Con-Fusion Cuisines: Melting Foods and Hybrid Identities

NEW SEMIOTICS

Between Tradition and Innovation

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Between Tradition and Innovation

SEMIOTICS

NEW SEMIOTICS

Between Tradition and Innovation

12

th

WORLD CONGRESS OF SEMIOTICS

Asociación internacional de semiótica Internationale Vereinigung für Semiotik

Southeast European Center for Semiotic Studies

ISSN 2414-6862

ISBN 978-954-535-943-9

© NBU Publishing House & IASS Publications, 2017

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

Nueva Semiótica entre tradición e innovación

la Nouvelle Sémiotique entre tradition et innovation

Proceedings of the 12

_{World Congress}

of the International Association for Semiotic Studies (IASS/AIS)

Sofia 2014

16-20 September

New Bulgarian University

Editor in Chief Kristian Bankov Editors Ivan Kasabov Mony Almalech Borislav Gueorguiev George Tsonev Reni Iankova Dimitar Trendafilov Ivo Iv. Velinov Yagodina Manova Boyka Batchvarova

NEW SEMIOTICS

Between Tradition and Innovation

12

th

WORLD CONGRESS OF SEMIOTICS

Southeast European Center for Semiotic Studies

Sofia 2014 New Bulgarian University

INTRODUCTION 15 AN INTERVIEW WITH UMBERTO ECO (1932-2016) 19 ENTREVISTA A UMBERTO ECO (1932-2016) 24

HONORARY GUEST SPEAKERS

LANGUAGE-GAMES AS A FOCAL NOTION IN LANGUAGE THEORY

Jaakko Hintikka 33 HIDDEN SIGNS. THE LITERARY FACE OF THE NON-LITERARY TEXTS

Solomon Marcus 41

THEORETICAL SEMIOTICS

BIOSEMIOTIC ETHICS

A SEMIOTIC APPROACH TO THE PET WORLD

Panagiotis Xouplidis 56

CULTURAL SEMIOTICS

SEMIOTIK DER KULTUR ALS ÜBERSETZUNG VON SCHRIFTZEICHEN BEI YOKO TAWADA

Aglaia Blioumi 67 LE ROLE DES NORMES DANS LE CADRE D’UNE SEMIOTIQUE DE LA CULTURE

Anna Maria Lorusso 74 EL MOTIVO DEL AGUA Y LA DIMENSIÓN MÍTICA EN EL FILM DOCUMENTAL

SIGO SIENDO KACHKANIRAQMI (JAVIER CORCUERA 2013)

Celia Rubina Vargas 81 ABDUCTION AS THE MISSING LINK BETWEEN AESTHETICS AND BIOLOGY

Drude von der Fehr 91 WAITING FOR HISTORY. ON THE EVE OF EXPLOSION

Laura Gherlone 97 POPULAR MUSIC AND SIGNS OF TIMES. ROMANCES DEDICATED TO BUCHAREST

Mariana Neț 104 CULTURAL SEMIOTICS AS FLUXORUM SCIENTIA

Massimo Leone 112 SEMIOTICS OF CULTURAL HERITAGES: THE DIALECTICAL PROCESS

OF ASSIMILATION AND REJECTION OF OTHERNESS IN THE CULTURAL HERITAGE OF THE AL-ANDALUS CIVILIZATION

Ricardo Nogueira de Castro Monteiro 118 CULTURE OF DIGITAL NOMADS: ONTOLOGICAL, ANTHROPOLOGICAL,

AND SEMIOTIC ASPECTS

Irina Kuzheleva-Sagan, Snezhana Nosova 131 LA NEGATIVITE COMME FONCTION CULTURELLE DANS LE DISCOURS LITTERAIRE

ETHNOSEMIOTICS: APPROACH TO TRADITION AND CULTURE

SEMIOTIC APPROACH IN DETERMINING FUNCTION AND SEMANTICS OF RITUAL GESTURE

Dzheni Madzharov 149

MODELS, SIGNS, VALUES AND DIALOGUE

THE ARGUMENTATIVE CONSTRUCTION IN QUEIROSIAN FICTION

Cecília Contani Baraldo, Esther Gomes de Oliveira 156 MONEY TALKS: A SEMIOTIC EXPLORATION OF MONEY AS COMMUNICATION

Christopher M. Bingham 165 TRANSPERSONAL POETIC COMMUNICATION

Emilia Parpală 173 THE ARCHETYPAL LANGUAGE OF EUROPE. THE LANGUAGE OF THE GETAE

AND ETRUSCANS

George Cadar 183 PROGRAMS, MESSAGES AND COMMODITIES IN ROSSI-LANDI'S

MATERIALISTIC SEMIOTICS

Giorgio Borrelli 188 NARCO-TRAFFIC IN THE LIGHT OF CULTURAL SEMIOTICS AND

COMPLEXITY THEORY

Julieta Haidar, Eduardo Chávez Herrera 197 PEIRCE`S PRE-1867 SEMIOTIC AND THE ORIGINS OF HIS THEORY

OF INTERPRETANT

Michal Karľa 209 ALGUNAS TENDENCIAS DE LA SEMIÓTICA EN CHILE A

PARTIR DEL AÑO 1990

Elizabeth Parra Ortiz, Jaime Otazo Hermosilla 216 DEED, OTHERNESS AND LOVE IN BAKHTIN AND PEIRCE

Susan Petrilli, Augusto Ponzio 227 SOCIAL DESIGN AND ETHICS IN PEIRCE´S PHILOSOPHY

Raquel Ponte, Daniele Ellwanger, Lucy Niemeyer 237 HEGEL’S SEMIOTIC FUTURE: BEYOND THE END OF ART

William D. Melaney 242

THE IMAGES OF THE TIME / LES IMAGES DU TEMPS

TRADITION, INNOVATION AND TIME

Antonio Roberto Chiachiri Filho, Rodrigo Antunes Morais 251 ALBUM COVERS: DISCOVERING BRAZILIAN LIFE UNDER MILITARY DICTATORSHIP

Eduardo A. Dieb 255 PERCEPTION AND COGNITION INSIDE TECHNOLOGICAL SPHERES

Felipe Gabriel Ervaz Garcia, Rodrigo Antunes Morais 265 INSTANT COMMUNICATION: A BRIEF HISTORY ABOUT TIME-SPACE COMPRESSION

