no meaning sign

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(a negative used to express dissent, denial, or refusal, as in response to a question or request): “Have you done the dishes yet?” “No, not yet.”

(used to emphasize or introduce a negative statement): Not a single person came to the party, no, not a one.

not in any degree or manner; not at all (used with a comparative): He is no better.

(used as an expression of disapproval, shock, disbelief, dismay, etc.): Oh no, my pancakes are burning! “He moved away after he graduated.” “No! I was sure he'd be the one who stuck around.”

not a (used before a noun or a noun and its modifiers to convey the opposite meaning): She's no beginner on the ski slopes. His recovery was no small miracle.

an utterance of the word “no.”

a denial or refusal: He responded with a definite no.

a negative vote or voter: The noes have it.

to reject, refuse approval, or express disapproval of: I would have noed this plan for its lack of forethought if you'd told me about it.

to express disapproval.

Idioms about no

no can do , Informal . it can't be done.

Origin of no

Words nearby no.

• no accounting for tastes, there's

Other definitions for no (2 of 7)

not any: no money.

not at all; far from being: He is no genius.

very little; negligible : We got her to the hospital in no time.

Other definitions for No (3 of 7)

Lake, a lake in the Sudd region of S central Sudan, formed by the floodwaters of the White Nile. About 40 sq. mi. (100 sq. km).

Other definitions for No (4 of 7)

Other definitions for nō (5 of 7).

classic drama of Japan, developed chiefly in the 14th century, employing verse, prose, choral song, and dance in highly conventionalized formal and thematic patterns derived from religious sources and folk myths.

Origin of Nō

• Also called Nogaku .
• Compare kabuki .

Other definitions for no. (6 of 7)

Other definitions for n/o (7 of 7).

registered .

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2024

How to use no in a sentence

Or has the see and hear and speak- no -evil stance of the Republican House persuaded him that he is in the clear?

These days, plenty of women are turning to online sites for no -frills male companionship.

Riffing off the slogan “Now Everyone Can Fly,” the carrier offered no -frills flights that were both cheap and plentiful.

And why would its ostensible spokesperson refuse to answer yes/ no questions about them?

Because Wright was a no -show in criminal court to face the loud music and pot bust he already had an outstanding warrant.

My no . 4239 addressed to Maxwell and repeated to you was sent before receiving your telegram under reply.

He was a new breed, that parson, a genuwine no -two-alike, come-one-in-a-box kind.

A pupil had loaned money to a horse-dealer who lived at no . 715 of a certain street.

Papa, can't I go to the zoologerical rooms to see the camomile fight the rhy- no -sir-ee-hoss?

On her hand was one large pustulous sore, which resembled that delinated in Plate no . 1.

British Dictionary definitions for no (1 of 9)

/ ( nəʊ ) /

used to express denial, disagreement, refusal, disapproval, disbelief, or acknowledgment of negative statements

used with question intonation to query a previous negative statement, as in disbelief : Alfred isn't dead yet. No?

an answer or vote of no

(often plural) a person who votes in the negative

the noes have it there is a majority of votes in the negative

not take no for an answer to continue in a course of action despite refusals

• Compare yes , aye 2

British Dictionary definitions for no (2 of 9)

not any, not a, or not one : there's no money left ; no card in the file

not by a long way; not at all : she's no youngster

( followed by comparative adjectives and adverbs ) not : no fewer than forty men ; no more quickly than before

no go See go 1 (def. 74)

British Dictionary definitions for no (3 of 9)

British dictionary definitions for no' (4 of 9).

/ ( no , nəʊ ) /

British Dictionary definitions for No (5 of 9)

the stylized classic drama of Japan, developed in the 15th century or earlier, using music, dancing, chanting, elaborate costumes, and themes from religious stories or myths

Origin of No

British dictionary definitions for no (6 of 9).

Lake No a lake in South Sudan, where the Bahr el Jebel (White Nile) is joined by the Bahr el Ghazal. Area: about 103 sq km (40 sq miles)

British Dictionary definitions for No (7 of 9)

British dictionary definitions for n.o. (8 of 9).

/ cricket /

British Dictionary definitions for No. (9 of 9)

Also: no plural Nos or nos number

Origin of No.

Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

Scientific definitions for No

The American Heritage® Science Dictionary Copyright © 2011. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Other Idioms and Phrases with no

In addition to the idioms beginning with no

• no call for
• nodding acquaintance
• no flies on one
• no fool like an old fool, there's
• no great shakes
• no hard feelings
• no holds barred
• no ifs or buts
• no love lost
• no man is an island
• no matter how you slice it
• none of one's business
• none of the above
• none other than
• none the wiser
• none the worse for
• no news is good news
• no pain, no gain
• nose in a book, have one's
• nose in the air, have one's
• nose out of joint, have one's
• nose to the grindstone, keep one's
• no skin off one's nose
• no smoke without fire, there's
• no sooner said than done
• no spring chicken
• no stomach for, have
• no strings attached
• no such thing
• no thanks to
• no time at all
• no time for, have
• no time like the present, there's
• no two ways about it
• no use crying over spilt milk
• no use, it's
• all talk (and no action)
• all work and no play
• by no means
• close but no cigar
• come to an end (to no good)
• do any (no) good
• feel no pain
• hell has no fury
• hold no brief for
• in no uncertain terms
• leave no stone unturned
• less than (no time)
• long time no see
• lose (no) time
• make no bones about
• make no difference
• make no mistake
• money is no object
• none of one's (have no) business
• point of no return
• pull no punches
• rolling stone gathers no moss
• shadow of a doubt, no
• take no for an answer
• there's no telling
• to little (no) purpose
• to no avail
• under any (no) circumstances
• up to no good

The American Heritage® Idioms Dictionary Copyright © 2002, 2001, 1995 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company.

"No" in sign language

This entry shows how to sign 'no' in sign language and a little cute theory why it's signed that way. In another video far below, the baby learned to say no.

ASL signs for "no"

How do you say "no" in American Sign Language for beginners?

Meaning: Definition: Used to give a negative response; the opposite of yes.

Pronunciation (sign description): Dominant hand held in space with palm facing outward, first two fingers (index finger and middle finger together) tap with the thumb twice. The tap movement is sometimes once, sometimes twice, sometimes plural, depending on the contexts.

There are inflections of this signed word for other meanings, such as exclamation like "no!"

Did you know that the ASL sign "NO" was derived from the fingerspelled loan. This lexicalized sign was evolved into the ASL sign.

Other "No" signs

Here is a few more signs used by advanced and fluent signers.

This can mean "no" in euphemism, "don't do it", and other nuances.

Pronunciation (sign description): waving hand, palm orientation facing outward with the "oo" mouth morpheme, and shaking head.

In some contexts, the "no" response can be a bit harsh with this sign. The sign glossed as "NO-wave" is the euphemism. Or, it can be used properly in contexts.

Used with a very strong emphasis, typically among Deaf signers.

Shaking head is a common interjection used too. Head shaking doesn't just convey "no"; various movements along with facial expressions (intonation) also can convey other nuances of meanings, like "no way", "impossible", "doubtful", and other subtleties.

Related signs: NONE , NOT , NOPE , NIX .

Opposite: YES .

Baby/Toddler signing "no"

Children develop at different pace and with different strategies, but milestones are consistent regardless of sign language or speech language. Watch the video showing how the baby "Juli" acquired the signed word 'no' in early language acquisition in ASL.

In the video at age 1;5, the baby expressed a way other than the ASL word, such as body language or gesture. At 1;6, she recognized the written English word "no" in a kid book and uttered the ASL sign "no" which was not produced fully yet. At 1;9, the mother and the toddler responded at the same time. At age 1;11, as she lay down, she said in ASL, "I say/tell no".

Kids say the darnedest things

Nine-year-old bilingual ASL-speaking kid has got a little hypothetical question.

Translation: If the ASL word YES moves up/down, then why doesn't the ASL word/sign NO move sideways?

This kid's thought wasn't the first time. There had been some people here and there who had the same wonder, including myself in my early life. It's a natural logic.

So, in case you might wonder why the ASL sign for NO is this way. Hypothetically, 1) It's the phonetic thing (nothing to do with sound but to do with the brain and its linguistic processing). The sign NO is more efficient this way than the shaking "S" handshape. It's a natural language thing.

Etymology: Did you know that this ASL sign, which looks very much a non-fingerspelled form itself, was actually lexicalized from two fingerspelled N and O? It was a loanword but nobody could thought of it as a loanword.

[Note: ASL writing is not an official standard. This sign language writing remains in a state of open space to allow room for experiment, evolution, and improvement.]

Written ASL digit for "NO" contributed by the ASLwrite community, 2018.

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Meaning of no. – Learner’s Dictionary

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no exclamation ( DISAGREE )

• "Did you like it then?" "Not really, no."
• She said very little beyond the occasional 'yes' and 'no'.
• "Are you sure you don't mind taking me?" "No, it's no bother , really!"
• Everybody who was asked , myself excepted , said no.
• It's likely that he'll say no.

no exclamation ( AGREE )

No determiner ( not any ).

• The enquiry found no evidence of financial impropriety .
• My next guest needs no introduction .
• I'm sure she meant no offence by her remarks .
• We didn't want to dismiss him, but we had no option .
• After the public protests the government had no alternative but to change its policy .

no determiner ( FORBID )

• No more than ten people should use the lift at any one time .
• The new drug is no more effective than the old one.
• The train is no quicker than the bus .
• Her new house is no bigger than her previous one.
• Please return the form no later than ten days after receipt .

(Definition of no. from the Cambridge Learner's Dictionary © Cambridge University Press)

Translations of no.

Get a quick, free translation!

Word of the Day

the nuts and bolts

the practical facts about a particular thing, rather than theories or ideas about it

Shoots, blooms and blossom: talking about plants

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show no sign / signs of

Definition of show no sign / signs of, examples of show no sign / signs of in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'show no sign/signs of.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Dictionary Entries Near show no sign / signs of

show no mercy

show no sign/signs of

Cite this Entry

“Show no sign/signs of.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/show%20no%20sign%2Fsigns%20of. Accessed 3 Apr. 2024.

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No in Sign Language

Learn how to sign no – it’s helpful in redirecting a child and giving them a little control over their own environment too!

