosa’s notes and with close comparisons between Fenollosa’s more prosaic and Pound’s more poetic translations. The basic principle is the English re-creation of Chinese imagery, rooted in the partly pictographic writing system and in the syntactic isolation, the asyndetic juxtaposition of discrete images stimulating a vivid dynamic between the imagistic figures in the reader’s mind. While Pound’s translations aim mainly, in accordance with the principle of phanopoeia, at an adequate, yet creative, verbovisual figuration, the ‘equivalence’ of Chinese and English melopoeia, i.e. phonic and rhythmic figuration, and of logopoeia, i.e. cultural and allusive figuration, is either reduced or completely left apart, due to historic and linguistic resistance or to the poet’s personal ignorance, as he declares himself.
Another principle of Chinese writing is the cosmic correspondence between nature and literature, firstly the word considered as a natural and moving thing, and secondly the verbovisual configuration of invisible cosmic correlations between things. Its symbolic matrix is the figure of Yin Yang that constitutes the dynamic parallelism of corresponding and complementary pairs of all kinds. In a series of lucid interpretations, Andrés Claro, so to speak, ‘carves the dragon’ by working out some subtle stylistic couplings or “dynamic imagistic arrangements” in classical Chinese poetry, namely in Li Po’s couplets, quatrains and octets, heteroglossically transfigured in Ezra Pound’s Cathay. Claro’s interpretation includes the philosophical value of imagistic figuration, where he notes, with reference to contemporary sinologues, the significant linkage between the Taoist principle of cosmic correspondence and the Chinese word wen that designates literature through the meaning of ‘pattern’, especially the stirring figure of parallelism. This goes along with a comparative analysis of Oriental and Occidental conceptions of cosmic and literary figures, of parallelism and metaphor.
In his second chapter “East-West Metaphysical Configurations: from ideological criticism to the transcendental revolution of montage”, the scholar looks at the more or less ‘discrete’ and ‘discreet’ modes of montage within the context of the work of Ezra Pound: the more ‘discreet’ and a bit less ‘discrete’ Cathay versus the more ‘discrete’ and less ‘discreet’ The Cantos. At the same time, he considers the modes of montage in the larger context of Western Modernism in the fields of literature, the arts and the media, with a focus on T.S. Eliot, on Picasso and on Sergei Eisenstein’s essay “The Cinematographic Principle and the Ideogram”. Since montage is substantially linked to the aspect of history, the scholar investigates the double connexions between the context of World War I in which Cathay is embedded and the topic of ancient history in Cathay, on the one hand, and on the other hand, the connexions between ancient and contemporary world history, including World War II, in and around The Cantos.
Against the background of Chinese ‘ideogrammaticality’, The Cantos induced a new form of representation in epic poetry where ideogrammic and idiomatic fragmentation and semantic polyvalence become overwhelming and eliminate intentional meaning and anticipatory historical sense, while staging it in an kaleidoscopic way. The performative and imagistic impact is predominant, very much like Walter Benjamin has stated in his Passagen-Werk regarding the phenomenon of Modernity. Both world views, the traditional Occidental dualism of two separate worlds with its static mode of metaphorical figuration and the dynamic ideogrammic figuration of correlated immanent worlds in Oriental poetry and Taoism are finally disconnected from Modernity. They are replaced by the poetic and ideogrammic figure of the interruptive and instantaneous event that generates flashes of impersonal meanings and multiple perspectives on a possible past and future, lacking both origo and telos.
Still, in the broken figures of montage there is also a partial re-membring of disiecta membra: the figure of interlingual and intermedial couplings of Chinese and European characters, of translational parallelisms in The Cantos. They are conceived as a multiple écart, semantic, phonic and graphic, operating erratically in praesentia and in absentia: a complex convergence and divergence of Eastern and Western idioms and ideas. 

A. Knauth (from "Configuration of the Book" - Introduction).

The comparison of the 28 lunar mansions of Daba and Dongba scripts revealed that Daba glyphs are single graphemes that are generally pictograms depicting the star atlases or related to the syllables of the stars names. Their counterparts in Dongba writing, conversely, are mostly ligatures consisting of several graphemes. They could be pictograms depicting the star atlases or the syllabic representations of the lunar mansions designations, or the combinations of both. Basing the analysis on the functions of the glyphs in writing down languages, the plausible path of development that can be highlighted from these two scripts have been reconstructed. Further on, the hypothesis is proposed according to which Daba script could be the initial stage of the Dongba writing system.