Liliane Pellegrini 273 A SEMIOTIC ANALYSIS ON FRANCESCA WOODMAN’S ARTWORK

VIRTUAL AND PHYSICAL AESTHETICS OF THE HUMAN BODY–WITH REFERENCE TO THE FASHION DESIGNS OF JEAN-PAUL GAULTIER

Miki Okubo 291 TRANSMEDIATION AND SCHIZOPHRENIA: A PHENOMENOLOGICAL PROPOSAL

Rodrigo Antunes Morais, Antonio Roberto Chiachiri Filho 300 TIME: THEME AND CONTENT IN A VIDEO ART WORK

Edson Pfutzenreuter, Roberto Chiachiri 306 THE MYTH IN TRIUMPH OF THE WILL (TRIUMPH DES WILLENS) –

AN ANALYSIS OF THE SYMBOLISM USED IN THE AUDIOVISUAL NARRATIVE OF LENI RIEFENSTAHL

Sílvio Henrique V. Barbosa 316 FROM ELVES TO SELFIES

Simonetta Persichetti 327 THE LAW AS A SOCIOCULTURAL DISCURSIVE PRACTICE

Aparecida Zuin, Bruno Valverde ChahairaTiago Batista Ramos 332

SEMIOTIC PARADOXES: ANTINOMIES AND IRONIES IN TRANSMODERN WORLD

SEMIOTIC CHOICE AND TERMINISTIC SCREENS AS SEEN IN CROP CIRCLES

Jonathan Griffin 342

VISUAL SEMIOTICS

GENDERING THE NATION: FEMALE REPRESENTATIONS ON CYPRUS POSTAGE STAMPS

Sonia Andreou, Stephanie Stylianou, Evripides Zantides 347 INTERPRETANTS AND THIRDNESS IN THE WORLD OF THE QUANTA

Baranna Baker 359 SIGNS OF SPACE IN ARTISTIC, SCIENTIFIC AND CHILDREN’S DRAWINGS:

DIFFERENCES AND SIMILARITIES

Eirini Papadaki 366 INTERPRETING PICTURES: A SYSTEMIC-FUNCTIONAL SEMIOTIC MODEL

FOR VISUAL IMAGERY

Howard Riley 379 POLISEMIOTICITY OF VISUAL POETRY BY VIKTOR ZHENCHENKO

Iryna Zhodani 388 TAKING A STEP OUTSIDE THE PHOTO AND FRAME: HOW SHOULD

DRAWINGS BE ANALYSED IN THE CONTEXT OF GEOGRAPHY EDUCATION?

Markus Hilander 396 WHAT IS A LETTER?

Robin Fuller 404 TOWARDS A QUANTITATIVE VISUAL SEMIOTICS?

Yannis Skarpelos 413 STRIKE A POSE: THE SEMIOTICS OF ELECTORAL IMAGES IN CYPRUS

AFTER STATE INDEPENDENCE IN 1960 UNTIL 2013

COGNITIVE SEMIOTICS

NEUROSEMIOSIS – AN EXPLANAT OF CONSCIOUSNESS

Karl Gfesser 434

EXISTENTIAL SEMIOTICS

COMPOSING GESTURE-TOPICS: A SEMIOTIC APPROACH TO VILLA-LOBOS’ AFRICAN FOLK DANCES

Cleisson Melo 446 TOWARDS A UNIFIED CONCEPTION OF THE LINGUISTIC SELF WITHIN

THE FRAMEWORK OF SEMIOTIC PHENOMENOLOGY

Elżbieta Magdalena Wąsik 456 SIGNS AND EXISTENCE: THE EXISTENTIAL SEMIOTICS OF

EERO TARASTI BETWEEN EXISTENTIALISM, SEMIOTICS AND PHILOSOPHICAL ANTHROPOLOGY

Roberto Mastroianni 465 A SOLIPSISTIC PARADIGM OF NEW SEMIOTICS IN THE LIGHT

OF EXISTENTIAL PHENOMENOLOGY AND ANTHROPOLOGICAL LINGUISTICS

Zdzisław Wąsik 471

SOCIAL CONSTRUCTION OR UNIVERSAL CULTURAL CONCEPTIONS? AN EPISTEMOLOGICAL RIFT

FOR A SOCIOSEMIOTICS: CENTRIFUGAL AND CENTRIPETAL FORCES

Anti Randviir 481 REVELIO! A (SOCIO-)SEMIOTIC READING OF THE HARRY POTTER SAGA

Gloria Withalm 487 SOCIAL CONSTRUCTION AND IDEOLOGY IN ANIMATION FILMS

Maria Katsaridou 498 NOT NATURAL: AN ARGUMENT FOR THE SOCIAL CONSTRUCTION

OF CINEMATIC SEMIOSIS

Rea Walldén 506 SEMIOTIC SPACE AND BOUNDARIES – BETWEEN SOCIAL

CONSTRUCTIONS AND SEMIOTIC UNIVERSALS

Tiit Remm 517

APPLIED SEMIOTICS

AN OUTLINE FOR A THEORY OF POLITICAL SEMIOTICS

FROM ALBERTI’S WINDOW TO TODAY’S INTERFACE. A SEMIOTIC READING OF THE SEEING METAPHOR IN THE POLITICAL DISCOURSE

Sorin Nicolae Drăgan 530 THE UPRISING OF SOCIAL VALUES AS A STAKE OF THE 2012 GREEK

ELECTIONS CAMPAIGN. FOLLOWERS OF SYRIZA ARE DESIGNING THE NEW POSTERS FOR THEIR PARTY CAMPAIGN

Lazaros Papoutzis, Anastasia Christodoulou, Ifigeneia Vamvakidou, Argyris Kyridis 539 GRAMSCI'S PRISION NOTEBOOKS: A SEMIOTIC APPROACH TO CULTURE?

