Duchamp’s eagerness for interactivity is seen in his ludic interactions with the spectator, questioning form and content, and consequently meaning, extended beyond visual arts into language. Throughout his career, Duchamp’s use of signs was…dynamism” (Cobley and Jansz 2012, p. 25). Peirce’s semiotics refers to the study of signs through a triadic relationship among the “[1] Representamen (the sign itself) which has a relation to an [2] Object, which relation entails an [3] Int…
Litza Jansz
writer · 2 mentions across 1 reading
In this course
Litza Jansz appears as a co-author (with Cobley) on a text examining Peirce's semiotics and the triadic structure of signs—a framework central to understanding how meaning circulates through representation, objects, and interpretation. The citation is deployed to ground a discussion of how Duchamp's ludic engagement with spectators operates through linguistic and visual signs, suggesting that interactive art requires a theory of meaning-making that accounts for the relationship between sign, referent, and interpreter. This move connects cybernetic and semiotic theory to art practice, positioning Jansz's work as foundational infrastructure for analyzing how systems of signification enable the participatory dimensions the course privileges.
Mentioned in 1 reading
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