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This paper endeavours to translate Peirce's ideas into paradigmatic sociological theory in general, and praxis linked to that paradigmatic theory. Greater comprehension of the general usefulness of a Peircian Pragmaticist semiotic perspective (and ‘fallibilism’) will enhance social action and collective responsibilities. As a philosopher, C. S. Peirce interpreted the world, but he himself did not attempt to change it. How can we incorporate a unifying ‘perspective’ such as Peirce's theory into ‘method’ (both methodology and techniques)? How does that an emphasis on methodology improves sociology as an empirically based, rigorous discipline (a human ‘science’) and various forms of praxis, especially applied sociology and public sociology? If politics is going to have any long-term impact, there has to be a degree of sophistication about the theories involved (e.g. conservation of fundamental human rights and liberties, reform within liberal parliamentary democracies, transformation within neo-conservative regimes, applied sociology in professions and occupations like social work and criminology, Feminist critique and action, GLTB action, neo-Gramscian critiques and Michael Burawoy's ‘public sociology’ in the narrow, technical sense.) Praxis can include many forms of political activity that are not specifically informed by any well-developed and coherent theory. In terms of Peirce's Pragmaticist semiotics, we can translate theoretical awareness into praxis, to interpret and to change the world. Good theory and methodology is the most practical way to promote useful social action, applied sociology and public sociology. Anything less than Peircian Pragmaticism and semiotics tends to lead to fragmentation of ‘paradigms’ or postmodernist nihilism.

This study aims to focus on the interpretation component of Peirce’s triadic model of sign to identify: the components affecting the interpretation of an object and the components affecting the meaning creation by people for use in ontologies. Ashura was selected because it is a historical event and a meaningful sign in Iranian religious culture.

This qualitative study was conducted in two steps. In the first step, the Instagram pages of five groups of people were chosen as the sample and examined using qualitative content analysis. In the second step, 18 creators of Ashura works were selected, their lived experience in creating these works was collected using in-depth semi-structured interviews and analysed through phenomenology method.

Based on the results, the concept is context-oriented; one cannot interpret the signs according to one’s personal preferences because the context, social rules and habits limit this interpretation. Accordingly, the use of reference systems and rules of logic, as well as artificial intelligence and computer science tools alone cannot help represent meaning in ontologies. Rather, individual characteristics, contexts, presuppositions and components existing in personal, social and technological worlds are effective on concept formation and meaning creation. Thus, these factors must be considered in ontology, especially for multi-faceted and context-oriented concepts, such as Ashura.

This research adopted a new approach and method to study ontology. This study focused on interpretation and adopted Peirce’s sign model for ontology design.

This paper presents a marketing perspective that may have considerable relevance within niche markets that are served by hotels positioned at the top end of the market, with distinctive lifestyle products. It considers the extent to which such products can be effectively positioned through semiotic marketing strategies. Emergent strategies are presented in a model of a live market communication system. It is proposed that this represents a reorientation in focus of positioning strategies from product and transaction, to cultural criteria and sensory differentiation. Justification is presented on the basis that while core hotel products and services and their functionality are easily duplicated, semiotics, aesthetics and their lifestyle associations are more difficult to mimic. The application of this reorientation is illustrated through the examples provided as an extraordinary collection of highly individual hotels. These products have been deliberately defined to align to conceptions of self‐image, selling a set of symbolically defined features that are prototypical of a certain lifestyle.

If an information retrieval system is going to be of value to the user then it must give meaning to the information which matches the meaning given to it by the user. The meaning given to music varies according to who is interpreting it – the author/composer, the performer, cataloguer or the listener – and this affects how music is organized and retrieved. This paper aims to examine the meaning of music, how meaning is communicated and suggests this may affect music retrieval.

Musicology is used to define music and examine its functions leading to a discussion of how music has been organised and described. Various ways of establishing the meaning of music are reviewed, focussing on established musical analysis techniques. It is suggested that traditional methods are of limited use with digitised popular music. A discussion of semiotics and a review of semiotic analysis in western art music leads to a discussion of semiotics of popular music and examines ideas of Middleton, Stefani and Tagg.

Agreeing that music exists when communication takes place, a discussion of selected communication models leads to the proposal of a revised version of Tagg's model, adjusting it to include listener feedback.

The outcome of the analysis is a revised version of Tagg's communication model, adapted to reflect user feedback. It is suggested that this revised communication model reflects the way in which meaning is given to music.

The purpose of this paper is to explore the basics of semiotic analysis and concept theory that represent two dominant approaches to knowledge representation, and explore how these approaches are fruitful for knowledge organization.

In particular the semiotic theory formulated by the American philosopher C.S. Peirce and the concept theory formulated by Ingetraut Dahlberg are investigated. The paper compares the differences and similarities between these two theories of knowledge representation.

The semiotic model is a general and unrestricted model of signs and Dahlberg's model is thought from the perspective and demand of better knowledge organization system (KOS) development. It is found that Dahlberg's concept model provides a detailed method for analyzing and representing concepts in a KOS, where semiotics provides the philosophical context for representation.

This paper is the first to combine theories of knowledge representation, semiotic and concept theory, within the context of knowledge organization.

The reciprocal relationship between bibliographic references and citations in the context of the scholarly communication system is examined. Semiotic analysis of referencing behaviours and citation counting reveals the complexity of prevailing sign systems and associated symbolic practices.

A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking.

Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics.

This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations.

The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

The purpose of the research reported here is to improve comprehension of the socially‐negotiated identity of concepts in the domain of knowledge organization. Because knowledge organization as a domain has as its focus the order of concepts, both from a theoretical perspective and from an applied perspective, it is important to understand how the domain itself understands the meaning of a concept.

The paper provides an empirical demonstration of how the domain itself understands the meaning of a concept. The paper employs content analysis to demonstrate the ways in which concepts are portrayed in KO concept maps as signs, and they are subjected to evaluative semiotic analysis as a way to understand their meaning. The frame was the entire population of formal proceedings in knowledge organization – all proceedings of the International Society for Knowledge Organization's international conferences (1990‐2010) and those of the annual classification workshops of the Special Interest Group for Classification Research of the American Society for Information Science and Technology (SIG/CR).

A total of 344 concept maps were analyzed. There was no discernible chronological pattern. Most concept maps were created by authors who were professors from the USA, Germany, France, or Canada. Roughly half were judged to contain semiotic content. Peirceian semiotics predominated, and tended to convey greater granularity and complexity in conceptual terminology. Nodes could be identified as anchors of conceptual clusters in the domain; the arcs were identifiable as verbal relationship indicators. Saussurian concept maps were more applied than theoretical; Peirceian concept maps had more theoretical content.

The paper demonstrates important empirical evidence about the coherence of the domain of knowledge organization. Core values are conveyed across time through the concept maps in this population of conference papers.

From the perspective of semiotics, “information” is an ambiguous theoretical concept because the word is used to represent both signifier and signified, both text and content. Using the work of Fernand de Saussure, this paper explores theoretical possibilities that open by virtue of understanding information as sign. Of particular interest is the way semiotics suggests ways to bridge the theoretical gap between information as thing and information as cognitive phenomenon by positing information as a cultural phenomenon.