SEMIOTICS APPLIED TO MARKETING COMMUNICATION

ADVERTISING TOOLS AND TECHNIQUES APPROPRIATED TO CONSTRUCT THE GLOBAL BRAND MR. CLEAN

Carl W. Jones 554 SEMIOTICS AND QUALITATIVE RESEARCH: THE CASE OF FOOD TRENDS

Giacomo Festi 570 INTERACTIONS AND BEAUTY ADVERTISING

Jean Henaff 578 LA PRESENCE DU SILENCE. LE SILENCE COMME OBJET DE VALEUR

DANS LES ESPACES DE PRODUCTION, DE CONSOMMATION

Zeinab Goudarzi 585

MUSICAL SEMIOTICS

NEW MUSICAL SEMIOTICS? INNOVATION THROUGH TRADITION

Gabriele Marino 594 ARTICULATION AS MUSICAL DIMENSION OF TEXT. THE RELATION

BETWEEN WORD AND MUSIC IN SALVATORE SCIARRINO’S WORK

Julia Ponzio 601 ANDREI TARKOVSKY’S MUSICAL OFFERING: THE LAW OF QUOTATION

Julia Shpinitskaya 608 FRANZ LISZT – A DILEMMA OF STYLISTIC INTERFERENCES

Mihaela-Georgiana Balan 617 MUSIC AS A METAPHOR OF LIFE

Sandro Santos da Rosa 629

SEMIOTICS OF CULTURAL HERITAGES

THE LITHUANIAN SINGING REVOLUTION AS CULTURAL HERITAGE AND SOURCE OF SOFT POWER

Dario Martinelli 637 ETUDE SEMIO-CULTURELLE DE LA DANSE QACHQA’I PRATIQUEE EN IRAN

Arsalan Golfam, Ferdows Aghagolzadeh, Hamid Reza Shairi, Reza Rezaei 647 LE TAPIS PERSAN : FIGURE, MATIERE, PRATIQUE DISPOSES A FAIRE SENS

Hamid Reza Shairi, Université Tarbiat Modares, Iran 657

SEMIÓTICA DE LA MARCA / SEMIOTICS OF BRAND

LES MARQUES DE CONSOMMATION ET LES FORMES DE VIE SEMIOTIQUES QUELLES FONCTIONS, QUELLES RELATIONS, QUELLES DEFINITIONS ?

Alain Perusset 668 LA MARCA COMO SIGNO

Antonio Caro 679 SEMIÓTICA DE LA IRRADIACIÓN

Fernando R. Contreras, Pedro A. Hellín Ortuño 684 BRANDOLOGY – NEW GENERATION OF MARKET(ING) KNOWLEDGE

Dimitar Trendafilov, PhD 690 POSICIONAMIENTO VISUAL EN EL CONTEXTO DE UNA ECONOMÍA

GLOBAL- LOCAL: EL CASO DE LOS BANCOS EN CHILE

ROLE NARRATIF DU JINGLE DANS LE RECIT AUTOUR DE LA MARQUE

Mona Ansari 707 SHIFTING FROM CHANNELS AND CODES TO MODES:

A RECONCEPTUALIZATION OF BRAND COMMUNICATION VIA MULTIMODALITY

Oana Culache 717 SEMIOTICS OF BRAND OF PROCTER & GAMBLE PRODUCTS IN A BRAZILIAN MOVIE

Pablo Moreno Fernandes Viana 726

SEMIOTICS OF COLOR

COLOUR AS INTERSEMIOTIC TRANSLATION IN EVERYDAY COMMUNICATION: A SOCIOSEMIOTIC APPROACH

Evangelos Kourdis 736 SEMIOTICS OF COLOUR

Mony Almalech 747 THE SEMIOTIC ABSTRACTION

Russell Daylight 758

SEMIOTICS OF RELIGION

PERFORMATIVES IN RELIGION AND SCIENCE

Borislav Gueorguiev 767 TRANSPERSONAL POETIC COMMUNICATION

Emilia Parpală 774 DEUX NOUVEAUX MODELES DE L’ANALYSE FIGURATIVE ET DE

L’ANALYSE ENONCIATIVE APPLIQUES DANS LA PARABOLE DU BON SAMARITAIN

George Vasilakis 784 DE LA POLYPHONIE RÛMIENNE A LA TRANSCENDANCE MYSTIQUE DU SAMÂ,

CAS D’ETUDE : LE PERROQUET ET LE COMMERÇANT

Marzieh Athari Nikazm 799 THE SEMIOTICS OF RELIGIOUS AMAZEMENT

Marzieh Athari Nikazm 808 BIBLICAL DONKEY

Mony Almalech 816 RELIGIÓN Y POLÍTICA. EL DISCURSO DE LA IGLESIA (ARGENTINA 2001–2003)

Norma Fatala 828 FLESH, METAL, AND VERSE: CULTURES OF VIOLENCE IN

BRAHMANICAL SIGN SYSTEMS AND MEANING

Prasheel Anand Banpur 837 HOW RELIGIOUS ARE THE MODERN ANGLO-AMERICAN PROVERBS:

A LINGUOCULTURAL STUDY

Roumyana Petrova 847 PEDAGOGY AND ENUNCIATION IN RELIGIOUS INTRINSICALLY CODED ACTS.

THE CASE OF THE PASSOVER SEDER

SEMIOTICS OF FOOD

A SENSE OF FORCE AND POWER IN BANQUETING ICONOGRAPHY FROM HARD ROCK AND HEAVY METAL LP AND CD COVERS

Adriano Alves Fiore, Miguel Luiz Contani 864 FEASTING WITH THE OUTLANDER

Francesco Mangiapane 878 TOWARD A SEMIOTICS OF FOOD QUALITY: PERSPECTIVES AND

INTERPRETATIVE CHALLENGES

Giacomo Festi 888 LE PARADOXE DU VIN SELON LES VOYAGEURS OCCIDENTAUX

Mohamed Bernoussi 897 “CON-FUSION CUISINES”: MELTING FOODS AND HYBRID IDENTITIES

Simona Stano 904 COCINA MIGRANTE: HISTORIAS SOBRE LA IDENTIDAD GASTRONÓMICA

(MIGRANT CUISINE: STORIES ABOUT GASTRONOMIC IDENTITY)

Zuly Usme 914

CINEMA AND SEMIOTICS

UNE SÉMIOTIQUE DES ARTS DU SPECTACLE EST-ELLE POSSIBLE ?

André Helbo 923 COMICS IN MOTION: THE INTERSEMIOTIC TRANSLATION OF COMICS INTO FILM

Federico Zecca 929 A QUELLE DISTANCE SOMMES-NOUS DE LA SEMIOLOGIE DU CINEMA ?