Symbols (also called pictorials, pictograms, and icons) are graph- ical forms that are used to present information. They are some- times distinguished from text, and they also accompany and support text. In warnings, safety symbols may be used to in- crease salience, comprehension, and compliance to warning information. The effectiveness of a symbol depends on several factors, including the concept, the context, depiction quality, prior training, and target group knowledge. The literature suggests that symbols should have relatively simple, bold forms. They should remain legible when reduced in size, seen at a distance, and in degraded environmental conditions. Symbol comprehension tests using open-ended testing (and in relevant context) can provide input into symbol design that benefits understanding in relevant target audiences. Research literature sug- gests that concrete (representational) symbols and concepts are better than abstract (arbitrary) symbols and abstract (low visualizable) concepts. In developing new symbols, iterative design and testing procedures are recommended. Informal and formal methodologies for evaluating symbols are described.

The author describes four types of mobiliary art resembling rock art traditions in southern Peru. He argues for a strong nexus between the two art forms and, by providing reliable dating for some of the portable objects, arrives at the conclusion that some of the rock art conventions existed for a much longer period than had been assumed. At least the portable art has been in use from about 7000 years BP to just before the Inca Empire. Paint brushes with pigment have been recovered at some of the sites. The available evidence is summarized and a synthesis of the region's rock art is offered.

En el campo de la actividad plástica en México, la aparición del lenguaje escrito dentro del quehacer plástico surgió a partir de la introducción de una nueva visualidad editorial, así como de la apertura hacia diferentes formas publicitarias, que impulsaron a algunos artistas a involucrarse en el área de los medios impresos, ocasión para combinar letras e imágenes.
En la primera mitad del siglo XX los mexicanos, José Juan Tablada y Marius de Zayas, irrumpen en el círculo artístico con poemas que revelan el vínculo con las vanguardias europeas.

This paper challenges Walter Mignolo’s influential view that the Renaissance grammarian Nebrija’s theory of writing had a role in justifying Spanish imperialism and contributed to the diminution or elimination of native language and memory in the Americas. It will be shown that Isidore of Seville’s comparatively versatile conception of writing, which accommodated pictograms, was far more pervasive in Spain and the New World, fostering parallel advances in written and pictorial communication by indigenous groups, while European letters provided a flexible means of notation for Amerindian languages.

The following study is part of a more general project, called " Images Analyses " , which includes a web site and a collection of books developed and edited by the Images and Cognitions Research Centre (University of Paris 1 Pantheon-Sorbonne). This semiotic study has two main purposes: the first objective is the systematic study of international visual communication signs; the second is methodological and tries to show the complementary efficiency of various semiotic methods: reductionism, on the one hand and interactionism, on the other. The signs taken into consideration for this analysis are pictograms of men and women commonly used to indicate human actions and to identify public spaces characterised by gender distinction. The study begins by exploring an international collection of these male and female signs and by analyzing the constants and variables belonging to the system that they constitute. The study continues with a cognitive semiotic approach exploring the processes of information maximisation and ambiguity minimisation. Subsequently, a poietic semiotic approach attempts to extract a model of the influences of the various sign systems that are active during the information design process (cooperation and inter-semiotic competition). A pragmatic semiotic approach allows us to place the signs in their environments according to the actions that take place there. It focuses in particular on analysing signs referring to children and disabled people. The study is completed by a social and semiotic critique intended to show the contribution of these signs to the social and cultural construction of male and female identities and social roles. Initial issues This study about pictograms representing human beings has initially been inspired by the book by Alain Etchegoyen: Eloge de la Féminité (Praise of the Femininity) and notably by this sentence: '[…] everything that is common is of species; everything that is different is of sex.' (Etchegoyen, 1997, p. 119) Of all differences, that of sexual morphology constitute the maximum differences between human beings, but because of the social rules that govern the exhibition and dissimulation of the various parts of the body, rules that are integrated under the different forms of decency and modesty, it is precisely these attributes that cannot be publicly exhibited and seen. The main issue of this article can be formulated as follows: how can sex, a sign that cannot be shown, manage to make itself seen? We will try to answer this question by discussing, both in a successive and complementary manner, the organization of existing signs, then we will study the signs in their cognitive, creative, pragmatic and social operating modes. Figure 1 1 Version française augmentée in : Darras, B. (2008). Sémiotiques des signes visuels et du design de l'information. In Bernard Darras (Dir.) , Images et sémiotique 2. Paris, Publications de la Sorbonne.

