A view on the iconic turn from a semiotic perspective

Media are not only a means of communication. From a cognitive perspective, they may be viewed as components of an external, auxiliary memory system (Schönpflug 1997), and contemporary cognitive science “construes cognition as a complex system in which cognitive processes are ‘embodied, situated’ in environments, and ‘distributed’ across people and artifacts” (Nersessian 2007: 2). In man-machine communication, man-man-communication via digital machinery and especially in the World Wide Web (Heintz 2006, Steels 2006) the “external” components of this system have taken on more and more of the characteristics of our individual, “internal”, living and active memory with its richness of sensual and symbolic formats. The intellectual challenge in the drafts of the “masterminds” of hypertext (Eisenstein) and multimedia (Lintsbakh) was the detection of temporal/spatial, mathematical and linguistic correspondences between such different sensual and symbolic representations (Bulgakova 2007, Tsivian 2007). The so called “iconic” or “pictorial turn” was pulled along by the digital turn, and it may in turn have stimulated and accelerated the digital turn.