François Jost 941 THE ROLE OF SOUND IN FILMIC EXPERIENCE: A COGNITIVE SEMIOTICS APPROACH

Juan Alberto Conde 946 MUSIC IN FILM SEMIOSPHERE: RECONSIDERING KUBRICK’S 2001: A SPACE ODYSSEY

May Kokkidou, Christina Tsigka, Ifigeneia Vamvakidou 958 INNOVATION IN DEFIANCE OF HOLLYWOOD’S “INVISIBLE STYLE”:

JEAN-LUC GODARD’S À BOUT DE SOUFLE (BREATHLESS, 1960)

Nikos P. Terzis 967 ÉNONCIATION AUDIOVISUELLE : FAUT-IL RENIER CHRISTIAN METZ?

Sylvie Périneau 979

DESIGN SEMIOTICS AND POST-STRUCTURALISM

TOWARD A SEMIOTIC ANALYSIS OF TOYS

Mattia Thibault 989 DESIGN SEMIOTICS AND POST-STRUCTURALISM

Melahat Küçükarslan Emiroğlu 999 THE CONCEPT OF SCENARIOS SUPPORTED BY SEMIOTIC CAPABILITY

TO DESIGN A BICYCLE BETWEEN TRADITION AND INNOVATION

Liliana Soares, Ermanno Aparo, Manuel Ribeiro 1005

RESEARCH METHODS FOR EDUCATIONAL SEMIOTICS SYMPOSIUM

THE VALUE OF EDUCATION IN INTERNATIONAL ORGANIZATIONS’

ADVERTISEMENTS: A VISUAL SEMIOTICS-BASED MIXED METHOD RESEARCH APPROACH George Damaskinidis, Anastasia Christodoulou 1013

YOUNG CHILDREN ACCESSING MULTIMODAL TEXTS: A CASE STUDY

Polyxeni Manoli, Maria Papadopoulou 1022

SEMIOTICS OF WEB SURFING AND ITS USERS / SEMIÓTICA DE LA NAVEGACIÓN POR INTERNET Y SUS USUARIOS / SÉMIOTIQUE DE LA NAVIGATION PAR INTERNET ET LEURS USAGERS

ESTRUCTURACIÓN COGNITIVA Y NAVEGACIÓN POR INTERNET EN LOS ADULTOS DE SANTIAGO DE CHILE

Evelyn Campos Acosta 1032 SEMIÓTICA DE LA NUEVA CULTURA DIGITAL Y EL USO DE LAS TAXONOMÍAS

EN EDUCACIÓN

María Loreto Lamas Barrientos 1044 TEORÍA SEMIÓTICA: LÓGICA/CONTRADICCIÓN, CUERPO Y EDADES DE VIDA

Rafael del Villar Muñoz 1051

SOCIOSEMIOTICS

SOCIOSEMIOTICS AND MEDIATIZED PUBLIC SPHERE

EL RELATO ÍNTIMO EN EL MUNDO COMÚN: DEL SINSENTIDO AL SENTIDO EN LOS DISCURSOS AUTOBIOGRÁFICOS DE MUJERES MALTRATADAS

Diana Fernández Romero 1066

SEMIOTICS OF THE CITY

NATIONALIZING KAZAN’: TATAR STATE NATIONALISM AND ARCHITECTURE

Fabio De Leonardis 1076 LES LIMITES DE LA VILLE : ENTRER EN AVION

Gianfranco Marrone 1085 PRETENDING DEMOCRACY. DELEGATION OF AGENCY IN URBAN PLANNING

Gunnar Sandin 1094 CONNOTATIONS OF EQUATED SIGNS IN MODERN URBAN SPACES

Sergio Marilson Kulak, Miguel Luiz Contani, DirceVasconcellos Lopes,

Maria José Guerra de Figueiredo Garcia 1103 RETHINKING THE INTERSECTION BETWEEN SOCIAL NETWORKS,

URBAN TERRITORIES AND EVERYDAY LIFE PRACTICES. A CRITICAL APPROACH TO THE SPREADING OF HASHTAGS IN URBAN STORYTELLING

Paolo Peverini 1113 SMART CITY BETWEEN MYTHOLOGY, POWER CONTROL AND PARTICIPATION

Patrizia Violi 1125 POSTCARDS AS REPRESENTATION OF THE CITY: A VIVID PICTORIAL JOURNEY

Pedro Henrique Cremonez Rosa, Dirce Vasconcellos Lopes 1132 TOWARDS A SEMIOTICS OF SACRED GEOMETRY: ON THE ARCHETYPAL

“ARCHITECTURE OF LIGHT”

Aritia D. Poenaru, Traian D. Stanciulescu 1140 TYPES OF SETS OF ARCHITECTURAL GRAPHICS AND TEXTS IN BULGARIAN

PUBLIC SPACE – XX CENTURY

SEMIOTICS IN THE INTERDISCIPLINARY CONTEXT

FROM TRANSLATION TO SEMIO-TRANSLATION: ORIGINS, EVOLUTION AND METAMORPHOSES

THE POWER OF SILENCE IN INTERLINGUISTIC AND INTERSEMIOTIC TRANSLATION

Caroline Mangerel 1162 FROM TRANSLATION TO SEMIOTRANSLATION

Dinda L. Gorlée 1171 SEMANTIC CONNOTATION IN THE LINGUO-SEMIOTIC RESEARCH

INTO TERMINOLOGICAL LOANWORDS

Olga Lesicka 1180 RAISING AND HOLDING ONE’S HEAD HIGH: A CORPUS-BASED STUDY

OF STYLISTIC, PRAGMATIC AND LEXICAL VARIABILITY OF THE IDIOM IN RUSSIAN, SERBIAN, ENGLISH, AND GERMAN

Pavel Dronov 1189 INTERPRETATION AND ICONICITY IN THE TRANSLATION PROCESS

Susan Petrilli, Augusto Ponzio 1201

SOBRE LA CORPOSFERA: NUEVOS AVANCES EN LAS CARTOGRAFÍAS

DEL CUERPO / ON THE CORPOSPHERE: ADVANCES ON THE CARTOGRAPHIES OF THE BODY

DANCE INTERPRETATIVE SIGNS

Ana Cristina Medellín Gómez 1212 THE BODY AND ITS LIMITS WITH ESCENOSFERA

Benito Cañada Rangel 1221 APROXIMACIÓN SEMIÓTICA A LA VISION DEL CUERPO FEMENINO

EN LA NOVELA COLOMBIANA MANUELA

Laura Cristina Bonilla N., Jhon Janer Vega R. 1228 MAROON SUBVERSIVE AESTHETIC: BASTING OF METAPHORICAL

AFFECTIVE MEMORY

Marisol Cárdenas Oñate 1238

MUSIC, THEATER AND PERFORMANCE IN A GLOBALISED WORLD: A SEMIOTIC APPROACH

THEATRICAL PERFORMATIVITY AND STAGE SIGNIFICATION – THE PERFORMANCE AS A THEATRICAL TEXT

Ivaylo Alexandroff, Ph.D 1249 PLAY AS THE LIMINAL PERFORMATIVE MODALITY OF EXISTENCE.

THE ORIGIN OF ‘FLIGHTS OF FANCY’ ACCORDING TO HENRI LABORIT

Simon Levesque 1258

SEMIOTICS AND NARRATIVE

NEW AUTOBIOGRAPHICAL WRITING: LI NA’S MY LIFE

Anita Kasabova 1268 TRANSMEDIA AND SEMIOTICS, A STRUCTURAL MODEL FOR TRANSMEDIA DYNAMICS

Oscar Bastiaens, Hans Bouwknegt 1279 ADAPTATION OF VIDEO GAMES INTO FILMS: THE ADVENTURES OF THE NARRATIVE

ANALYSE DU DISCOURS DE LA PIECE PALABRAS VERTICALES

(DES MOTS VERTICAUX) DE RAFAEL LOPEZ MALO

María del Socorro Merlín de Pérez Rincón 1296 AUTOFICTION OR WRITING ABOUT ONE’S SELF: AESTHETIC ELEMENTS IN NEW

LITERATURE – CONSIDERED THROUGH THE ANALYSIS OF HERVÉ GUBERT’S WORKS

Miki Okubo 1303 LOGOTYPE AND NARRATIVE

Rumyana Stefanova 1313 IS IT A STORY – OR JUST ARTWORK? GRAPHIC IMAGE AS A NARRATIVE

Silja Nikula 1324 DANCE NARRATOLOGY (SIGHT, SOUND, MOTION AND EMOTION)

Smilen Antonov Savov 1332 SEMIOTIZING HISTORY

Taras Boyko 1340 SOCIO-CULTURAL SIGNS IN POLITICAL DIALOGUE

Veronica Azarova 1346

NEW FORMS OF KNOWLEDGE, OF SOCIAL RELATIONS, AND OF ECONOMIC VALUE IN THE AGE OF THE INTERNET

TOWARD SYSTEMATIZATION OF BASIC SEMIOTIC DISCIPLINES

Ivan Kasabov 1351 CONSUMER RITUALS IN FACEBOOK

Kristian Bankov 1361 MATHEMATICAL SEMIOTICS: A CHALLENGING MEETING PLACE

Paolo Rocchi, 1368 THE IMPACT OF STUDENTS’ CREATIVITY ON BUILDING A SUCCESSFUL

MARKETING COMMUNICATION OF A BRAND IN SOCIAL MEDIA

Yagodina Manova 1375

PENSER SÉMIOTIQUEMENT LE PRÉSENT À L’ÉPOQUE DE L’EXPLOSION

SEMIOTIC ENGINEERING

Assen I. Dimitrov 1385

THE SENSE OF ACTION: DIALOGUES BETWEEN SEMIOTICS AND ANTHROPOLOGY

DOSTOYEVSKY IN CAPE TOWN

Giovanni Spissu 1392 CROSS-CULTURAL DIALOGUE AND THE SEMIOTIC PARADIGM:

NEW PERSPECTIVES FROM ANCIENT SPACES

Matteo Baraldo 1398 HABIT, NORM, RITUAL IN THE LIGHT OF CHARLES PEIRCE’S PRAGMATISM

Reni Yankova 1405 NOW HE TALKS, NOW HE ACTS. VOICE, ACTION AND SUBJECTIVITY

IN TWO CASES OF ASYLUM CLAIMING IN ITALY

NATIONAL AND REGIONAL SEMIOTIC SCHOOLS

CHINESE-WESTERN SEMIOTIC DIALOGUE

A SOCIO-PRAGMATIC ANALYSIS OF CHINESE-ENGLISH CODE-SWITCHING IN ADVERTISING DISCOURSE

Xin Bin, Liu Mimi 1427

TARTU SCHOOL: OLD AND NEW

TOWARDS THE CULTURAL BRANDING MODEL OF THE BRANDOSPHERE: FROM SHARE-OF-MARKET TO SHARE-OF-CULTURAL REPRESENTATIONS

George Rossolatos 1439

SEMIOTICS OF POP-CULTURE – FOCUSING ON THE ANALYSIS AND EFFECTS OF THE JAPAN POP

TRANSLATING JAPANESE-STYLE REPRESENTATIONS IN MANGA AND ANIME TO THE LANGUAGE OF THE WESTERN CULTURE

Hristina Ambareva 1449

SEMIOTICS AND ITS MASTERS

GREIMAS INTERNATIONAL

LA QUETE DES MANIFESTATIONS DE LA STRUCTURE ELEMENTAIRE DE LA SIGNIFICATION (QUELQUES REPERES)

Mariela Crivat-Ionesco, Emmanuel Crivat-Ionesco 1459 ON DEPTH: ONTOLOGICAL IDEOLOGIES AND SEMIOTIC MODELS

Massimo Leone 1464

THE ROOTS OF SEMANALYSIS; JULIA KRISTEVA’S MASTERS IN SEMIOTICS

JULIA KRISTEVA’S SEMANALYSIS AND THE LEGACY OF ÉMILE BENVENISTE

Marga van Mechelen 1473 SEMANALYSIS AND LINGUISTICS IN JULIA KRISTEVA.

LITERARY WRITING, DIALOGUE, STRANGENES

Susan Petrilli, Augusto Ponzio 1481

SEBEOK AS A SEMIOTICIAN. THOMAS A. SEBEOK (BUDAPEST 9 NOVEMBER 1920 – BLOOMINGTON 21 DECEMBER 2001)

THE CONCEPT OF MODEL IN THOMAS A. SEBEOK’S SEMIOTICS

Marcel Danesi 1495 SIGNS AND LIFE IN A LIFE FOR SIGNS. THOMAS A. SEBEOK’S GLOBAL SEMIOTICS

“CON-FUSION CUISINES”:

MELTING FOODS AND HYBRID IDENTITIES

Simona Stano University of Turin, Italy simona.stano@gmail.com

Abstract

The expression “fusion cuisine” is generally used to refer to a style of cooking combining ingredients and techniques from different foodspheres. Asian fusion restaurants, for instance, offer blends of various cuisines of different Asian countries and the culinary traditions of the places where they have become increasingly popular. Similarly, the Tex-Mex cuisine combines the South-western United States culinary system with the Mexican foodsphere, while the Pacific Rim cuisine is based on the mix of different traditions from the various island nations; and so on and so forth. In all these cases, foods based on one culinary culture are prepared using in-gredients, flavours, and techniques inherent to another culture. Consider for instance the case of “Taco Pizza”, a pizza made with cheddar and pepper jack cheese, tomato sauce, refried beans and other common taco components; or that of the so-called “fusion-sushi”, including several variations of rolling maki with different types of rice and ingredients, such as curry and basmati rice, cheese, tomato sauce, raw meat, etc. According to the etymology of the word fusion, the main feature characterising fusion cuisine could be described in terms of a harmonious com-bination of different culinary traditions in order to create innovative and seamless dishes. This has important implications not only on the material side, but also and most importantly with respect to the sociocultural sphere and the symbolic dimension. Far from simply coinciding with material needs or physiological and perceptive processes, nutrition concerns all the various activities, discourses, and images that surround and are associated with it, becoming a form of expression of cultural identity. Sometimes, however, fusion cuisines run the risk to degenerate into “con-fusion cuisines”, causing inevitable clashes between incompatible flavours and tex-tures, and fomenting a chaotic overlapping between different foodspheres and “food identities”. While novelty is certainly commendable, restraint and continuity are also important. The same

concepts of tradition and innovation, moreover, are complex and multifaceted, and need to be further analysed and discussed. Building on the analysis of some specific case studies, chosen for their relevance within the wide range of examples of fusion cuisine, we aim at addressing such issues and investigating the processes of translation between different substances, sensorialities, and eating experiences, focusing on the negotiation of the sense of food in specific situations.

1. What is fusion food?

The expression “fusion cuisine” is generally used to refer to a style of cooking combining ingredients and techniques from different foodspheres.1 Asian fusion restaurants, for instance, offer blends of various cuisines of different Asian countries and the culinary traditions of the places – especially the United States and Europe – where they have become increasingly popu-lar. Similarly, the Tex-Mex cuisine combines the South-western United States culinary system with the Mexican foodsphere, while the Pacific Rim cuisine is based on the mix of different tra-ditions from the various island nations; and so on and so forth. In all these cases, foods based on one culinary culture are prepared using ingredients, flavours, and techniques inherent to another culture. Consider for instance the case of “Taco Pizza”, a pizza made with cheddar and pepper jack cheese, tomato sauce, refried beans, taco chips, lettuce, and other common taco compo-nents. Or that of the so-called “fusion-sushi”, including several variations of rolling maki with different types of rice and ingredients, such as curry, basmati rice, cheese, sauce, raw meat, etc.

But how do the processes of “fusion” between different substances, sensorialities, and eating experiences take place? How is the sense of food negotiated in these situations? And how can we describe such processes in semiotic terms? This paper aims at addressing these issues, build-ing on the analyses of specific case studies chosen for their relevance within the wide range of examples of fusion cuisine.

2. Two case studies: Wok’n roll and Fuzion in Turin (Italy)

Building on previous research (Stano 2014), we decided to deal mainly with sushi, taking into considerations two specific case studies: Wok’n roll and Fuzion in Turin (Italy). Open in 2010, Wok’n roll is ranked among the best noodle and sushi bars in Italy, providing customers with restaurants where they can enjoy food, as well as with takeaway and delivery services. The same facilities are offered by Fuzion, which opened its doors in 2014, combining the Italian cuisine with sushi and other dishes typical of the Eastern foodspheres.

2.1. Wok’n roll

Wok’n roll’s menu – which can be found both at the restaurant and on its website – immedi-ately reveals the predominance of fusion cuisine in the dishes available at the “noodle and sushi bar”.

Fig. 1: Wok’n roll’s menu (first page).

Specifically, fusion emerges on two levels: the map at the bottom of the page (fig. 1) intro-duces the reference to different Asian countries, namely the places where the foods used in the menu come from. This first level of fusion is reiterated by the figures in the right-bottom, evoking a Vietnamese cook and a Japanese waitress, as well as by the figurative elements on its top (i.e. drawings of a statue of the Buddha, a Malaysian tiger, the Itsukushima Shrine and the Mount Fuji in Japan, the Hạ Long Bay in Vietnam, the typical Asian hibiscus flowers, and other common elements referring to Asian culture and settings). The logo introduces a second level of fusion, recalling the Western world. The same could be said for the text, which makes explicit reference to the Italian foodsphere: “Oltre al pesce crudo proponiamo anche rolls con prestigiosi prodotti made in Italy. Avevi mai pensato a un sushi roll con la salsiccia di Bra oppure con il Parmigiano in tempura?” [In addition to raw fish we offer rolls made of excellent Italian products. Have you ever imagined a sushi roll containing Bra sausage or Parmesan tempura?,

our translation.]

Actually the restaurant offers two main types of food products to its guests: as regards to woks, people are able to customise their meal through a three-step process: the choice of (i) the type of pasta and of (ii) the sauce is characterised by the same first level of fusion described above, since all these products refer to one or more Asian culinary traditions. On the contrary, the third step, consisting in choosing (iii) other ingredients and toppings, introduces the second level of fusion, as it includes elements such as Parmesan and other fresh local products.

With sushi, things radically change. First of all, modularity disappears, and costumers are asked to delegate the know-how-to-do they were provided in the case of noodles to the restaurant itself, choosing among the several already set options listed in the menu.

Fig. 3: RIPLEY (on the left) and MEDITERRANEO (on the right) rolls.

Figure 3 shows the RIPLEY (on the left), which is a roll made of rice, raw meat (“cruda di vitello”, which is very popular in Piedmont, the region where Turin is located), lettuce, tempura Parmesan, taggiasca olives (which are typical from Liguria), and lime sauce (substituting the commonly used soy sauce). On the right, we can see the MEDITERRANEO roll, made of sushi rice, Tempura local vegetables, fried mozzarella (which is a typical Italian cheese) and straw-berry aromatic vinegar.

Fig. 4: GALA GALA rolls.

Finally, the GALA GALA (Fig. 4) contains the famous sausage from Bra, usually eaten raw, lettuce, arugula, Parmesan and lime sauce, with an external layer of coloured soy paper (instead of the more common nori).

In these and other cases, different Asian cuisines are mixed (i) among each other and (ii) with the Italian foodsphere. What is more, the extreme variability characterising the Italian cuisine emerges, making reference to different regional traditions. It is also very interesting to note that actually the only unchanged element with respect to the source foodsphere (namely the

Japanese one, where sushi is thought to have originated) is the shape or form in which such a food is served. This is what, building on Hendry’s works (1990a, 1990b, 1993), we (Stano 2014) proposed to describe in terms of a “wrapping structure”, that is, a specific configuration of concentric layers reflecting many aspects of Japanese aesthetics and thought. Attention is paid mainly to maintain such a structure, while ingredients are considered as perfectly interchange-able among each other, provided that they are “shaped” in the right way.

2.2. Fuzion

The visual identity of the restaurant plays a crucial role also in the case of Fuzion. The logo (fig. 5) is particularly interesting: first of all, focusing on the lettering, the inversion of the “N” seems to suggest the idea of reversibility. Both the O, recalling the well-known Japanese cal-ligraphic art, and the initial F, evoking the shape of a shrine or temple, refer to the Japanese semiosphere. The use of green could also be interpreted as a reference to the Japanese culture and the importance it confers to nature (cf. Stano 2014 and in print). Moreover, polychromy suggests the idea of variety. However, the uniformity of the second and third lines stresses com-plementarity, as the verbal text clearly states: “ASIAN AND MEDITERRANEAN MELTING FOOD.”2

Fig. 5: Fuzion’s logo.

With respect to the menu (fig. 6), modularity embraces in this case also sushi. People are invited to create their own menu, through a two-step process always recalling the previously mentioned second (or third, if we consider also the reference to the Italian regional cuisines)-level process of fusion.

Costumers can choose their favourite base for pizza (plain or with tomato, but always in the typical Roman type “by the slice”) or sushi (with rice or mixed cereals) and then add their favourite ingredients (vegetables, toppings, and sauces). More extended sections, however, pro-vide consumers with already set options for “traditional” or “fusion” pizza and sushi (which, although erroneously, is always referred to as uramaki, regardless of its actual configuration, generally actually coinciding with hosomaki3 or futomaki4).

Fig. 7: CRI CRI, BUFFALO BILL, JULIA ROLL, CHICKEN TAGGIASCHE and

SMOKE SABA rolls.

Figure 7 shows the CRI CRI roll, which is made of sushi rice, raw meat, cheese cream, one fresh local vegetable (chosen among the available options by costumers), arugula, “Japanese mayonnaise”, and tempura grains. BUFFALO BILL contains sushi rice, buffalo sausage, cheese cream, lettuce and citronette. The JULIA ROLL includes carne salada (i.e. marinated meat typical from Trentino), Parmesan, arugula, truffle cream (since truffles are also typical from the North of Italy, especially Piedmont), and citronette. In CHICKEN TAGGIASCHE roll mixed cereals substitute rice, and Asian spices and sauces are used. Finally, the SMOKE SABA roll includes also the typical Sicilian tomato (ciliegino di Pachino) and smoked mackerel. In all these cases, moreover, nori is generally substituted by thin coloured soy paper, and rice is short grain but grown in Italy.

Fig. 8: SALMON JAP pizza.

Finally, at Fuzion, fusion extends to pizza. Among the various cases that can be cited, figure 8 shows the popular SALMON JAP pizza, which is made of a plain base with marinated salmon, soy aromatic vinegar, gomasio5 and goma wake6 on the top. Exactly as for Wok’n roll, both in this case and as regards to the previously analysed sushi rolls, no matter which ingredients are used and “melt”, provided that the typical structural configuration of foods remains unaltered.

3. Conclusion

According to the etymology of the word fusion (from Latin fusus, past participle of fundere, “to pour, to melt”), the main feature characterising fusion cuisine could be described in terms of a harmonious combination of different culinary traditions in order to create innovative and seamless dishes. Modularity is in this sense crucial, because, as previously discussed, it high-lights the possibility of creating several combinations with specific ingredients introducing dif-ferent layers of fusion. These combinations have important implications not only on the material side, but also and most importantly with respect to the sociocultural sphere and the symbolic dimension. Far from simply coinciding with material needs or physiological and perceptive pro-cesses, nutrition concerns all the various activities, discourses, and images that surround and are associated with it, becoming a form of expression of cultural identity (cf. Barthes 1961; Lévi-Strauss 1965; Montanari 2006; Pezzini 2001). While novelty is certainly commendable, therefore, restraints and continuity are also important. This is where the importance of pre-set fixed options emerges, stressing the role of the providers (namely, the addressers) of the eating experience as regards to the competence – i.e. the previously mentioned know-how-to-do – re-quired to establish such combinations.

Making reference to a well-known model mainly used in linguistics but afterwards expanded to other domains of knowledge, we could describe the “food continuum”, intended as an amor-phous sequence of ingredients that can be used to create different combinations, in terms of

expression-purport (Hjelmslev 1943). Through the existence of an expression-form (which exists

by virtue of being connected with a content-form and which organises the expression-purport), such expression-purport is formed into an expression-substance, that is, a specific sequence of ingredients. The expression-form, therefore, can be described in terms of the models or rules by which specific combinations are carved up and selected from all the possible associations. Building on these considerations, what can be said about these models or rules with respect to the here considered cases? What are the dynamics carving up the analysed “fusion” com-binations? The previously described cases seem to stress the importance of mechanisms that, adopting a Greimasian terminology, we could describe in terms of lie or illusion (Courtés 1976; Greimas 1989): de-composing foods in unitary constituents, they claim to replace them with elements from other foodspheres, provided that the general structural configuration of food remains unaltered. In other words, the functioning mechanism of the considered examples is “it

seems sushi, but it is not”, “it seems pizza, but it is not”, and so on and so forth. But how could a

lie generate the euphoric state and positive sanction expected in the case of fusion foods eaten at restaurants? How could these mechanisms enhance curiosity instead of provoking disgust? In other words, how can they foster innovation instead of causing rejection?

A first point requires us to consider the intrinsic nature of the eating experience, which does not rely on depth and funded knowledge, but rather on superficial curiosity and simulation. As Franco La Cecla (1997), Roland Barthes (1961) and other scholars remind us, food can be con-sidered an easily crossable frontier, where alterity assumes the form of an exotic and “palatable” experience. Such an experience is always based on simulation, since even what is presented as authentic and traditional is itself the result of an internal look somehow imitating the external look whose “taste” it has to match. This is why food seems particularly compatible with such “lying mechanisms”, which introduce elements of innovation by hiding them under already es-tablished forms of expression. Normalisation processes thereafter make novelty slowly become part of tradition, and what is unknown become part of what is known and usual.

This recalls Giulia Ceriani’s distinction (2004) between contamination and fusion. Building on the dictionarial definition of these concepts, the Italian semiotician distinguishes them on the base of the semantic opposition “multiplicity/uniqueness”. Favouring the first pole in this

opposition, contamination works by juxtaposing and putting together different elements, there-fore making all the constituents of the final object recognisable – even though, the sense arises only from the union of these elements, as in any form of bricolage (Lévi-Strauss 1962; Floch 1986, 1990, 2006). Fusion favours instead the second pole of the opposition, opting for the nom-ination of a new object replacing those that gave origin to it. Whilst the first case establishes a sort of equilibrium among the different elements assembled together, the latter is characterised by a substitution creating a new form through the elimination of the pre-existing ones, without leaving any trace of this process. Continuity therefore replaces in this case discontinuity, and conjunction supplants disjunction, reducing the polyphonic heterogeneity of contamination to the hierarchized structure of components obtained through fusion. After describing these mod-els, Ceriani identifies fashion with contamination, and food with fusion.

By contrast, the previously analysed examples seem to partially contradict such a classifica-tion, pointing out the “lying” mechanisms underlying fusion cuisines and the crucial role played in them by discontinuous structural configurations. It seems to us that this contradiction can be explained by making reference to Landowski’s model (1997) for the description of the interac-tions between identity and alterity. According to the French scholar, with assimilation the Other is disqualified as a subject: “its” singularity does not refer to any formal identity and its alterity is reduced to one’s own identity, so that it can be integrated into the environment by “absorbing” it. Such a process of standardisation and “ingestion” of the Other by the Self is strongly centripetal, leading Landowski to describe it in terms of a conjunction of identities. On the contrary,

exclu-sion denies the Other as such through confinement and elimination, not in a reasoned

connec-tion (as in assimilaconnec-tion), but in a more passionate relaconnec-tionship. The shared feature of these two configurations is that otherness, faced with a referential consistent identity, is always conceived as a threatening difference coming from the outside. However, unlike assimilation, exclusion is based on a centrifugal movement, implying a disjunction of identities. In segregation

(non-conjunction), the Other is recognised in spite of “his” difference, but still with a fundamental

am-bivalence between the inability to assimilate him and the refusal to exclude him. Only admission (non-disjunction) leads to a permanent construction of a multicultural collective subject, since differences are in this case attested and accepted, promoting a real encounter between identity and alterity.

Even though exclusion and segregation are in any case excluded – since the consumption of the meal at the restaurant always implies the establishment of a contract proving customers’ openness (or at least their curiosity) toward alterity – admission is not compulsory. Research (Greco and Zittoun 2014; Greco in press) has shown that home-cooked ethnic foods tend to favour the establishment of multicultural collective subjects unceasingly reshaping food gram-mars by replacing pre-existing units with new foods resulting from their combination – leading to what Ceriani would properly call “fusion” cuisines. By contrast, in all the observed cases, the conjunction between different foodspheres is reduced to assimilation, since otherness is “in-gested” by the local Self and curbed into the previously described “lying” structures. The nego-tiation of the sense of food between and across different foodspheres is in these cases reduced to simple structural models, disregarding the essential synesthetic nature of the eating experience. In fact, eating implies diverse sensorialities, which are just partially subjective and physiologi-cal, and mainly intersubjective and socially determined (cf. Perullo 2008). Therefore, the senso-rial and cultural specificity of the eating experience makes it impossible to reduce it to simple processes of de-structuration and de-composition of foods in individual unities considered as interchangeable among themselves. This is precisely where the importance of the delimitation of possible ingredients or combinations – that is, the centrality of the addresser of the eating experience – arises, as we previously discussed. But it is also where a fundamental, still open

issue emerges, running the risk to leave a bad taste in the mouths of fusion foods’ promoters: to what extent fusion cuisines really enhance sensorial and cultural share and encounter? And to what extent, by contrast, don’t they risk degenerating into “con-fusion cuisines”, causing inevi-table clashes between incompatible flavours and textures, and fomenting a chaotic overlapping between different foodspheres and “food identities”?

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(Endnotes)

1 _{The term} foodsphere (firstly introduced in Stano 2014) is here used to make reference to the concept of “ali-mentary semiosphere”, therefore stressing the inherently cultural and semiotic nature of the food system. 2 _{It is also worthwhile to remark that, unlike Wok’N Roll, Fuzion provides customers with both chopsticks and} the common Western cutlery, allowing them to choose their favourite tool, also depending on the type of food they choose to eat.

3Hosomaki (細巻, “thin rolls”) is a small (0.8-1 in / 2-2.5 cm in diameter) cylindrical piece, with nori on the out-side, generally containing only one filling (cucumber – Kappamaki –, raw tuna – Tekkamaki –, kanpyō, avocado, or sliced carrots or cucumber). For more detailed information, see Detrick 1981; Hosking 1995; Ashkenazi and Jacob 2000; Barber 2002; Dekura, Treloar and Yoshii 2004; Lowry 2005; Mouritsen 2009; Zschock 2009; Minis-try of Foreign Affairs of Japan 2012.

4Futomaki (太巻, “thick, large, or fat rolls”) is a large (2-2.5 in / 5-6 cm in diameter) cylindrical piece, wrapped in nori, often made with two, three, or more fillings chosen for their complementary tastes and colours. For more detailed information, see Detrick 1981; Hosking 1995; Ashkenazi and Jacob 2000; Barber 2002; Dekura, Treloar and Yoshii 2004; Lowry 2005; Mouritsen 2009; Zschock 2009; Ministry of Foreign Affairs of Japan 2012.

5Gomasio (ごま塩) or gomashio is a dry condiment made from unshelled sesame seeds (ごま, goma) and salt (

塩, shio). It is often used in Japanese cuisine, sometimes being sprinkled over plain rice or on sushi. 6 Edible seaweeds.