Semiotics and Culture

In short, there is a close relationship between the work and the worker (Monaco 31). The mode in which the work is produced by the materials of the work signifies both the subjective experience of the worker as well as the tools and materials available. The materials chosen to objectify or document his experiences are an important aspect of the imprint of the worker on the work. The worker and the posthumous worker as well as the faked work are all different realities. Someone can mimic the outward techniques of the work but the interior choices, without autobiographical documentation are harder to decipher. So why are the arts divided into is performing, representational and recording (Monaco 27)?

A true representation of subjective experience can take on modes of expression in culture. Every subjective act of the performing artists, the representational artists and the recording artist are individual and ethical acts. Ethical acts are true human acts, for every human act is an expression of an indidual. It seems to follow that the axis of transmission, which we have been discussing, represents the record of performance. The axis of transmission is also a representation of performance. Each signified act is also a subjective performance of an interior (unseen) performance of a subject. To the degree that the transmission of an actors acts of performance record his true subjectivity they are a true interpretation and are objectively record his interpretation; on the other hand, to the degree that the performer mimics or fakes a performance they cannot be considered a true interpretation of a work of art: film, play, opera, etc.

The true interpretation of a performer can only be a true interpretation of this objective signification of his own maturity as actor and performer. Frequently we see many actors playing the roles of a character in a movie. More frequently musicians are often asked to interpret a piece of classical music. Both Lynn Harrell and Yo Yo Ma are interpreters of the Bach Cello Suites.

We began our paper by stating the thesis that the subjective and objective performing act represents the subject; that the subject is a mode of the axis of transmission (Monaco 30). The point being that cultural phenomenon are a coalescence of varying mode of subjective interpretations, these interpretations of society form part of a significant part of each of the arts, especially film which combines several of the individual arts (Monaco 28).

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