Semiotics of the Image: Addressing the Different Types of Mental Operation and Their Sematic Interpretation

Our era is dominated by the prevailing presence of images. The spectator often identifies with the characters and aims to interpret the signs evoked by the objects, since every image is governed by codes. If we look at the history of image semiotics, we observe a cognitive and pragmatic approac h. According to Kant, the images we receive from the environment are not simply reproductions but often creative productions based on patterns generated by the imagination. According to recent research in semiotics, we observe that the pragmatic approach is extended by a study of stimuli collected by the environment. On the other hand, Köhler’s theory of Gestalt considers perception as a pre-conscious activity, linking visual semiology with the functional interpretation of perception. In addition, Tardy brings into focus strategies of visual communication by highlighting the semiotic status of represented objects. For this reason, it is essential to deepen the versatility of the field o f semantic interpretation of a visual support from different types of mental operations. Finally, the semiological approach to the image with different types of mental operation will be able to generate a plural and original semantic interpretation through the creative exploitation of visual elements.


Introduction
Images occupy an overwhelming place in today's life. The spectator tends to identify with the characters and interpret the signs evoked by the objects because every image is governed by codes. In this case, the viewer is confronted with an imaginary reality and is invited to develop a crit ical mind in order to counteract the psychological influence on the image. On the one hand, we are going to look at the semiotics of the image by carrying out both a cognitive and pragmat ic approach. On the other hand, Köhler's theory of Gestalt will lead us to the idea that perception is unconsciously pre-constructed, a fact which will allow us to deepen the versatility of the field of semantic interpretation of a visual stimulus through different types of mental operations.

Semiotics of the Image: Cogniti ve and Prag matic Approach
If we consider the history of schemat ism we shall notice that in his work entitled "Crit ique of the faculty of judging", Kant E. (1790) argues that there are two theories simu ltaneously: an emp irical one with semantic value as well as a transcendental one (Kant, 1790, Introduction, VIII, pp. 949-952) (Note 1). In this aspect, the images we receive fro m the environment are not simply reproductions but often creative productions based on the schemas generated by the imagination. Formigari, L. (1994, p. 18) po ints out Kant's empirical semiotics by emphasizing the productive function of images by linking the concept through the intuitive use of schemas (Note 2). "In contrast to images that are merely reproductions of empirical data, schemas are generated by the imag ination, whose function is not only reproductive but productive (i.e., creative), accord ing to an "art h idden in the depths of the soul" (Kant, 1787, p. 887) (Note 3). In this way, we can see that the patterns are distinguished from pure mental objects aimed at a simple reproduction of the image. Thus, signs facilitate the synthesis of original intuit ive images through the use of imagination drawn fro m ideas hidden in the depths of the psyche.
According to recent research in semiotics, we observe that the pragmatic approach is extended by a study of stimuli collected fro m the environ ment concerning sensory -motor, social, technological and med ia semiotic mediat ions. According to Darras B. (2006), "The precursors in this field are Jean Piaget and Lev Vygotski, but also Jack Goody, Eleanor Rosch, George Lakoff, Mark Johnson and Ron Langacker. Today, the work o f Jean-Paul Bronckart, Bernard Darras, Jean-Pierre Meunier and Daniel Peraya is moving in this direction" (Darras, 2006, p. 6) (Note 4).

Gestalt Theory and the Semantic Interpretati on of an Image
On the one hand, it would be interesting to approach the theory of Gestalt advocated by Köhler (1938).
Indeed, Köhler emphasized the idea that visual perception was limited to the external field only.
However, it is essential to study the processes of mental perception and to relate v isual semiology to the functional interpretation of perception. Köhler (1938) points out that "Whatever the process underlying www.scholink.org/ojs/index.php/eshs Gestalt perception, we know that it occurs pre-consciously, since the articulation of the visual field is produced at the same time as the contents of vision are given" (Köhler, 1938, p. 60) (Note 5). Moreover, St. Martin F. (1990) highlights perceptive activity, which is unconsciously preconstructed even in Freud's work. "According to Freudian terminology, perception takes place at the level of the preconscious, i.e., even if it is likely to become the object of conscious knowledge, perceptive activity does not, in most cases, reach this level and remains unconscious " (St. Mart in, 1990, p. 13) (Note 6).
On the other hand, Tardy M ichel (1989) focuses interest on strategies of visual communication by highlighting the semiotic status of represented objects. For Tardy, visual co mmunication presupposes the shared possession of a trip le culture: a cu lture of knowledge, a culture of thought, a culture of images. "In the same image, the same visual element can, depending on the circumstances, be either a simu lacru m (identification), a clue (inference), a sign (decoding), or a symbol (interpretation). The encounter of an image imp lies, therefore, a decision regard ing its semiotic functionality" (Tardy, 1989, p. 70) (Note 7).
If we wish to discern the meaning existing in the semantic interpretation of an image, we can distinguish six (6) different types of mental processes in order to explo it the versatility of mental signs.
First, the operation of perception is related to the form represented by an object, a person or a setting and the interpretation of the sign related to the signified.
Secondly, the operation of identification refers to the brain imag ing through the idea of an absent object, which can be represented in the imag ing consciousness, in contrast with the perceptive consciousness.
In this case, similarity or metaphor or even a very strong and powerful perception can be presented when evoking several objects in relat ion to a single inductive object. As Stöckl H. points out (2004), "Most importantly, the image's metaphoric nature is realized by a morph ing technique which allows for the carefully engineered b lending of v isual features. As a result, the reader g ets a very realistic impression of an imag inary object, which plays tricks on his perception (Stöckl, 2004, p. 24) (Note 8).
Moreover, the inference operation allows a person to infer ideas fro m non -existent data. It is possible to classify three ( On the other hand, the idea-association operation distinguishes three mental mechanisms: a ) Reacting by similarity (resemblance), b) Reacting by contiguity by associating convergent or even divergent elements, c) Reacting by contrast by displaying lateral thin king. With regard to areas of idea-association, it is important to regulate the proliferation of ideas either evoked by repetitio n in the social areas or emitted by invention in the personal areas.
Finally, isotopy resolution gives rise to plural interpretations by seeking cohesive and coherent meaning through an effective selection during the process of evaluating ideas and selecting ideas which can be deployed across the evocation of disparate and heterogeneous elements and the multip le interpretations of context.  neutrality) (Note 9). Then there is the second energetic interpreter, designating the effort made to produce analysis and research. The third dynamic interpreter is called logic. In this case, the sign is strictly mental, aiming to recognize either associations and trans -associations or dis-associations since it goes directly fro m the image to the symbol. Finally, accord ing to the hypo icon, this mental sign invites deviations and binds itself to the imag inary.

Discussion
Ult imately, the semiotics of the image are characterized by a close correlation between the form of expression and the form o f content by linking the signifier to the signified, wh ich leads to a mu ltip le interpretation by acting not only by denotation by evoking semiogenesis but above all by associative connotation by resorting to complex mental operations, with a view to enriching the semantic interpretation with convergent, divergent and even original ideas. "Moreover, it is observed that the sequence of ideas by contiguity leads to original associations, emphasizing the appeal to the creative imagination. Finally, the scope of the interpretation of the inducing object suggested always remains wide. Thus, the territory of the associated ideas remains unconquered and reveals the psychology and the inventiveness of the participants " (Efthimiadou, 2017, p. 58) (Note 10). Consequently, a semio logical approach of the image can be encoding by different types of mental operation and generating a plural and an original semantic interpretation through the creative explo itation of visual supports.