A common belief is that systems of writing are committed to transparency and precise records of sound. The target is the language behind such marks. Readers, not viewers, matter most, and the most effective graphs largely record sound, not meaning. But what if embellishments mattered deeply - if hidden writing, slow to produce, slow to read, played as enduring a role as more accessible graphs? What if meaningful marks did service alongside records of spoken language? This book, a compilation of essays by global authorities on these subjects, zeroes in on hidden writing and alternative systems of graphic notation. Essays by leading scholars explore forms of writing that, by their formal intricacy, deflect attention from language. The volume also examines graphs that target meaning directly, without passing through the filter of words and the medium of sound. The many examples here testify to human ingenuity and future possibilities for exploring enriched graphic communication.

This book zeroes in on hidden writing and alternative systems of graphic notation, exploring writings that deflect attention from language.

Traditionally, writing--a graphic, multidimensional form of communication--has been approached as a vehicle for representing, and therefore conveying, the spoken word. Moving beyond this manner of analysis, this volume interrogates writing as a medium that is not simply a handmaiden to oral and aural exchange but a communication system that is richly layered and experienced. To exploit this aspect of visual code, scholars from the fields of Egyptology, Sinology, Hittitology, and Assyriology, together with Mesoamericanists, art historians, and a sign language specialist, are brought together in this volume. In its pages, these contributors incorporate into their analyses methods more commonly used in linguistics and semiotics, communication studies, art historical analysis, and traditional philology to new ends in order to form original trajectories of inquiry. Each contribution either lays bare explicit exploitation of visuality in scribal production as a means to cement power, reveal the mystical, induce humor, or expose clandestine views or it locates implicit knowledge schemes and cultural maps underlying and informing these same productions. The pioneering investigations presented in Seen Not Heard reveal that although writing may be heard, the fact that it can also be seen affects its reception and therefore the meaning of any transported phonological units.

Semiotics concepts from a design perspective, offering the foundation for a coherent theory of graphic design as well as conceptual tools for practicing designers. Graphic design has been an academic discipline since the post-World War II era, but it has yet to develop a coherent theoretical foundation. Instead, it proceeds through styles, genres, and imitation, drawing on sources that range from the Bauhaus to deconstructionism. In FireSigns, Steven Skaggs offers the foundation for a semiotic theory of graphic design, exploring semiotic concepts from design and studio art perspectives and offering useful conceptual tools for practicing designers. Semiotics is the study of signs and significations; graphic design creates visual signs meant to create a certain effect in the mind (a “FireSign”). Skaggs provides a network of explicit concepts and terminology for a practice that has made implicit use of semiotics without knowing it. He offers an overview of the metaphysics of visual perception and the notion of visual entities, and, drawing on the pragmatic semiotics of the philosopher Charles Sanders Peirce, looks at visual experience as a product of the action of signs. He introduces three conceptual tools for analyzing works of graphic design—semantic profiles, the functional matrix, and the visual gamut—that allow visual “personality types” to emerge and enable a greater understanding of the range of possibilities for visual elements. Finally, he applies these tools to specific analyses of typography.

This volume illustrates how the epigraphic habit is ubiquitous but variously expressed. Inscriptions become part of the fabric of Greek and Roman culture.

Substance of the Ancient Maya: Kingdoms and Communities, Objects and Beings collects twelve essays by top scholars that highlight what is new in research pertaining to the ancient Maya. Subjects range from updated political histories of major kingdoms in the southern Maya Lowlands to explorations of the nature of Maya writing and materiality. These essays were inspired by the scholarship of Stephen Houston and celebrate his transdisciplinary commitment to research in anthropological archaeology, epigraphy, and art history. The contributions in this volume are organized into two sections that respectively reflect different scales from which to approach the substance of the ancient Maya—from hand-held objects to entire kingdoms. This dichotomy reflects the breadth of questions central to current research on the Maya. It also illustrates how certain themes, such as the relationship between the living and the realm of the supernatural, are fundamental to both thinking by and about the Maya at all scales. A diversity of methods is not only embodied by this assemblage of essays but is also spread equally across the two sections of the book, illustrating that archaeologists, epigraphers, geographers, and art historians can equally contribute to the substance of kingdoms and communities, as they can to objects and beings. Collectively, these contributions show how the objects and beings that composed the Classic Maya world were both literal and sacred substances that mediated relations not only among living people but with gods and ancestors. A final chapter by Stephen Houston reflects on unfinished projects of the ancient Maya as a metaphor for all of the work yet to be done to move forward in our studies of the past.

"Laura Lynne Jackson is a psychic medium and the author of the New York Times bestseller The Light Between Us. She possesses an incredible gift--the ability to communicate with loved ones who have passed, convey messages of love and healing, and impart a greater understanding of our interconnectedness. Though her abilities are exceptional, they are not unique, and that is the message at the core of this book. Understanding "the secret language of the universe" is a gift available to all. As we learn to ask for and recognize signs from the other side, we will start to find meaning where before there was only confusion, we will see light in the darkness. We may decide to change paths, push toward love, pursue joy, and engage with life in a whole new way. In Signs, Jackson is able to bring the mystical into the everyday. She relates stories of people who have experienced these uncanny revelations and instances of unexplained synchronicity, as well as those drawn from her own experience. There's the producer whose lost child appears to her as a deer that approaches her unhesitatingly at a highway rest stop; the name tag of an ER nurse that lets a terrified wife know that her husband will be okay; the Elvis Presley song that arrives at the exact time of her own father's passing; and many others. This is a book that is both inspiring and practical, deeply comforting and wonderfully motivational in asking us to see beyond ourselves to a more magnificent universal design"--

Dealing specifically with the origins and development of human language, this book is based on a selection of materials from a recent international conference held at the Center of Interdisciplinary Research at the University of Bielefeld in Germany. The significance of the volume is that it testifies to paradigmatic changes currently in progress. The changes are from the typical emphasis on the syntactic properties of language and cognition to an analysis of biological and cultural factors which make these formal properties possible. The chapters provide in-depth coverage of such topics as new theoretical foundations for cognitive research, phylogenetic prerequisites and ontogenesis of language, and environmental and cultural forces of development. Some of the arguments and lines of research are relatively well-known; others deal with completely new interdisciplinary approaches. As a result, some of the authors' conclusions are in part, rather counterintuitive, such as the hypothesis that language as a system of formal symbolic transformations may be in fact a very late phenomenon located in the sphere of socio-cultural and not biological development. While highly debatable, this and other hypotheses of the book may well define research questions for the future.

Papers in this issue by: Mohammad Ali Salmani Nodoushan (pp. 1-17); Diana Fauzia Sari & Yunisrina Qismullah Yusuf (pp. 18-36); P. Lindhout, G.J. Teunissen & M.P. Lindhout (pp. 37-56); Jiemin Bu (pp. 57-80); Noparat Tananuraksakul (pp. 81-98); Yasunari Fujii (pp. 99-126); and Azizeh Chalak (pp. 127-136)

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