Dongba pictographs dictionary with Index Plates. Third category of pictographs - C: Anthropomorphic deities.

Stefano Zamblera, 2018: "A Dongba Pictographs Dictionary with Iconographic Index Plates"
Dictionary of Dongba pictographs implemented in categories sorted by iconographic index plates of BASIC pictographs.

Iconographic and graphic study of such corpus of glyphs evinced two distinguished sets of pictographs which could be named BASIC and COMPLEX.
BASIC PICTOGRAPHS are those glyphs made by one and just one iconographic unit (signifier) that conveys its meaning through its pictorial resemblance to the physical object meant.
BASIC PICTOGRAPHS are assembled together making COMPLEX PICTOGRAPHS, alias COMPLEX UNITS OF SIGNIFIERS.
As any BASIC PICTOGRAPH consists in a signifier written by a minimal graphic unit,  identification of BASIC PICTOGRAPHS categories to gather them coincides with the study and identification of a set of ICONOGRAPHIC PRIMES into Dongba pictographs corpus.
ICONOGRAPHIC PRIME is then used in the making of iconographic index plates for BASIC PICTOGRAPHS.

Throughout the world we can find thousands of pictograms! Some are identical, others are different.
Graphic designers should look after all of us! They should protect commuters worldwide!
The graphic designer is like an earthly god who has the power to guide us.
The first of such gods was Otto Neurath! With Isotype, he invented a graphic language for different cultures. Aicher did the same! In 1972, the german designer guided all cultures through the Munich Olympic Games.
Designers who have worked for AIGA conquered their space in history!
However, when some designers want to be bigger gods than others, they become part of the problem!
We must understand that some public places are more propitious to innovation than others. Some of these areas are universal facilities, therefore we must think big, whenever such cases are in question! In other words, we should think of all cultures!
Once we start playing around with international codes, with universality, we are not doing a good job!
We have to identify our public. Does the public consist of Olympic Games’ visitors, airport users, or is it simply a person going to the corner café to have a beer?
Of course we can have our own style of pictogram calligraphy if we wish to innovate, improve and make it different. But, in this kind of language, “different” should mean legible!
We should aim to become an Otto Neurath, an Aicher and a Josep Maria Triás. But, can we do it well in this technological era, in which everything is digital and connected to a LCD screen? Can we keep it legible and clear? Can we keep it pictographic?
The designers of the past 40 years, who created pictograms for universal events, could do it!
What about us? Can we do it?

Este artículo trata sobre el sitio arqueológico de Negruyoq, un sitio con quilcas (pictogramas), ubicados en la cuenca del río Yanama, dentro del Parque Arqueológico de Choquequirao en Vilcabamba. Para este trabajo se practicó un análisis formal, así como inferencias cronológicas y culturalistas a partir de las superposiciones y elementos figurativos compartidos. Se concluye que el sitio posee al menos cinco fases de producción gráfica desde el Periodo Intermedio Tardío hasta la actualidad, constituyendo una de las muestras plásticas más relevantes y representativas de esta parte de Vilcabamba y el Cusco.

This article is about the archaeological site of Negruyoq, a site with quilcas (pictograms) located in the Yanama basin river, within the Choquequirao Archaeological Park in Vilcabamba. For this research, a formal analysis was carried out, as well as chronological and cultural inferences based on overlapping and shared figurative elements. It is concluded that the site has at least five phases of graphic production from the Late Intermediate Period to the present, constituting one of the most important and representative artistic samples of this part of Vilcabamba and Cusco.

Immer häufiger finden verschiedenste Formen von Infografiken Einzug in Comics aller Couleur. Mit Rückgriff auf bildwissenschaftliche Grundbegriffe wird anhand zweier aktueller Beispiele nach einem Minimalkriterium dafür gefragt, was den Unterschied von einem Piktogramm zu einer Comic-Darstellung ausmachen könnte: Angenommen wird eine wechselseitige Bedingtheit von visueller Kontextbildung zur Individuation von Personen und Objekten. Es wird gezeigt, wie diese verschiedenen medialen Semantiken innerhalb des Comic-Vokabulars auf zwei unterschiedliche Weisen interagieren können.

