Testing a theory of photographic meaning

It is argued that the work of Charles S. Peirce provides the most comprehensive semiotic theory of meaning. Here the general principles of this theory are applied to still photography. Through the use of Peirce's theory of relatives, it is suggested that any constellation of viewpoints of a particular represented object may be reduced to some combination of the three basic positions: the producer, the consumer, & the representamen. Three hypotheses concerning how meaning is made with respect to photographs are formed. Even the most broad thematic meanings assigned to photographs will vary with respect to (1) the content of the photos, (2) the literacy of viewers, (3) & the relative transparency of the intended meanings of the producer. These hypotheses were tested in a four-part experiment. In phase (1), a multiple-choice procedure applied in a one-on-one setting was chosen. In phase (2), 66 photographs were culled from National Geographic & assigned to a thematic category. In phase (3), two panels of experts were given the task of rating the photographs as to their degree of fit in the thematic category in which they were assigned. This rating was used as an intial key for scoring test items. In phase (4), a test instrument was piloted with Ss (N = 20), with correlations & multivariate factor analysis performed on the results. A general conclusion is reached that there seems to be a kind of language aspect to visual literacy. 3 Tables, 3 Figures, 1 Appendix, 88 References. D. M. Smith