Books
Imaginary State Space
Ferre Alpaerts ('80) 103 p.
All known life-forms are descended by evolution from virus-like
primeval beings. The ‘spiritual life’ is formed by evolution out of the oldest symbols, namely those of DNA. The ability of man to use symbols is based on applications of genetic coding. The brain assimilates sensory, emotional and intellectual stimuli through one and the same hereditary code, namely the code of heredity. In affiliation to the standard work Semantiek (Semantics) by G. Leech, definitions, backgrounds and methods of a genetic (hereditary codic) school of meaning are given. The yin-yang combinations of the Chinese “I Ching” are interpreted as the ‘letters’ and ‘words’ of a genetic written language. Contains statistic material for proof and semantic tables.
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Genetic Semantics 1
Ferre Alpaerts ('83)
A research on 600 Dutch words with AAO-reference in several languages,
600 Dutch words that have a AA0-translation in Hungarian, Italian,
Dutch or Spanish. In a lesser measure there was made use of English,
French, Old and Modern Greek, Latin, Romanian, Polish, Serbo-Croatian
and Turkish.
A dissection of the Tintin-stories by Hergé. Comics can be coded through the graphic forms and the colour combinations of the images and through the acoustic forms of the text. A number of hypothesises are put forward to research the comic story methodically.
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Genetic Semantics 2
Ferre Alpaerts ('83)
E. Durkheim, B. Bernstein and M. Douglas about symbols, the biological,
sociological and psychological starting point.
64 different ideas from Hergé’s “De Sigaren van de Farao” (The Pharaoh’s Cigars). The objective was to find back the 64 elementary ideas in this comic.
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Magical Game of Goose
('85) consists of a manual by Ferre Alpaerts and a sieve print by Zoë Lavda.
It can be played like other games of goose according to the age-old
rules. Each image contains at least two symbols in code. The code
makes them fit for metaphors. The meaning of the code-symbols becomes
clear by way of the game. The game is “magical” because the 64 images are a special means to stimulate the imagination. Just as we speak about their ‘Magical’ influence with the tones of music or a poem, or the colours of a painting, that change someone’s mood or thoughts.
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Religion, Philosophy and Semantics
Ferre Alpaerts ('89).
After a resume of genetic semantics, 17 subjects out of the history and prehistory of philosophy are treated. Each time we start from major publications on the subject. Dethier (religious history), Raymond Firth (anthropology), Gottlob Frege (mathematics), Hans Jonas (gnosticism), Kirk and Raven (pre-Socratic), Kolakowski and Henri Lefébvre (Marxism), Peperzak (Hegel), Paul Ricoeur (semantics, rhetoric), Gerschom Scholem (Kabala), Frits Staal, Gonda, Abel, and others (Hinduism) ...
Religion, Philosophy and Semantics concludes that rituals, myths and mystic practices make sense for the giving of meaning, but not as a service to the gods. Religion is about abstract structures and processes (logoï) that give meaning to sounds, gestures and certain keywords – a creation, but one from the inner world.
Behind the languages hides a universal code. Behind all symbol-systems there is a logical structure. Gnosticism here is philosophically right over agnosticism. The all too critical ‘western’ philosophies are being questioned, but not to the satisfaction of those that defend irrational religions or occult explanations.
In Religion, Philosophy and Semantics methods of genetic semantics are explained and used on the book itself. I.e. after a second reading the semantic symbols can be understood and after practice it is possible the use those on dreams, myths, inventions, psychological explanations, etc ...
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Synesthetic Experiment
Ferre Alpaerts and Inez Michiels ('91).
The use of genetic semantics on graphical and musical forms – 60 pages with black&white poster. The possibilities to tune in coloured graphic forms and music to one another through genetic coding are researched. If all sensory stimuli and every function of the brain and nervous system are based on genetic coding, then it must be possible also to represent feelings in code.
Introduction: the philosophy of S.K. Langer, the meaning of art forms, the relation with emotions.
The use of genetic coding in the oldest Chinese music (based on data from T.C. Lai and Robert Mok).
The codic form of emotions (Heider-notation), intonation and melodic form (according to a study by Ivan Fonagy and Klara Magdics)
The synesthetic experiment: the indexation of colours, graphical and musical forms. Twelve coloured graphic forms are compared codically with twelve musical forms.
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Semantic Dictionary
Ferre Alpaerts ('91).
The ordinary dictionary explains the meaning of words by means
of other words. A semantic dictionary defines the meaning logically,
from a register. The “Semantic Dictionary” represents the codic meaning of 3,941 words with the aid of 4 kinds of ‘characters’ that are combined to 64 different ‘words’, as in the DNA.
With this publication a definitive step is taken in the direction of a dictionary that functions within a generative grammar, i.e. the changing of conventional language into ‘mathematics’ and the understanding of intelligence. A large part of the included words and codic expressions are related to colours, graphic forms, symbols, phonetic forms and traditional classifications. That is why the “Semantic Dictionary” is of aid with technical or artistic design, especially when comparing different disciplines (movement with music, language with music, language with form and colour… )
The “Semantic Dictionary” resumes different methods and results such as: “Het Boek der Veranderingen” (The Book of Changes – the oldest known semantic dictionary), the Lüscher “Colour test” and outlines by analytical chemists, biologists, anthropologists, music theoreticians, choreographers, linguists and philosophers.