1. Bring one hand up about shoulder height. Connect the pointer and middle finger and extend the thumb out, while tucking the remaining fingers into the palm. 2. Tap the fingertips of the pointer and middle finger to the thumb. 3. You can shake your head no as you do this sign. 4. Tip: you can use body language, tone of voice, and facial expressions to stress how much you mean no. For instance, if your child is doing something silly and you want him to stop, your use of no will be much more lighthearted than if you are stopping a dangerous or rude action.

Teaching Tips:

• Play a little game of yes and no. Say, “Do you like _________?” and have your child sign yes or no. Start with easy items – like favorite foods to elicit a yes and least favorite foods to elicit a no. You make this as silly as you want to!
• Signing with babies and toddlers are a good way to support safe choices. If you have to remove a child from an unsafe space or activity (such as the edge of the stairs or an outlet), gently redirect them while signing, “No”. Follow up with an explanation, “That’s not safe”.

Transcript: No. Close two fingers to your thumb, like they’re saying no. No, no, no!

Download the Flashcard (click on the image. The file contains a few color and black-and-white options. Print according to your needs.)

Want to improve your family’s signing? Learn more with our fun lessons.

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Semiotics for Beginners

Daniel chandler.

The two dominant models of what constitutes a sign are those of the linguist Ferdinand de Saussure and the philosopher Charles Sanders Peirce. These will be discussed in turn.

Saussure offered a 'dyadic' or two-part model of the sign. He defined a sign as being composed of:

• a 'signifier' ( signifiant ) - the form which the sign takes; and
• the 'signified' ( signifi� ) - the concept it represents.

If we take a linguistic example, the word 'Open' (when it is invested with meaning by someone who encounters it on a shop doorway) is a sign consisting of:

• a signifier : the word open ;
• a signified concept : that the shop is open for business.

A sign must have both a signifier and a signified. You cannot have a totally meaningless signifier or a completely formless signified ( Saussure 1983, 101 ; Saussure 1974, 102-103 ). A sign is a recognizable combination of a signifier with a particular signified. The same signifier (the word 'open') could stand for a different signified (and thus be a different sign) if it were on a push-button inside a lift ('push to open door'). Similarly, many signifiers could stand for the concept 'open' (for instance, on top of a packing carton, a small outline of a box with an open flap for 'open this end') - again, with each unique pairing constituting a different sign.

Saussure was focusing on the linguistic sign (such as a word) and he 'phonocentrically' privileged the spoken word , referring specifically to the image acoustique ('sound-image' or 'sound pattern'), seeing writing as a separate, secondary, dependent but comparable sign system ( Saussure 1983, 15, 24-25, 117 ; Saussure 1974, 15, 16, 23-24, 119 ). Within the ('separate') system of written signs, a signifier such as the written letter 't' signified a sound in the primary sign system of language (and thus a written word would also signify a sound rather than a concept). Thus for Saussure, writing relates to speech as signifier to signified. Most subsequent theorists who have adopted Saussure's model are content to refer to the form of linguistic signs as either spoken or written. We will return later to the issue of the post-Saussurean 'rematerialization' of the sign.

As for the signified , most commentators who adopt Saussure's model still treat this as a mental construct, although they often note that it may nevertheless refer indirectly to things in the world. Saussure's original model of the sign 'brackets the referent': excluding reference to objects existing in the world. His signified is not to be identified directly with a referent but is a concept in the mind - not a thing but the notion of a thing. Some people may wonder why Saussure's model of the sign refers only to a concept and not to a thing. An observation from the philosopher Susanne Langer (who was not referring to Saussure's theories) may be useful here. Note that like most contemporary commentators, Langer uses the term 'symbol' to refer to the linguistic sign (a term which Saussure himself avoided): 'Symbols are not proxy for their objects but are vehicles for the conception of objects ... In talking about things we have conceptions of them, not the things themselves; and it is the conceptions, not the things, that symbols directly mean . Behaviour towards conceptions is what words normally evoke; this is the typical process of thinking'. She adds that 'If I say "Napoleon", you do not bow to the conqueror of Europe as though I had introduced him, but merely think of him' (Langer 1951, 61) .

Thus, for Saussure the linguistic sign is wholly immaterial - although he disliked referring to it as 'abstract' ( Saussure 1983, 15 ; Saussure 1974, 15 ). The immateriality of the Saussurean sign is a feature which tends to be neglected in many popular commentaries. If the notion seems strange, we need to remind ourselves that words have no value in themselves - that is their value. Saussure noted that it is not the metal in a coin that fixes its value ( Saussure 1983, 117 ; Saussure 1974, 118 ). Several reasons could be offered for this. For instance, if linguistic signs drew attention to their materiality this would hinder their communicative transparency (Langer 1951, 73) . Furthermore, being immaterial, language is an extraordinarily economical medium and words are always ready-to-hand. Nevertheless, a principled argument can be made for the revaluation of the materiality of the sign, as we shall see in due course.

Saussure noted that his choice of the terms signifier and signified helped to indicate 'the distinction which separates each from the other' ( Saussure 1983, 67 ; Saussure 1974, 67 ). Despite this, and the horizontal bar in his diagram of the sign, Saussure stressed that sound and thought (or the signifier and the signified) were as inseparable as the two sides of a piece of paper ( Saussure 1983, 111 ; Saussure 1974, 113 ). They were 'intimately linked' in the mind 'by an associative link' - 'each triggers the other' ( Saussure 1983, 66 ; Saussure 1974, 66 ). Saussure presented these elements as wholly interdependent, neither pre-existing the other (Silverman 1983, 103) . Within the context of spoken language, a sign could not consist of sound without sense or of sense without sound. He used the two arrows in the diagram to suggest their interaction. The bar and the opposition nevertheless suggests that the signifier and the signified can be distinguished for analytical purposes. Poststructuralist theorists criticize the clear distinction which the Saussurean bar seems to suggest between the signifier and the signified; they seek to blur or erase it in order to reconfigure the sign or structural relations. Some theorists have argued that 'the signifier is always separated from the signified... and has a real autonomy' (Lechte 1994, 68), a point to which we will return in discussing the arbitrariness of the sign. Commonsense tends to insist that the signified takes precedence over, and pre-exists, the signifier: 'look after the sense', quipped Lewis Carroll, 'and the sounds will take care of themselves' ( Alice's Adventures in Wonderland , chapter 9). However, in dramatic contrast, post-Saussurean theorists have seen the model as implicitly granting primacy to the signifier , thus reversing the commonsensical position.

Louis Hjelmslev used the terms 'expression' and 'content' to refer to the signifier and signified respectively (Hjelmslev 1961, 47ff) . The distinction between signifier and signified has sometimes been equated to the familiar dualism of 'form and content'. Within such a framework the signifier is seen as the form of the sign and the signified as the content . However, the metaphor of form as a 'container' is problematic, tending to support the equation of content with meaning , implying that meaning can be 'extracted' without an active process of interpretation and that form is not in itself meaningful (Chandler 1995 104-6) .

Saussure argued that signs only make sense as part of a formal, generalized and abstract system. His conception of meaning was purely structural and relational rather than referential : primacy is given to relationships rather than to things (the meaning of signs was seen as lying in their systematic relation to each other rather than deriving from any inherent features of signifiers or any reference to material things). Saussure did not define signs in terms of some 'essential' or intrinsic nature. For Saussure, signs refer primarily to each other. Within the language system, 'everything depends on relations' ( Saussure 1983, 121 ; Saussure 1974, 122 ). No sign makes sense on its own but only in relation to other signs. Both signifier and signified are purely relational entities ( Saussure 1983, 118 ; Saussure 1974, 120 ). This notion can be hard to understand since we may feel that an individual word such as 'tree' does have some meaning for us, but its meaning depends on its context in relation to the other words with which it is used.

What Saussure refers to as the 'value' of a sign depends on its relations with other signs within the system - a sign has no 'absolute' value independent of this context ( Saussure 1983, 80 ; Saussure 1974, 80 ). Saussure uses an analogy with the game of chess, noting that the value of each piece depends on its position on the chessboard ( Saussure 1983, 88 ; Saussure 1974, 88 ). The sign is more than the sum of its parts. Whilst signification - what is signified - clearly depends on the relationship between the two parts of the sign, the value of a sign is determined by the relationships between the sign and other signs within the system as a whole ( Saussure 1983, 112-113 ; Saussure 1974, 114 ).

As an example of the distinction between signification and value, Saussure notes that 'The French word mouton may have the same meaning as the English word sheep ; but it does not have the same value. There are various reasons for this, but in particular the fact that the English word for the meat of this animal, as prepared and served for a meal, is not sheep but mutton . The difference in value between sheep and mouton hinges on the fact that in English there is also another word mutton for the meat, whereas mouton in French covers both' ( Saussure 1983, 114 ; Saussure 1974, 115-116 ).

Saussure's relational conception of meaning was specifically differential : he emphasized the differences between signs. Language for him was a system of functional differences and oppositions. 'In a language, as in every other semiological system, what distinguishes a sign is what constitutes it' ( Saussure 1983, 119 ; Saussure 1974, 121 ). As John Sturrock points out, 'a one-term language is an impossibility because its single term could be applied to everything and differentiate nothing; it requires at least one other term to give it definition' (Sturrock 1979, 10) . Advertising furnishes a good example of this notion, since what matters in 'positioning' a product is not the relationship of advertising signifiers to real-world referents, but the differentiation of each sign from the others to which it is related. Saussure's concept of the relational identity of signs is at the heart of structuralist theory. Structuralist analysis focuses on the structural relations which are functional in the signifying system at a particular moment in history. 'Relations are important for what they can explain: meaningful contrasts and permitted or forbidden combinations' (Culler 1975, 14) .

Saussure emphasized in particular negative , oppositional differences between signs, and the key relationships in structuralist analysis are binary oppositions (such as nature/culture , life/death ). Saussure argued that 'concepts... are defined not positively, in terms of their content, but negatively by contrast with other items in the same system. What characterizes each most exactly is being whatever the others are not ' ( Saussure 1983, 115 ; Saussure 1974, 117 ; my emphasis). This notion may initially seem mystifying if not perverse, but the concept of negative differentiation becomes clearer if we consider how we might teach someone who did not share our language what we mean by the term 'red'. We would be unlikely to make our point by simply showing them a range of different objects which all happened to be red - we would be probably do better to single out a red object from a sets of objects which were identical in all respects except colour. Although Saussure focuses on speech, he also noted that in writing, 'the values of the letter are purely negative and differential' - all we need to be able to do is to distinguish one letter from another ( Saussure 1983, 118 ; Saussure 1974, 119-120 ). As for his emphasis on negative differences, Saussure remarks that although both the signified and the signifier are purely differential and negative when considered separately, the sign in which they are combined is a positive term. He adds that 'the moment we compare one sign with another as positive combinations, the term difference should be dropped... Two signs... are not different from each other, but only distinct. They are simply in opposition to each other. The entire mechanism of language... is based on oppositions of this kind and upon the phonic and conceptual differences they involve' ( Saussure 1983, 119 ; Saussure 1974, 120-121 ).

Although the signifier is treated by its users as 'standing for' the signified, Saussurean semioticians emphasize that there is no necessary, intrinsic, direct or inevitable relationship between the signifier and the signified. Saussure stressed the arbitrariness of the sign ( Saussure 1983, 67, 78 ; Saussure 1974, 67, 78 ) - more specifically the arbitrariness of the link between the signifier and the signified ( Saussure 1983, 67 ; Saussure 1974, 67 ). He was focusing on linguistic signs, seeing language as the most important sign system; for Saussure, the arbitrary nature of the sign was the first principle of language ( Saussure 1983, 67 ; Saussure 1974, 67 ) - arbitrariness was identified later by Charles Hockett as a key 'design feature' of language ( Hockett 1958 ; Hockett 1960 ; Hockett 1965 ). The feature of arbitrariness may indeed help to account for the extraordinary versatility of language (Lyons 1977, 71) . In the context of natural language, Saussure stressed that there is no inherent, essential, 'transparent', self-evident or 'natural' connection between the signifier and the signified - between the sound or shape of a word and the concept to which it refers ( Saussure 1983, 67, 68-69, 76, 111, 117 ; Saussure 1974, 67, 69, 76, 113, 119 ). Note that Saussure himself avoids directly relating the principle of arbitrariness to the relationship between language and an external world, but that subsequent commentators often do, and indeed, lurking behind the purely conceptual 'signified' one can often detect Saussure's allusion to real-world referents (Coward & Ellis 1977, 22) . In language at least, the form of the signifier is not determined by what it signifies: there is nothing 'treeish' about the word 'tree'. Languages differ, of course, in how they refer to the same referent. No specific signifier is 'naturally' more suited to a signified than any other signifier; in principle any signifier could represent any signified. Saussure observed that 'there is nothing at all to prevent the association of any idea whatsoever with any sequence of sounds whatsoever' ( Saussure 1983, 76 ; Saussure 1974, 76 ); 'the process which selects one particular sound-sequence to correspond to one particular idea is completely arbitrary' ( Saussure 1983, 111 ; Saussure 1974, 113 ).

This principle of the arbitrariness of the linguistic sign was not an original conception: Aristotle had noted that 'there can be no natural connection between the sound of any language and the things signified' (cited in Richards 1932, 32 ). In Plato's Cratylus Hermogenes urged Socrates to accept that 'whatever name you give to a thing is its right name; and if you give up that name and change it for another, the later name is no less correct than the earlier, just as we change the name of our servants; for I think no name belongs to a particular thing by nature' (cited in Harris 1987, 67 ). 'That which we call a rose by any other name would smell as sweet', as Shakespeare put it. Whilst the notion of the arbitrariness of language was not new, but the emphasis which Saussure gave it can be seen as an original contribution, particularly in the context of a theory which bracketed the referent. Note that although Saussure prioritized speech, he also stressed that 'the signs used in writing are arbitrary, The letter t , for instance, has no connection with the sound it denotes' ( Saussure 1983, 117 ; Saussure 1974, 119 ).

The arbitrariness principle can be applied not only to the sign, but to the whole sign-system. The fundamental arbitrariness of language is apparent from the observation that each language involves different distinctions between one signifier and another (e.g. 'tree' and 'free') and between one signified and another (e.g. 'tree' and 'bush'). The signified is clearly arbitrary if reality is perceived as a seamless continuum (which is how Saussure sees the initially undifferentiated realms of both thought and sound): where, for example, does a 'corner' end? Commonsense suggests that the existence of things in the world preceded our apparently simple application of 'labels' to them (a 'nomenclaturist' notion which Saussure rejected and to which we will return in due course). Saussure noted that 'if words had the job of representing concepts fixed in advance, one would be able to find exact equivalents for them as between one language and another. But this is not the case' ( Saussure 1983, 114-115 ; Saussure 1974, 116 ). Reality is divided up into arbitrary categories by every language and the conceptual world with which each of us is familiar could have been divided up very differently. Indeed, no two languages categorize reality in the same way. As John Passmore puts it, 'Languages differ by differentiating differently' (cited in Sturrock 1986, 17 ). Linguistic categories are not simply a consequence of some predefined structure in the world. There are no 'natural' concepts or categories which are simply 'reflected' in language. Language plays a crucial role in 'constructing reality'.

The arbitrariness of the sign is a radical concept because it proposes the autonomy of language in relation to reality. The Saussurean model, with its emphasis on internal structures within a sign system, can be seen as supporting the notion that language does not 'reflect' reality but rather constructs it. We can use language 'to say what isn't in the world, as well as what is. And since we come to know the world through whatever language we have been born into the midst of, it is legitimate to argue that our language determines reality, rather than reality our language' (Sturrock 1986, 79) . In their book The Meaning of Meaning , Ogden and Richards criticized Saussure for 'neglecting entirely the things for which signs stand' (Ogden & Richards 1923, 8) . Later critics have lamented his model's detachment from social context (Gardiner 1992, 11) . Robert Stam argues that by 'bracketing the referent', the Saussurean model 'severs text from history' (Stam 2000, 122) . We will return to this theme of the relationship between language and 'reality' in our discussion of 'modality and representation' .

The arbitrary aspect of signs does help to account for the scope for their interpretation (and the importance of context). There is no one-to-one link between signifier and signified; signs have multiple rather than single meanings. Within a single language, one signifier may refer to many signifieds (e.g. puns) and one signified may be referred to by many signifiers (e.g. synonyms). Some commentators are critical of the stance that the relationship of the signifier to the signified, even in language, is always completely arbitrary (e.g. Lewis 1991, 29 ). Onomatopoeic words are often mentioned in this context, though some semioticians retort that this hardly accounts for the variability between different languages in their words for the same sounds (notably the sounds made by familiar animals) ( Saussure 1983, 69 ; Saussure 1974, 69 ).

Saussure declares that 'the entire linguistic system is founded upon the irrational principle that the sign is arbitrary'. This provocative declaration is followed immediately by the acknowledgement that 'applied without restriction, this principle would lead to utter chaos' ( Saussure 1983, 131 ; Saussure 1974, 133 ). If linguistic signs were to be totally arbitrary in every way language would not be a system and its communicative function would be destroyed. He concedes that 'there exists no language in which nothing at all is motivated' ( ibid. ). Saussure admits that 'a language is not completely arbitrary, for the system has a certain rationality' ( Saussure 1983, 73 ; Saussure 1974, 73 ). The principle of arbitrariness does not mean that the form of a word is accidental or random, of course. Whilst the sign is not determined extralinguistically it is subject to intralinguistic determination. For instance, signifiers must constitute well-formed combinations of sounds which conform with existing patterns within the language in question. Furthermore, we can recognize that a compound noun such as 'screwdriver' is not wholly arbitrary since it is a meaningful combination of two existing signs. Saussure introduces a distinction between degrees of arbitrariness:

Here then Saussure modifies his stance somewhat and refers to signs as being 'relatively arbitrary'. Some subsequent theorists (echoing Althusserian Marxist terminology ) refer to the relationship between the signifier and the signified in terms of 'relative autonomy' ( Tagg 1988, 167 ; Lechte 1994, 150 ). The relative conventionality of relationships between signified and signifier is a point to which I return below.

It should be noted that whilst the relationships between signifiers and their signifieds are ontologically arbitrary (philosophically, it would not make any difference to the status of these entities in 'the order of things' if what we call 'black' had always been called 'white' and vice versa ), this is not to suggest that signifying systems are socially or historically arbitrary. Natural languages are not, of course, arbitrarily established, unlike historical inventions such as Morse Code. Nor does the arbitrary nature of the sign make it socially 'neutral' or materially 'transparent' - for example, in Western culture 'white' has come to be a privileged signifier (Dyer 1997) . Even in the case of the 'arbitrary' colours of traffic lights, the original choice of red for 'stop' was not entirely arbitrary, since it already carried relevant associations with danger. As L�vi-Strauss noted, the sign is arbitrary a priori but ceases to be arbitrary a posteriori - after the sign has come into historical existence it cannot be arbitrarily changed (L�vi-Strauss 1972, 91) . As part of its social use within a code (a term which became fundamental amongst post-Saussurean semioticians), every sign acquires a history and connotations of its own which are familiar to members of the sign-users' culture. Saussure remarked that although the signifier 'may seem to be freely chosen', from the point of view of the linguistic community it is 'imposed rather than freely chosen' because 'a language is always an inheritance from the past' which its users have 'no choice but to accept' ( Saussure 1983, 71-72 ; Saussure 1974, 71 ). Indeed, 'it is because the linguistic sign is arbitrary that it knows no other law than that of tradition, and [it is] because it is founded upon tradition that it can be arbitrary' ( Saussure 1983, 74 ; Saussure 1974, 74 ). The arbitrariness principle does not , of course mean that an individual can arbitrarily choose any signifier for a given signified. The relation between a signifier and its signified is not a matter of individual choice; if it were then communication would become impossible. 'The individual has no power to alter a sign in any respect once it has become established in the linguistic community' ( Saussure 1983, 68 ; Saussure 1974, 69 ). From the point-of-view of individual language-users, language is a 'given' - we don't create the system for ourselves. Saussure refers to the language system as a non-negotiable 'contract' into which one is born ( Saussure 1983, 14 ; Saussure 1974, 14 ) - although he later problematizes the term ( ibid. , 71). The ontological arbitrariness which it involves becomes invisible to us as we learn to accept it as 'natural'.

• The Representamen : the form which the sign takes (not necessarily material);
• An Interpretant : not an interpreter but rather the sense made of the sign;
• An Object : to which the sign refers.

'A sign... [in the form of a representamen ] is something which stands to somebody for something in some respect or capacity. It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign. That sign which it creates I call the interpretant of the first sign. The sign stands for something, its object . It stands for that object, not in all respects, but in reference to a sort of idea, which I have sometimes called the ground of the representamen' (Peirce 1931-58, 2.228) . The interaction between the representamen , the object and the interpretant is referred to by Peirce as 'semiosis' ( ibid. , 5.484) . Within Peirce's model of the sign, the traffic light sign for 'stop' would consist of: a red light facing traffic at an intersection (the representamen); vehicles halting (the object) and the idea that a red light indicates that vehicles must stop (the interpretant).

Peirce's model of the sign includes an object or referent - which does not, of course, feature directly in Saussure's model. The representamen is similar in meaning to Saussure's signifier whilst the interpretant is similar in meaning to the signified (Silverman 1983, 15) . However, the interpretant has a quality unlike that of the signified : it is itself a sign in the mind of the interpreter. Peirce noted that 'a sign... addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign. The sign which it creates I call the interpretant of the first sign' (Peirce 1931-58, 2.228) . Umberto Eco uses the phrase 'unlimited semiosis' to refer to the way in which this could lead (as Peirce was well aware) to a series of successive interpretants (potentially) ad infinitum ( ibid. , 1.339, 2.303) . Elsewhere Peirce added that 'the meaning of a representation can be nothing but a representation' ( ibid. , 1.339) . Any initial interpretation can be re-interpreted. That a signified can itself play the role of a signifier is familiar to anyone who uses a dictionary and finds themselves going beyond the original definition to look up yet another word which it employs. This concept can be seen as going beyond Saussure's emphasis on the value of a sign lying in its relation to other signs and it was later to be developed more radically by poststructuralist theorists. Another concept which is alluded to within Peirce's model which has been taken up by later theorists but which was explicitly excluded from Saussure's model is the notion of dialogical thought. It stems in part from Peirce's emphasis on 'semiosis' as a process which is in distinct contrast to Saussure's synchronic emphasis on structure (Peirce 1931-58, 5.484, 5.488) . Peirce argued that 'all thinking is dialogic in form. Your self of one instant appeals to your deeper self for his assent' (Peirce 1931-58, 6.338) . This notion resurfaced in a more developed form in the 1920s in the theories of Mikhail Bakhtin (Bakhtin 1981) . One important aspect of this is its characterization even of internal reflection as fundamentally social.

Peirce, clearly fascinated by tripartite structures, made a phenomenological distinction between the sign itself [or the representamen] as an instance of 'Firstness', its object as an instance of 'Secondness' and the interpretant as an instance of 'Thirdness'. Such unfamiliar terms are relatively modest examples of Peircean coinages, and the complexity of his terminology and style has been a factor in limiting the influence of a distinctively Peircean semiotics.

Variants of Peirce's triad are often presented as ' the semiotic triangle' (as if there were only one version). Here is a version which is quite often encountered and which changes only the unfamiliar Peircean terms (N�th 1990, 89) :

• Sign vehicle : the form of the sign;
• Sense : the sense made of the sign;
• Referent : what the sign 'stands for'.

One fairly well-known semiotic triangle is that of Ogden and Richards, in which the terms used are (a) 'symbol', (b) 'thought or reference' and (c) 'referent' (Ogden & Richards 1923, 14) . The broken line at the base of the triangle is intended to indicate that there is not necessarily any observable or direct relationship between the sign vehicle and the referent. Unlike Saussure's abstract signified (which is analogous to term B rather than to C ) the referent is an 'object'. This need not exclude the reference of signs to abstract concepts and fictional entities as well as to physical things, but Peirce's model allocates a place for an objective reality which Saussure's model did not directly feature (though Peirce was not a naive realist, and argued that all experience is mediated by signs). Note, however, that Peirce emphasized that 'the dependence of the mode of existence of the thing represented upon the mode of this or that representation of it... is contrary to the nature of reality' (Peirce 1931-58, 5.323) . The inclusion of a referent in Peirce's model does not automatically make it a better model of the sign than that of Saussure. Indeed, as John Lyons notes:

The notion of the importance of sense-making (which requires an interpreter - though Peirce doesn't feature that term in his triad) has had a particular appeal for communication and media theorists who stress the importance of the active process of interpretation, and thus reject the equation of 'content' and meaning. Many of these theorists allude to semiotic triangles in which the interpreter (or 'user') of the sign features explicitly (in place of 'sense' or 'interpretant'). This highlights the process of semiosis (which is very much a Peircean concept). The meaning of a sign is not contained within it, but arises in its interpretation. Whether a dyadic or triadic model is adopted, the role of the interpreter must be accounted for - either within the formal model of the sign, or as an essential part of the process of semiosis. David Sless declares that 'statements about users, signs or referents can never be made in isolation from each other. A statement about one always contains implications about the other two' (Sless 1986, 6) . Paul Thibault argues that the interpreter features implicitly even within Saussure's apparently dyadic model (Thibault 1997, 184) .

Note that semioticians make a distinction between a sign and a 'sign vehicle' (the latter being a 'signifier' to Saussureans and a 'representamen' to Peirceans). The sign is more than just a sign vehicle. The term 'sign' is often used loosely, so that this distinction is not always preserved. In the Saussurean framework, some references to 'the sign' should be to the signifier , and similarly, Peirce himself frequently mentions 'the sign' when, strictly speaking, he is referring to the representamen . It is easy to be found guilty of such a slippage, perhaps because we are so used to 'looking beyond' the form which the sign happens to take. However, to reiterate: the signifier or representamen is the form in which the sign appears (such as the spoken or written form of a word) whereas the sign is the whole meaningful ensemble.

Whereas Saussure emphasized the arbitrary nature of the (linguistic) sign, most semioticians stress that signs differ in how arbitrary/conventional (or by contrast 'transparent') they are. Symbolism reflects only one form of relationship between signifiers and their signifieds. Whilst Saussure did not offer a typology of signs, Charles Peirce was a compulsive taxonomist and he offered several logical typologies (Peirce 1931-58, 1.291, 2.243) . However, his divisions and subdivisions of signs are extraordinarily elaborate: indeed, he offered the theoretical projection that there could be 59,049 types of signs! Peirce himself noted wryly that this calculation 'threatens a multitude of classes too great to be conveniently carried in one's head', adding that 'we shall, I think, do well to postpone preparation for further divisions until there be a prospect of such a thing being wanted' (Peirce 1931-58, 1.291) . However, even his more modest proposals are daunting: Susanne Langer commented that 'there is but cold comfort in his assurance that his original 59,049 types can really be boiled down to a mere sixty-six' (Langer 1951, 56) . Unfortunately, the complexity of such typologies rendered them 'nearly useless' as working models for others in the field (Sturrock 1986, 17) . However, one of Peirce's basic classifications (first outlined in 1867) has been very widely referred to in subsequent semiotic studies (Peirce 1931-58, 1.564) . He regarded it as 'the most fundamental' division of signs ( ibid. , 2.275) . It is less useful as a classification of distinct 'types of signs' than of differing 'modes of relationship' between sign vehicles and their referents (Hawkes 1977, 129) . Note that in the subsequent account, I have continued to employ the Saussurean terms signifier and signified , even though Peirce referred to the relation between the 'sign' ( sic ) and the object , since the Peircean distinctions are most commonly employed within a broadly Saussurean framework. Such incorporation tends to emphasize (albeit indirectly) the referential potential of the signified within the Saussurean model. Here then are the three modes together with some brief definitions of my own and some illustrative examples:

The three forms are listed here in decreasing order of conventionality. Symbolic signs such as language are (at least) highly conventional; iconic signs always involve some degree of conventionality; indexical signs 'direct the attention to their objects by blind compulsion' (Peirce 1931-58, 2.306) . Indexical and iconic signifiers can be seen as more constrained by referential signifieds whereas in the more conventional symbolic signs the signified can be seen as being defined to a greater extent by the signifier . Within each form signs also vary in their degree of conventionality. Other criteria might be applied to rank the three forms differently. For instance, Hodge and Kress suggest that indexicality is based on an act of judgement or inference whereas iconicity is closer to 'direct perception' making the highest 'modality' that of iconic signs. Note that the terms 'motivation' (from Saussure) and 'constraint' are sometimes used to describe the extent to which the signified determines the signifier. The more a signifier is constrained by the signified, the more 'motivated' the sign is: iconic signs are highly motivated; symbolic signs are unmotivated. The less motivated the sign, the more learning of an agreed convention is required. Nevertheless, most semioticians emphasize the role of convention in relation to signs. As we shall see, even photographs and films are built on conventions which we must learn to 'read'. Such conventions are an important social dimension of semiotics.

Peirce and Saussure used the term 'symbol' differently from each other. Whilst nowadays most theorists would refer to language as a symbolic sign system, Saussure avoided referring to linguistic signs as 'symbols', since the ordinary everyday use of this term refers to examples such as a pair of scales (signifying justice ), and he insisted that such signs are 'never wholly arbitrary. They are not empty configurations'. They 'show at least a vestige of natural connection' between the signifier and the signified - a link which he later refers to as 'rational' ( Saussure 1983, 68, 73 ; Saussure 1974, 68, 73 ). Whilst Saussure focused on the arbitrary nature of the linguistic sign, a more obvious example of arbitrary symbolism is mathematics. Mathematics does not need to refer to an external world at all: its signifieds are indisputably concepts and mathematics is a system of relations (Langer 1951, 28) .

For Peirce, a symbol is 'a sign which refers to the object that it denotes by virtue of a law, usually an association of general ideas, which operates to cause the symbol to be interpreted as referring to that object' (Peirce 1931-58, 2.249) . We interpret symbols according to 'a rule' or 'a habitual connection' ( ibid. , 2.292, 2.297, 1.369) . 'The symbol is connected with its object by virtue of the idea of the symbol-using animal, without which no such connection would exist' ( ibid. , 2.299) . It 'is constituted a sign merely or mainly by the fact that it is used and understood as such' ( ibid. , 2.307) . It 'would lose the character which renders it a sign if there were no interpretant' ( ibid. , 2.304) . A symbol is 'a conventional sign, or one depending upon habit (acquired or inborn)' ( ibid. , 2.297) . 'All words, sentences, books and other conventional signs are symbols' ( ibid. , 2.292) . Peirce thus characterizes linguistic signs in terms of their conventionality in a similar way to Saussure. In a rare direct reference to the arbitrariness of symbols (which he then called 'tokens'), he noted that they 'are, for the most part, conventional or arbitrary' ( ibid. , 3.360) . A symbol is a sign 'whose special significance or fitness to represent just what it does represent lies in nothing but the very fact of there being a habit, disposition, or other effective general rule that it will be so interpreted. Take, for example, the word " man ". These three letters are not in the least like a man; nor is the sound with which they are associated' ( ibid. , 4.447 ). He adds elsewhere that 'a symbol ... fulfills its function regardless of any similarity or analogy with its object and equally regardless of any factual connection therewith' but solely because it will be interpreted as a sign ( ibid. , 5.73 ; original emphasis ).

Turning to icons , Peirce declared that an iconic sign represents its object 'mainly by its similarity' (Peirce 1931-58, 2.276) . A sign is an icon 'insofar as it is like that thing and used as a sign of it' ( ibid. , 2.247) . Indeed, he originally termed such modes, 'likenesses' (e.g. ibid. , 1.558 ). He added that 'every picture (however conventional its method)' is an icon ( ibid. , 2.279) . Icons have qualities which 'resemble' those of the objects they represent, and they 'excite analogous sensations in the mind' ( ibid. , 2.299; see also 3.362) . Unlike the index, 'the icon has no dynamical connection with the object it represents' ( ibid. ) . Just because a signifier resembles that which it depicts does not necessarily make it purely iconic. The philosopher Susanne Langer argues that 'the picture is essentially a symbol, not a duplicate, of what it represents' (Langer 1951, 67) . Pictures resemble what they represent only in some respects. What we tend to recognize in an image are analogous relations of parts to a whole ( ibid. , 67-70) . For Peirce, icons included 'every diagram, even although there be no sensuous resemblance between it and its object, but only an analogy between the relations of the parts of each' (Peirce 1931-58, 2.279) . 'Many diagrams resemble their objects not at all in looks; it is only in respect to the relations of their parts that their likeness consists' ( ibid. , 2.282) . Even the most 'realistic' image is not a replica or even a copy of what is depicted. We rarely mistake a representation for what it represents.

Semioticians generally maintain that there are no 'pure' icons - there is always an element of cultural convention involved. Peirce stated that although 'any material image' (such as a painting) may be perceived as looking like what it represents, it is 'largely conventional in its mode of representation' (Peirce 1931-58, 2.276) . 'We say that the portrait of a person we have not seen is convincing . So far as, on the ground merely of what I see in it, I am led to form an idea of the person it represents, it is an icon. But, in fact, it is not a pure icon, because I am greatly influenced by knowing that it is an effect , through the artist, caused by the original's appearance... Besides, I know that portraits have but the slightest resemblance to their originals, except in certain conventional respects, and after a conventional scale of values, etc.' ( ibid. , 2.92) .

Iconic and indexical signs are more likely to be read as 'natural' than symbolic signs when making the connection between signifier and signified has become habitual. Iconic signifiers can be highly evocative. Kent Grayson observes: 'Because we can see the object in the sign, we are often left with a sense that the icon has brought us closer to the truth than if we had instead seen an index or a symbol' (Grayson 1998, 36 ). He adds that 'instead of drawing our attention to the gaps that always exist in representation, iconic experiences encourage us subconsciously to fill in these gaps and then to believe that there were no gaps in the first place... This is the paradox of representation: it may deceive most when we think it works best' ( ibid. , 41 ).

The linguist John Lyons notes that iconicity is 'always dependent upon properties of the medium in which the form is manifest' (Lyons 1977, 105) . He offers the example of the onomatopoeic English word cuckoo , noting that it is only iconic in the phonic medium (speech) and not in the graphic medium (writing). Whilst the phonic medium can represent characteristic sounds (albeit in a relatively conventionalized way), the graphic medium can represent characteristic shapes (as in the case of Egyptian hieroglyphs) (Lyons 1977, 103) . We will return shortly to the importance of the materiality of the sign.

Indexicality is perhaps the most unfamiliar concept. Peirce offers various criteria for what constitutes an index. An index 'indicates' something: for example, 'a sundial or clock indicates the time of day' (Peirce 1931-58, 2.285) . He refers to a 'genuine relation' between the 'sign' and the object which does not depend purely on 'the interpreting mind' ( ibid. , 2.92, 298) . The object is 'necessarily existent' ( ibid. , 2.310) . The index is connected to its object 'as a matter of fact' ( ibid. , 4.447) . There is 'a real connection' ( ibid. , 5.75 ). There may be a 'direct physical connection' ( ibid. , 1.372, 2.281, 2.299) . An indexical sign is like 'a fragment torn away from the object' ( ibid. , 2.231) . Unlike an icon (the object of which may be fictional) an index stands 'unequivocally for this or that existing thing' ( ibid. , 4.531) . Whilst 'it necessarily has some quality in common' with it, the signifier is 'really affected' by the signified; there is an 'actual modification' involved ( ibid. , 2.248) . The relationship is not based on 'mere resemblance' ( ibid. ) : 'indices... have no significant resemblance to their objects' ( ibid. , 2.306) . 'Similarity or analogy' are not what define the index ( ibid. , 2.305) . 'Anything which focusses the attention is an index. Anything which startles us is an index' ( ibid. , 2.285; see also 3.434) . Indexical signs 'direct the attention to their objects by blind compulsion' ( ibid. , 2.306; see also 2.191, 2.428) . 'Psychologically, the action of indices depends upon association by contiguity, and not upon association by resemblance or upon intellectual operations' ( ibid. ) .

Whilst a photograph is also perceived as resembling that which it depicts, Peirce noted that a photograph is not only iconic but also indexical : 'photographs, especially instantaneous photographs, are very instructive, because we know that in certain respects they are exactly like the objects they represent. But this resemblance is due to the photographs having been produced under such circumstances that they were physically forced to correspond point by point to nature. In that aspect, then, they belong to the... class of signs... by physical connection [the indexical class]' (Peirce 1931-58, 2.281; see also 5.554) . So in this sense, since the photographic image is an index of the effect of light on photographic emulsion, all unedited photographic and filmic images are indexical (although we should remember that conventional practices are always involved in composition, focusing, developing and so on). Such images do of course 'resemble' what they depict, and it has been suggested the 'real force' of the photographic and filmic image 'lies in its iconic signification' (Deacon et al. 1999, 188) . However, whilst digital imaging techniques are increasingly eroding the indexicality of photographic images, it is arguable that it is the indexicality still routinely attributed to the medium which is primarily responsible for interpreters treating them as 'objective' records of 'reality'. Peirce observed that 'a photograph... owing to its optical connection with its object, is evidence that that appearance corresponds to a reality' (Peirce 1931-58, 4.447) . In many contexts photographs are indeed regarded as 'evidence', not least in legal contexts. As for the moving image, video-cameras are of course widely used 'in evidence'. Documentary film and location footage in television news programmes depend upon the indexical nature of the sign. In such genres indexicality seems to warrant the status of the material as evidence . Photographic and filmic images may also be symbolic : in an empirical study of television news, Davis and Walton found that A relatively small proportion of the total number of shots is iconic or directly representative of the people, places and events which are subjects of the news text. A far greater proportion of shots has an oblique relationship to the text; they 'stand for' the subject matter indexically or symbolically (Davis & Walton 1983b, 45) .

It is easy to slip into referring to Peirce's three forms as 'types of signs', but they are not necessarily mutually exclusive: a sign can be an icon, a symbol and an index, or any combination. Peirce was fully aware of this: for instance, he insisted that 'it would be difficult if not impossible to instance an absolutely pure index, or to find any sign absolutely devoid of the indexical quality' (Peirce 1931-58, 2.306) . A map is indexical in pointing to the locations of things, iconic in its representation of the directional relations and distances between landmarks and symbolic in using conventional symbols the significance of which must be learnt. The film theorist Peter Wollen argues that 'the great merit of Peirce's analysis of signs is that he did not see the different aspects as mutually exclusive. Unlike Saussure he did not show any particular prejudice in favour of one or the other. Indeed, he wanted a logic and a rhetoric which would be based on all three aspects' (Wollen 1969, 141) . Film and television use all three forms: icon (sound and image), symbol (speech and writing), and index (as the effect of what is filmed); at first sight iconic signs seem the dominant form, but some filmic signs are fairly arbitrary, such as 'dissolves' which signify that a scene from someone's memory is to follow.

Hawkes notes, following Jakobson, that the three modes 'co-exist in the form of a hierarchy in which one of them will inevitably have dominance over the other two', with dominance determined by context (Hawkes 1977, 129) . Whether a sign is symbolic, iconic or indexical depends primarily on the way in which the sign is used, so textbook examples chosen to illustrate the various modes can be misleading. The same signifier may be used iconically in one context and symbolically in another: a photograph of a woman may stand for some broad category such as 'women' or may more specifically represent only the particular woman who is depicted. Signs cannot be classified in terms of the three modes without reference to the purposes of their users within particular contexts. A sign may consequently be treated as symbolic by one person, as iconic by another and as indexical by a third. As Kent Grayson puts it, 'When we speak of an icon, an index or a symbol, we are not referring to objective qualities of the sign itself, but to a viewer's experience of the sign' (Grayson 1998, 35) . Signs may also shift in mode over time. As Jonathan Culler notes, 'In one sense a Rolls-Royce is an index of wealth in that one must be wealthy in order to purchase one, but it has been made a conventional sign of wealth by social usage' (Culler 1975, 17) .

Despite his emphasis on studying 'the language-state' 'synchronically' (as if it were frozen at one moment in time) rather than 'diachronically' (studying its evolution), Saussure was well aware that the relationship between the signified and the signifier in language was subject to change over time ( Saussure 1983, 74ff ; Saussure 1974, 74ff ). However, this was not the focus of his concern. Critics of structuralist approaches emphasize that the relation between signifier and signified is subject to dynamic change: Rosalind Coward and John Ellis argue that any 'fixing' of 'the chain of signifiers' - is both temporary and socially determined (Coward & Ellis 1977, 6, 8, 13) .

In terms of Peirce's three modes, a historical shift from one mode to another tends to occur. Although Peirce made far more allowance for non-linguistic signs than did Saussure, like Saussure, he too granted greater status to symbolic signs: 'they are the only general signs; and generality is essential to reasoning' (Peirce 1931-58, 3.363; see also 4.448 & 4.531) . Saussure's emphasis on the importance of the principle of arbitrariness reflects his prioritizing of symbolic signs whilst Peirce referred to Homo sapiens as 'the symbol-using animal' (Peirce 1931-58, 2.299) . The idea of the evolution of sign-systems towards the symbolic mode is consistent with such a perspective. Peirce speculates 'whether there be a life in signs, so that - the requisite vehicle being present - they will go through a certain order of development'. Interestingly, he does not present this as necessarily a matter of progress towards the 'ideal' of symbolic form since he allows for the theoretical possibility that 'the same round of changes of form is described over and over again' ( ibid. , 2.111) . Whilst granting such a possibility, he nevertheless notes that 'a regular progression... may be remarked in the three orders of signs, Icon, Index, Symbol' ( ibid. , 2.299) . Peirce posits iconicity as the original default mode of signification, declaring the icon to be 'an originalian sign' ( ibid. , 2.92) , defining this as 'the most primitive, simple and original of the categories' ( ibid. , 2.90) . Compared to the 'genuine sign... or symbol', an index is 'degenerate in the lesser degree' whilst an icon is 'degenerate in the greater degree'. Peirce noted that signs were 'originally in part iconic, in part indexical' ( ibid. , 2.92) . He adds that 'in all primitive writing, such as the Egyptian hieroglyphics, there are icons of a non-logical kind, the ideographs' and he speculates that 'in the earliest form of speech there probably was a large element of mimicry' ( ibid. , 2.280) . However, over time, linguistic signs developed a more symbolic and conventional character ( ibid. , 2.92, 2.280) . 'Symbols come into being by development out of other signs, particularly from icons' ( ibid. , 2.302) .

Taking a historical perspective is one reason for the insistence of some theorists that 'signs are never arbitrary' (Kress & van Leeuwen 1996, 7) . Gunther Kress, for instance, emphasizes the motivation of the sign users rather than of the sign (see also Hodge & Kress 1988, 21-2 ). Rosalind Coward and John Ellis insist that 'every identity between signifier and signified is the result of productivity and a work of limiting that productivity' (Coward & Ellis 1977, 7) .

A distinction is sometimes made between digital and analogical signs. Indeed, Anthony Wilden declares that 'no two categories, and no two kinds of experience are more fundamental in human life and thought than continuity and discontinuity' (Wilden 1987, 222) . Whilst we experience time as a continuum, we may represent it in either analogue or digital form. A watch with an analogue display (with hour, minute and second hands) has the advantage of dividing an hour up like a cake (so that, in a lecture, for instance, we can 'see' how much time is left). A watch with a digital display (displaying the current time as a changing number) has the advantage of precision, so that we can easily see exactly what time it is 'now'. Even an analogue display is now simulated on some digital watches.

We have a deep attachment to analogical modes and we tend to regard digital representations as 'less real' or 'less authentic' - at least initially (as in the case of the audio CD compared to the vinyl LP). The analogue/digital distinction is frequently represented as 'natural' versus 'artificial'. Perhaps this is connected in part with the notion that the unconscious - that which we regard as 'deepest' within us - appears to operate analogically (Wilden 1987, 224) . The privileging of the analogical may be linked with the status of the unconscious and the defiance of rationality in romantic ideology (which still dominates our conception of ourselves as 'individuals'). The deliberate intention to communicate tends to be dominant in digital codes, whilst in analogue codes 'it is almost impossible... not to communicate' ( ibid. , 225) . Beyond any conscious intention, we communicate through gesture, posture, facial expression, intonation and so on. Analogical codes unavoidably 'give us away', revealing such things as our moods, attitudes, intentions and truthfulness (or otherwise). However, although the appearance of the 'digital watch' in 1971 and the subsequent 'digital revolution' in audio- and video-recording have led us to associate the digital mode with electronic technologies, digital codes have existed since the earliest forms of language - and writing is a 'digital technology'. Signifying systems impose digital order on what we often experience as a dynamic and seamless flux. The very definition of something as a sign involves reducing the continuous to the discrete. As we shall see later , binary ( either/or ) distinctions are a fundamental process in the creation of signifying structures. Digital signs involve discrete units such as words and 'whole numbers' and depend on the categorization of what is signified.

Analogical signs (such as visual images, gestures, textures, tastes and smells) involve graded relationships on a continuum. They can signify infinite subtleties which seem 'beyond words'. Emotions and feelings are analogical signifieds. Unlike symbolic signifiers, motivated signifiers (and their signifieds) blend into one another. There can be no comprehensive catalogue of such dynamic analogue signs as smiles or laughs. Analogue signs can of course be digitally reproduced (as is demonstrated by the digital recording of sounds and of both still and moving images) but they cannot be directly related to a standard 'dictionary' and syntax in the way that linguistic signs can. Bill Nichols notes that 'the graded quality of analogue codes may make them rich in meaning but it also renders them somewhat impoverished in syntactical complexity or semantic precision. By contrast the discrete units of digital codes may be somewhat impoverished in meaning but capable of much greater complexity or semantic signification' ( Nichols 1981, 47 ; see also Wilden 1987, 138, 224 ). The art historian Ernst Gombrich insists that 'statements cannot be translated into images' and that 'pictures cannot assert' - a contention also found in Peirce ( Gombrich 1982, 138, 175 ; Peirce 1931-58, 2.291 ). Nevertheless, whilst images serving such communicative purposes may be more 'open to interpretation', contemporary visual advertisements are a powerful example of how images may be used to make implicit claims which advertisers often prefer not to make more openly in words.

The Italian semiotician Umberto Eco has criticized the apparent equation of the terms 'arbitrary', 'conventional' and 'digital' by some commentators. He notes the way in which the following widespread pairings misleadingly suggest that the terms vertically aligned here are synonymous (Eco 1976, 190) . He observes, for instance, that a photograph may be both 'motivated' and 'digital'. Nor is 'conventionality' (dependence on social and cultural conventions) equivalent to 'arbitrariness' (the lack of any intrinsic connection between the signifier and the signified). Yet it is easy to slip into treating such terms as equivalent - the current text far from immune to this. We may, as we shall see later, be so fond of analogy that we are often (perhaps unavoidably) its unwitting victims.

Another distinction between sign vehicles relates to the linguistic concept of tokens and types which derives from Peirce (Peirce 1931-58, 4.537) . In relation to words in a spoken utterance or written text, a count of the tokens would be a count of the total number of words used (regardless of type), whilst a count of the types would be a count of the different words used, ignoring repetitions. In the language of semantics, tokens instantiate (are instances of) their type. 'Word' and 'word' are instances of the same type. Language depends on the distinction between tokens and types, between the particular instance and the general category. This is the basis of categorization. John Lyons notes that whether something is counted as a token of a type is relative to one's purposes - for instance:

• Are tokens to include words with different meanings which happen to be spelt or pronounced in the same way?
• Does a capital letter instantiate the same type as the corresponding lower-case letter?
• Does a word printed in italics instantiate the same type as a word printed in Roman?
• Is a word handwritten by X ever the same as a word handwritten by Y? (Lyons 1977, 13-15)

From a semiotic point-of-view, such questions could only be answered by considering in each case whether the different forms signified something of any consequence to the relevant sign-users in the context of the specific signifying practice being studied.

Eco lists three kinds of sign vehicles, and it is notable that the distinction relates in part at least to material form:

• signs in which there may be any number of tokens (replicas) of the same type (e.g. a printed word, or exactly the same model of car in the same colour);
• 'signs whose tokens, even though produced according to a type, possess a certain quality of material uniqueness' (e.g. a word which someone speaks or which is handwritten);
• 'signs whose token is their type, or signs in which type and token are identical' (e.g. a unique original oil-painting or Princess Diana's wedding dress). (Eco 1976, 178ff)

The type-token distinction may influence the way in which a text is interpreted. In his influential essay on 'The Work of Art in the Age of Mechanical Reproduction', the literary-philosophical theorist Walter Benjamin (1892-1940) noted that technological society is dominated by reproductions of original works - tokens of the original type (Benjamin 1992, 211-244) . Indeed, even if we do see, for instance, 'the original' of a famous oil-painting, we are highly likely to have seen it first in the form of innumerable reproductions (books, postcards, posters - sometimes even in the form of pastiches or variations on the theme) and we may only be able to 'see' the original in the light of the judgements shaped by the copies or versions which we have encountered (see Intertextuality ). In the postmodern era, the bulk of our texts are indeed 'copies without originals'.

The type-token distinction in relation to signs is important in social semiotic terms not as an absolute property of the sign vehicle but only insofar as it matters on any given occasion (for particular purposes) to those involved in using the sign. Minute differences in a pattern could be a matter of life and death for gamblers in relation to variations in the pattern on the backs of playing-cards within the same pack, but stylistic differences in the design of each type of card (such as the Ace of Spades), are much appreciated by collectors as a distinctive feature of different packs of playing-cards.

As already indicated, Saussure saw both the signifier and the signified as non-material 'psychological' forms; the language itself is 'a form, not a substance' ( Saussure 1983, 111, 120 ; Saussure 1974, 113, 122 ). He uses several examples to reinforce his point. For instance, in one of several chess analogies, he notes that 'if pieces made of ivory are substituted for pieces made of wood, the change makes no difference to the system' ( Saussure 1983, 23 ; Saussure 1974, 22 ). Pursuing this functional approach, he notes elsewhere that the 8.25pm Geneva-to-Paris train is referred to as 'the same train' even though the combinations of locomotive, carriages and personnel may change. Similarly, he asks why a street which is completely rebuilt can still be 'the same street'. He suggests that this is 'because it is not a purely material structure' ( Saussure 1983, 107 ; Saussure 1974, 108 ). Saussure insists that this is not to say that such entities are 'abstract' since we cannot conceive of a street or train outside of its material realization - 'their physical existence is essential to our understanding of what they are' ( Saussure 1983, 107 ; Saussure 1974, 109 ; see also ibid , 15). This can be related to the type-token distinction. Since Saussure sees language in terms of formal function rather than material substance, then whatever performs the same function within the system can be regarded as just another token of the same type. With regard to language, Saussure observes that 'sound, as a material element... is merely ancillary, a material the language uses' ( Saussure 1983, 116 ; Saussure 1974, 118 ). Linguistic signifiers are 'not physical in any way. They are constituted solely by differences which distinguish one such sound pattern from another' ( Saussure 1983, 117 ; Saussure 1974, 118-119 ). He admits at one point, with some apparent reluctance, that 'linguistic signs are, so to speak, tangible: writing can fix them in conventional images' ( Saussure 1983, 15 ; Saussure 1974, 15 ). However, referring to written signs, he comments that 'the actual mode of inscription is irrelevant, because it does not affect the system... Whether I write in black or white, in incised characters or in relief, with a pen or a chisel - none of that is of any importance for the meaning' ( Saussure 1983, 118 ; Saussure 1974, 120 ). One can understand how a linguist would tend to focus on form and function within language and to regard the material manifestations of language as of peripheral interest. 'The linguist... is interested in types, not tokens' (Lyons 1977, 28) .

This was not only the attitude of the linguist Saussure, but also of the philosopher Peirce: 'The word " man "... does not consist of three films of ink. If the word "man" occurs hundreds of times in a book of which myriads of copies are printed, all those millions of triplets of patches of ink are embodiments of one and the same word... each of those embodiments a replica of the symbol. This shows that the word is not a thing' (Peirce 1931-58, 4.447) . Peirce did refer to the materiality of the sign: 'since a sign is not identical with the thing signified, but differs from the latter in some respects, it must plainly have some characters which belong to it in itself... These I call the material qualities of the sign'. He granted that materiality is a property of the sign which is 'of great importance in the theory of cognition'. Materiality had 'nothing to do with its representative function' and it did not feature in his classificatory schemes. However, he alludes briefly to the signifying potential of materiality: 'if I take all the things which have certain qualities and physically connect them with another series of things, each to each, they become fit to be signs'. For instance, if the colour of a red flower matters to someone then redness is a sign ( ibid. , 5.287) .

Whilst Saussure chose to ignore the materiality of the linguistic sign, most subsequent theorists who have adopted his model have chosen to reclaim the materiality of the sign (or more strictly of the signifier). Semioticians must take seriously any factors to which sign-users ascribe significance, and the material form of a sign does sometimes make a difference. Contemporary theorists tend to acknowledge that the material form of the sign may generate connotations of its own. As early as 1929 Valentin Voloshinov published Marxism and the Philosophy of Language which included a materialist critique of Saussure's psychological and implicitly idealist model of the sign. Voloshinov described Saussure's ideas as 'the most striking expression' of 'abstract objectivism' (Voloshinov 1973, 58) . He insisted that 'a sign is a phenomenon of the external world' and that 'signs... are particular, material things'. Every sign 'has some kind of material embodiment, whether in sound, physical mass, colour, movements of the body, or the like' ( ibid. , 10-11; cf. 28) . For Voloshinov, all signs, including language, have 'concrete material reality' ( ibid. , 65) and the physical properties of the sign matter.

Psychoanalytic theory also contributed to the revaluation of the signifier - in Freudian dream theory the sound of the signifier could be regarded as a better guide to its possible signified than any conventional 'decoding' might have suggested (Freud 1938, 319) . For instance, Freud reported that the dream of a young woman engaged to be married featured flowers - including lilies-of-the-valley and violets. Popular symbolism suggested that the lilies were a symbol of chastity and the woman agreed that she associated them with purity. However, Freud was surprised to discover that she associated the word 'violet' phonetically with the English word 'violate', suggesting her fear of the violence of 'defloration' (another word alluding to flowers) (Freud 1938, 382-3) . If this sounds familiar, this particular dream motif featured in the film Final Analysis (1992). As the psychoanalytical theorist Jacques Lacan emphasized (originally in 1957), the Freudian concepts of condensation and displacement illustrate the determination of the signified by the signifier in dreams (Lacan 1977, 159ff) . In condensation , several thoughts are condensed into one symbol, whilst in displacement unconscious desire is displaced into an apparently trivial symbol (to avoid dream censorship).

Poststructuralist theorists have sought to revalorize the signifier. The phonocentrism which was allied with Saussure's suppression of the materiality of the linguistic sign was challenged in 1967, when the French poststructuralist Jacques Derrida, in his book Of Grammatology , attacked the privileging of speech over writing which is found in Saussure (as well as in the work of many other previous and subsequent linguists) (Derrida 1976) . From Plato to L�vi-Strauss, the spoken word had held a privileged position in the Western worldview, being regarded as intimately involved in our sense of self and constituting a sign of truth and authenticity. Speech had become so thoroughly naturalized that 'not only do the signifier and the signified seem to unite, but also, in this confusion, the signifier seems to erase itself or to become transparent' (Derrida 1981, 22) . Writing had traditionally been relegated to a secondary position. The deconstructive enterprise marked 'the return of the repressed' (Derrida 1978, 197) . In seeking to establish 'Grammatology' or the study of textuality, Derrida championed the primacy of the material word. He noted that the specificity of words is itself a material dimension. 'The materiality of a word cannot be translated or carried over into another language. Materiality is precisely that which translation relinquishes' - this English translation presumably illustrating some such loss ( ibid. , 210) . Roland Barthes also sought to revalorize the role of the signifier in the act of writing. He argued that in 'classic' literary writing, the writer 'is always supposed to go from signified to signifier, from content to form, from idea to text, from passion to expression' (Barthes 1974, 174) . However, this was directly opposite to the way in which Barthes characterized the act of writing. For him, writing was a matter of working with the signifiers and letting the signifieds take care of themselves - a paradoxical phenomenon which other writers have often reported (Chandler 1995, 60ff) . Subsequent theorists have also sought to 'rematerialize' the linguistic sign, stressing that words are things and that texts are part of the material world (e.g. Coward & Ellis 1977 ; Silverman & Torode 1980 ).

Jay David Bolter argues that 'signs are always anchored in a medium. Signs may be more or less dependent upon the characteristics of one medium - they may transfer more or less well to other media - but there is no such thing as a sign without a medium' (Bolter 1991, 195-6) . This is a little misleading, because, as Justin Lewis notes, 'the sign has no material existence, since meaning is brought to words or objects, not inscribed within them. Only the signifier - the unit prior to meaning - exists as a material entity' (Wren-Lewis 1983, 181) . Nevertheless, Bolter's point does apply to the sign vehicle, and as Hodge and Tripp note, 'fundamental to all semiotic analysis is the fact that any system of signs (semiotic code ) is carried by a material medium which has its own principles of structure ' (Hodge & Tripp 1986, 17) . Furthermore, some media draw on several interacting sign systems: television and film, for example, utilize verbal, visual, auditory and locomotive signs. The medium is not 'neutral' ; each medium has its own constraints and, as Umberto Eco notes, each is already 'charged with cultural signification' (Eco 1976, 267) . For instance, photographic and audio-visual media are almost invariably regarded as more 'real' than other forms of representation. Gunther Kress and Theo van Leeuwen argue that 'the material expression of the text is always significant; it is a separately variable semiotic feature' (Kress & van Leeuwen 1996, 231) . Changing the signifier at the level of the form or medium may thus influence the signified - the sense which readers make of what is ostensibly the same 'content'. Breaking up a relationship by fax is likely to be regarded in a different light from breaking up in a face-to-face situation.

I have alluded to the problematic distinction between form and content. The linguist Louis Hjelmslev acknowledged that 'there can be no content without an expression, or expressionless content; neither can there be an expression without a content, or content-less expression' (Hjelmslev 1961, 49) . However, he offered a framework which facilitated analytical distinctions ( ibid. , 47ff) . Whilst he referred to 'planes' of expression and content (Saussure's signifier and signified ), he enriched this model ( ibid. , 60) . His contribution was to suggest that both expression and content have substance and form . Thus there are four categories: substance of expression, form of expression, substance of content, form of content. Various theorists such as Christian Metz have built upon this theoretical distinction and they differ somewhat in what they assign to the four categories (see Tudor 1974, 110 ; Baggaley & Duck 1976, 149 ; Metz 1981 ).

Whereas Saussure had insisted that language is 'a form, not a substance', Hjelmslev's framework allows us to analyse texts according to their various dimensions and to grant to each of these the potential for signification. Such a matrix provides a useful framework for the systematic analysis of texts, broadens the notion of what constitutes a sign, and reminds us that the materiality of the sign may in itself signify.

From an explicitly social semiotic perspective, Gunther Kress and Theo van Leeuwen adapt a linguistic model from Michael Halliday and insist that any semiotic system has three essential metafunctions :

• the ideational metafunction - 'to represent, in a referential or pseudo-referential sense, aspects of the experiential world outside its particular system of signs';
• the interpersonal metafunction - 'to project the relations between the producer of a sign... and the receiver/reproducer of that sign'; and
• the textual metafunction - 'to form texts , complexes of signs which cohere both internally and within the context in and for which they were produced'. (Kress & van Leeuwen 1996, 40-41)

Specific semiotic systems are called codes .

• Contents Page
• Introduction
• Modality and representation
• Paradigms and syntagms
• Syntagmatic analysis
• Paradigmatic analysis
• Denotation, connotation and myth
• Rhetorical tropes
• Modes of address
• Encoding/Decoding
• Articulation
• Intertextuality
• Criticisms of semiotic analysis
• Strengths of semiotic analysis
• D.I.Y. semiotic analysis
• Glossary of key terms
• Suggested reading
• Semiotics links
• S4B Message Board
• S4B Chatroom

Equal, Greater or Less Than

As well as the familiar equals sign (=) it is also very useful to show if something is not equal to (≠) greater than (>) or less than (<)

These are the important signs to know :

Less Than and Greater Than

The "less than" sign and the "greater than" sign look like a "V" on its side, don't they?

To remember which way around the "<" and ">" signs go, just remember:

• BIG > small
• small < BIG

Greater Than Symbol: BIG > small

"10 is greater than 5"

Or the other way around:

"5 is less than 10"

Do you see how the symbol "points at" the smaller value?

... Or Equal To ...

Sometimes we know a value is smaller, but may also be equal to !

Example, a jug can hold up to 4 cups of water.

So how much water is in it?

It could be 4 cups or it could be less than 4 cups: So until we measure it, all we can say is "less than or equal to " 4 cups.

To show this, we add an extra line at the bottom of the "less than" or "greater than" symbol like this:

All The Symbols

Here is a summary of all the symbols:

Why Use Them?

Because there are things we do not know exactly ...

So we have ways of saying what we do know (which may be useful!)

Example: John had 10 marbles, but lost some. How many has he now?

Answer: He must have less than 10:

Marbles < 10

If John still has some marbles we can also say he has greater than zero marbles:

Marbles > 0

But if we thought John could have lost all his marbles we would say

Marbles ≥ 0

In other words, the number of marbles is greater than or equal to zero.

We can sometimes say two (or more) things on the one line:

Example: Becky starts with $10, buys something and says "I got change, too". How much did she spend?

Answer: Something greater than $0 and less than $10 (but NOT $0 or $10):

"What Becky Spends" > $0 "What Becky Spends" < $10

This can be written down in just one line:

$0 < "What Becky Spends" < $10

That says that $0 is less than "What Becky Spends" (in other words "What Becky Spends" is greater than $0) and what Becky Spends is also less than $10.

Notice that ">" was flipped over to "<" when we put it before what Becky spends. Always make sure the small end points to the small value .

Changing Sides

We saw in that previous example that when we change sides we flipped the symbol as well.

Just make sure the small end points to the small value!

Here is another example using "≥ " and "≤ ":

Example: Becky has $10 and she is going shopping. How much will she spend (without using credit)?

Answer: Something greater than, or possibly equal to, $0 and less than, or possibly equal to, $10:

Becky Spends ≥ $0 Becky Spends ≤ $10

$0 ≤ Becky Spends ≤ $10

A Long Example: Cutting Rope

Here is an interesting example I thought of:

Example: Sam cuts a 10m rope into two. How long is the longer piece? How long is the shorter piece?

Answer: Let us call the longer length of rope " L ", and the shorter length " S "

L must be greater than 0m (otherwise it isn't a piece of rope), and also less than 10m:

L > 0 L < 10

0 < L < 10

That says that L (the Longer length of rope) is between 0 and 10 (but not 0 or 10)

The same thing can be said about the shorter length " S ":

0 < S < 10

But I did say there was a "shorter" and "longer" length, so we also know:

(Do you see how neat mathematics is? Instead of saying "the shorter length is less than the longer length", we can just write " S < L ")

We can combine all of that like this:

0 < S < L < 10

That says a lot:

0 is less that the short length, the short length is less than the long length, the long length is less than 10.

Reading "backwards" we can also see:

10 is greater than the long length, the long length is greater than the short length, the short length is greater than 0.

It also lets us see that "S" is less than 10 (by "jumping over" the "L"), and even that 0<10 (which we know anyway), all in one statement.

NOW, I have one more trick. If Sam tried really hard he might be able to cut the rope EXACTLY in half, so each half is 5m, but we know he didn't because we said there was a "shorter" and "longer" length, so we also know:

We can put that into our very neat statement here:

0 < S < 5 < L < 10

And IF we thought the two lengths MIGHT be exactly 5 we could change that to

0 < S ≤ 5 ≤ L < 10

An Example Using Algebra

OK, this example may be complicated if you don't know Algebra , but I thought you might like to see it anyway:

Example: What is x+3, when we know that x is greater than 11?

If x > 11 , then x+3 > 14

(Imagine that "x" is the number of people at your party. If there are more than 11 people at your party, and 3 more arrive, then there must be more than 14 people at your party now.)

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The Guide to No Soliciting Signs: How to stop door-to-door solicitors

Content writer

Apr 3, 2024 25924 views

“Are you looking for any product or service? Do you need pest control or alarm system in the house or office?” You are probably familiar with a salesperson knocking on your door and coaxing you to purchase an array of goods or services. It is a prevalent practice.

There are a set of people who are happy to welcome the door-to-door salesperson. It is an active process to sell products or seek an appointment. However, many dread the door-to-door soliciting and use a no-soliciting sign for home to politely turn down these unwanted guests.

4over4.com is one of the best platforms for printing no soliciting signs . Choose from a range of options to print your signage for keeping the solicitors away. Learn the solicitation laws and if it works.

Who are Solicitors and What Do They Offer or Sell?

What is no soliciting sign? A person often fails to understand it. What does no soliciting mean? The term solicits means to ask for something. The door-to-door salesperson may request a donation, a sale, a vote, or maybe just a moment of your audience.

Solicitation law indicates that it is an allure or solicitation for something important. Soliciting is possible via telephone, written as a hard copy, face to face, and even with electronic mediums like messages and email. The state regulations for no solicitation differ from one state to the next.

What Do You Understand by the Term “No Soliciting Signs”?

If you want to know how to stop door-to-door solicitors legally, then you need to understand the no-soliciting signs. The No Soliciting sign is utilized to request or demand individuals endeavoring to sell, not to disturb you, your home, or your business with whatever they are offering.

Unwanted solicitation at workplaces may lead to daily stress. It can impact the customer satisfaction and morale of the employees negatively. So, a No Soliciting yard Sign or a no religious soliciting door sign plays an essential role in saving energy, time, and resources. You can get it printed in clear fonts from trusted online platforms like 4Over4.com. Our reflective signs in aluminum or coroplast are one of the best ways to ward off these intruders.

Is Soliciting Illegal, or is it Legal?

You might have wondered, is door-to-door sales illegal? Well, you might be amazed to realize that there is no wrongdoing in soliciting. Soliciting is lawful in the United States. As per the regulations passed by the Supreme Court, the salesman has the genuine right to go to any area. They maintain the right to free discourse for business purposes

The nearby districts or the state regulations don't permit the formation of any guidelines or prerequisites for solicitation. There are a few legalities engaged with it. Like anybody can convey flyers and leaflets. For the house-to-house solicitation, the regulations differ from one state to another. You’d have to check the no-soliciting neighborhood law close to you.

The time restriction on soliciting is unlawful. You can always opt for signs as an acceptable and effective way to avert solicitors from ringing the bell. Our expert team of exceptionally talented professionals makes your No Soliciting signs visible to the undesirable guests

We offer unique and high-quality printing from a range of card stocks to great finishes. Styrene custom print is one of our best flexible board POP signage that offers clear text and high-resolution images. It is UV safe and waterproof for long-term use.

Do No Soliciting Signs Really Work?

Does a no soliciting sign work in deterring unwanted visitors from your home or business area? Many people wonder if these signs actually make a difference in preventing solicitors from approaching their homes. While it is not a foolproof solution, no soliciting signs can be effective in communicating to potential visitors that you are not interested in their sales pitches.

There are local laws against door-to-door soliciting and to keep salespeople away in some areas, which can give homeowners some legal backing if they wish to prevent solicitors from coming to their doors. However, the level of enforcement and effectiveness of these laws can vary.

Many people may not be aware that door-to-door soliciting is illegal in certain places, so having a no soliciting sign can help educate potential visitors about the rules in your area and dissuade them from knocking on your door.

So, while no soliciting signs may not completely eliminate unwanted visitors, they can be a useful tool in setting boundaries and reducing the frequency of door-to-door salespeople and other solicitors approaching your home.

When you decide to post a sign, place the noticeably worded instruction in a visible location. To avoid solicitation, ensure the signage is in good condition and doesn’t look outdated. Old-looking signage may be considered no longer valid. You may use the PVC rigid plastic for a long-lasting. visually appealing, and durable sign.

Always ensure high placement of the sign within the eye level. It never goes unnoticed and makes sure it looks new and well written. In spite of private property no soliciting sign, the solicitors may turn up on your property. Check out the local ordinance for the solicitors and the penalty for breaking such a law.

How to Stop Solicitors

Trespassing is a common concern for homeowners when it comes to dealing with solicitors. One way to keep solicitors away is by clearly marking your entrance with no soliciting signs. These signs are intended to communicate to solicitors that they are not welcome to approach your home for business purposes. But do no soliciting signs work legally?

The no soliciting signs meaning is meant to convey that individuals should not engage in commercial activities at that location. While the no soliciting sign law may vary by jurisdiction, in general, door-to-door soliciting is not illegal unless the homeowner explicitly expresses their desire for solicitors to leave. If you have a no soliciting sign posted, you can take additional steps to stop solicitors from knocking on your door, such as contacting your local authorities or neighborhood association to enforce a no soliciting neighborhood law.

Get the No Soliciting Signs Printed with 4Over4

4Over4 is one of the best and leading print production online companies devoted and committed 100% to helping the clients stand out and get noticed in the crowd with their printed materials. With our high-quality graphic designing, printing, and reasonable pricing, 4Over4 is definitely the best choice for all kinds of printing options. Our vast array of material and printing choices make us your only choice for printing, from small business cards to brochures and invitations to no soliciting signage.

You are now aware of how vital polite No Soliciting signs are. Get it printed now. Choose the best quality print materials from 4Over4 for long-term use. We partner with all our clients, understand their requirements, analyze their needs, and help them convey the message in the most convincing way possible.

The best thing about getting materials printed from 4Over4 is our commitment to the wellness of the environment. We offer 100% recycled and chlorine-free paper. Our focus is on vegetable-based soy ink printing as a part of green printing technology.

Choose from our templates or send us your design specifications for No Soliciting signs custom printing and place your orders. Get your orders delivered to your doorstep within 5-7 business days.

Q: What is the purpose of a no soliciting sign?

A: A no-soliciting sign communicates to salespeople, canvassers, and other individuals that soliciting activities are not welcome on private property.

Q: How can a no soliciting sign help keep solicitors away?

A: By posting a visible no soliciting sign, homeowners can deter solicitors from approaching their property as it communicates the homeowner's preference to not engage with solicitors.

Q: Are no soliciting signs legally enforceable?

A: No soliciting signs are typically considered as a request rather than a legally binding prohibition. However, they can serve as a deterrent and may provide legal support in case of solicitors refusing to leave the property.

Q: Can door-to-door salespeople still approach a property with a no soliciting sign?

A: While some salespeople may ignore no soliciting signs, displaying one can help communicate the homeowner's preference to not entertain door-to-door sales, potentially reducing the number of salespeople that keep coming to the property.

Q: Do political solicitors have to abide by no soliciting signs?

A: Political solicitors are usually exempt from restrictions imposed by no soliciting signs as they exercise their constitutional right to engage with residents for political purposes.

Q: How should a homeowner deal with solicitors who ignore a no soliciting sign?

A: If a solicitor refuses to leave after being informed about the no soliciting policy, homeowners can remind them of the sign, reiterate their request for the solicitor to leave, and seek support from relevant authorities if necessary.

Q: What are some tips for making a no soliciting sign more enforceable?

A: To enhance the enforceability of a no soliciting sign, homeowners should ensure the sign is clearly visible, prominently displayed, and includes specific language such as "no soliciting" or "no solicitation" to clearly convey the message.

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It&#39;s also a good idea to arrange them in a clear hierarchy, so that people can easily find what they&#39;re looking for. Consistent Branding Your print materials should reflect your brand identity. This means using the same colors, fonts, and logos that you use in your other marketing materials. By doing this, you&#39;ll create a cohesive look that helps people recognize your brand wherever they see it. Font Selection Choosing the right fonts is important for readability. You want to pick styles that are easy to read, even in small sizes. