noosign

From Ancient Greek νοῦς (noûs) +‎ sign.

• IPA^(key): /ˈnoʊ.oʊ.saɪn/

noosign (plural noosigns)

1. (film theory) A concept that represents the manifestation of thought within cinema. Gilles Deleuze introduced this term in his work to describe how films can express intellectual ideas and processes beyond mere visual representation.

   Coordinate terms: chronosign, hyalosign, lectosign, opsign, sonsign, tactisign

   • 1989, Gilles Deleuze, translated by Hugh Tomlinson and Robert Galeta, Cinema 2: the Time-Image, Minneapolis: University of Minnesota Press, translation of Cinéma 2, L’Image-temps (in French), page 100:

     Thus chronosigns are continually extended into lectosigns and noosigns.

   • 2003 fall, Charles J. Stivale, “Review of Deleuze on Cinema, by R. Bogue”, in JSTOR, volume 45, number 4, page 531:

     Suffice it to say that to each of these technical and cinematic details, Deleuze (and Bogue) juxtapose new concepts—crystalline states for the hyalosigns; sheets of past, peaks of present, and powers of the false for chronosigns; linked to the latter, the power of the outside and the interstice for noosigns; and also linked to chronosigns, silent and audible lectosigns as well as the modern dimension of the time-image as "archeological, stratigraphic, and tectonic"

   • 2013 September, Dragan Milovanovic, “Postmodernism and Thinking Quantum Holographically”, in Critical Criminology, volume 23, page 354:

     For example, envisioning the legal arena as a noosphere replete with legal noosigns that are restrictive and system generating in their social constructions, leads to new research agendas. C