The “Semantic Dictionary” consists of three parts.
The alphabetical listing (part 1) contains 3,941 words that are followed by a code of characters and numbers.
In the second, systematic part, these 3,941 words are classified into 8 main divisions, then on into 64 (8x8) subdivisions and at last into pages where in each case words with a strongly related meaning are grouped. If, for instance, we look up “Anamnesis”, then we find “bl:zt-13”. The characters refer to one of 64 colour combinations and the number to a page, in this example “blue over black, page 13”. “Gold” thus comes on page gl:rd-14 (yellow:red). To represent the inner meaning we make use of a colour code. The codic representation of colours can in fact be very narrowly defined.
The reason why a word is classified in a certain pigeon-hole can be very different. “Anamnesis”, for example, is in the pigeon-hole “bl:zt” (blue:black) because of the phonetic form: the AAE vowel combination is according to genetic semantics the representation of a DNA-combination.
The third part groups words around certain themes in 16 tables: colours, Chinese linear figures, chemical elements, phonetic forms, lemma’s of Lüscher, graphic forms, emotions, body movements, numbers, logic figures, musical instruments and musical sounds.
For example: in the third part gold is mentioned in table 3H “chemical elements”, classified according to Mendelev. The tables contain words that fall under the same subject and are classified according to the genetic code. Table 3H also mentions oxygen en refers thereby to gr:zt-4 (green:black), a page of the systematic part where we also (but then because of the sound form) find atmosphere.
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The research of Eva Heller about the working of colours as confirmation of genetic semantics
Ferre Alpaerts ('93).
The results of colour sociologist Eva Heller are compared to those
of genetic semantics. From her investigation it appears that the
colours the interviewed imagine with a series of words usually have
the same code as those words themselves. The conclusions of the
semantic dictionary are thus in many cases the same as Heller’s. A little arithmetic shows the more the interviewed agree on the colour with a word, the better the results agree with those of genetic semantics.
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Divisions according to yin or yang
Ferre Alpaerts ('94).
In this work rules are put in which allow the use of genetic semantics
on antonyms. The direction and the sense of the contrapositions
are fixed by placing semantic markers on semantic axes. In 1318
cases the direction and sense could be defined, either by the application
of these rules, or by analogy with other antonyms. In 597 cases
the code of both words could be fixed. The results appear very often
to agree with those given in the “Semantic Dictionary” based on very different methods. This proves the relation between the rules of logical orientation and those that define the codic form of every word from sounds, colours, etc ...
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The Year Cycle
Art calendar representing the cycle of the seasons, published by printing house Roels.
Inez Michiels composed with airbrush and coloured pencil six images,
each representing a two month’s period. The forms and colours of these representations were defined from genetic semantics, i.e. from a general description wherein, for example, with the colour of summer yellow characteristics of form are added as regular, sharp and baroque, while the colour of winter blue is identified with irregular, hazy and sober. A cycle of 12 hexagrams, that according to the Chinese I Ching represents the months, was turned into colour combinations and definitions of form and thus represents the seasons.
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The meaning of the vowels A and I
Ferre Alpaerts ('96).
In this text starting-points of cognitive science are compared
to those of genetic semantics. The meaning of the vowels A and I
is looked into: their meaning simply as vowels, as part of a syllable
or combined into words of two or three syllables. Genetic semantics
here supplies answers which are left open by experts or have even
not yet been put. There is, for example, a link made between the
vowels and the coding according to gender. First the code with the
forming of words out of syllables is treated. It is shown that words
of two syllables sometimes are abbreviations of words of three syllables.
The ‘invisible syllable’ can be filled in and the accent often plays a role here.
The symbols and structures wherein the vowels are fitted are shown: the semantic function of the I and the A in logical orientations, i.e. the determination of direction and sense according to space and time.
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John Searl's Linguistic Manipulations
Ferre Alpaerts ('02) 88p.
Preface. Introduction: genetic semantics. Resistance to semantics.
Semantic symbols. Semantics and self-governors. Materialism and
idealism. Dimensions and connections with Searl. Contrapositions
of depth. Searle. Annexes.
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Symbol Constructions
ACCO Publisher 2006 - dutch.
Inez Michiels
168 p.
ISBN 90 334 5919 1 NUR 656
Colours, forms and symbols are the three most effective components of communication imaging. In publicity, advertising, corporate style or branding or in fine arts the choice of the correct colour, style and symbols is of large, sometimes even essential importance.
Nevertheless most graphic designers cannot indicate exactly why they choose a certain style. Too often they rely on their instinct.
To understand communication imaging and the effects it causes one must be aware of the existence of a universal imaging language.
Symbol Constructions makes meaningful connections between image and colour that have shown to be universal. The book contains a semantic classification of 596 international religious, mythological, sociological, political and other symbols selected from traditional and contemporary imaging, such as: publicity, packing, logo, illustrations, propaganda, art, … The method used to compile this book is a combination of broad based research and extensive correlation testing's to check every application against the facts. As such this book is the result of more than 15 years of study and scientific research, based on the experience of experts from different fields of study in language and social science.
Symbol Constructions offers a scientific based collection of universal symbols in common colours and forms. It is an essential tool for anyone who needs to communicate with images such as and especially graphic designers, as well as language and social scientists.
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