Ever more frequently, various kinds of infographics can be found within the vocabulary of comics. With recourse to picture and media theory, the article asks for a minimum criterion to differentiate a pictogram from a comic book representation: it is assumed that the individuation of characters and objects is closely interlinked to a formation of visual contexts. In conclusion, two diverging ways of interaction between these different medial semantics shall be shown.

Las prospecciones realizadas en el santuario histórico parque arqueológico nacional de Machupicchu han permitido identificar una gran cantidad de sitios con quilcas,17 cuyo análisis apunta a una prolongada secuencia cultural de la zona. Este artículo expone uno de los sitios arqueológicos estudiados: Tunasmoqo 2, y se enfoca en una de las fases de producción pictórica del sitio, la cual contiene una escena de la época Inka, única en el registro arqueológico del parque. El análisis de la referida serie gráfica, fundamentado desde la perspectiva de la antropología cultural, permitió establecer aproximaciones sobre la naturaleza artística de la escena, sus implicancias culturales y su relación con otras representaciones presentes en el lugar.

The surveys carried out in the Historical Sanctuary-National Archaeological Park of Machupicchu have allowed identification of a large number of sites with quilcas, whose analysis points to a prolonged cultural sequence in the area. This article details results from one of the archaeological sites studied, Tunasmoqo 2, with focus on one of the quilca production phases of the site. The site contains a pictorial scene from the Inka period, which is unique in the archaeological record of the park. The analysis of this graphic series, based on the perspective of cultural anthropology, allows us to establish approximations about the artistic nature of the scene, its cultural implications, and its relationship with other representations present in the site.

In this paper we investigate the extent to which iterative and non-iterative design procedures, when conducted by designers without expertise in Ergonomics, are able to generate meaningful pictograms. For this purpose 2 methodologies, used to design pictograms, were compared according to productivity and efficacy. This research had used data from a real project that had the aim to design 24 pictograms for forestal context. The iterative design condition was referred to as Production Group (PG) and the non-iterative was labeled as Individual Production (IP). The pictograms were then evaluated according to their comprehensibility through a Comprehensibility Judgment Test. Results showed that the PG condition had produced the top ranking pictograms (regarding the comprehensibility estimation) 9 times (37.50%) against 5 times (20.83%) of the IP condition and a tied result had occurred 10 times (41.66%). The estimated comprehensibility average of the PG was 37.14% and the IP was 35.42%. According to the t-Student test the difference between the 2 groups’ means was not statistically significant (p-value = 0.491). The results suggest that an iterative procedure to design pictograms could not be cost-effective if the team lacks expertise in Ergonomics and User-Centered-Design methodologies and is not prepared to take advantage of the participant’s contribution.

Pictograms are often mentioned as a possible tool for sending messages about radioactive waste repositories in a far future, when the understand ability of our languages will have been lost. But they have also limits, related to the use of conventions that may fade over time. The goals of a signaling system for the long term may be (1) to alert (raise attention), (2) to inform of an underlying danger due to the existence of radioactive wastes, (3) to induce a favorable behavior (provoke or deter actions) in order not to disturb the performance of the repository. The quest for trans-cultural and trans-generational performance requires that some universal semiotic features be identified, shared by human beings of various cultures nowadays, and from far in the past to the present. Considering the typology of colors in various languages, the use of colors in ancient rock art and in children’s drawings, a dedicated role may be assigned to each of the three colors, white, black and red/oc...

This paper tries to explain the importance of graphic representations as pictograms in a global communication. The aim of this study is to represent and discuss about pictograms as different representations all over the world, but using common elements to be easier understood by the people. We have studied pictograms for different purposes and, the same time, we have proposed new ones to be used in a very good graphic language. The aim of this paper is to bring together pictograms from our daily life and new graphic representations of them and to include these ones in a special language without words. It is about a comparison between what is now in charge and what is suggested to be comprised. This study was a challenge for us due to the generous area of such graphic representations knowing that pictograms are above all boundaries of any writing and spoken language.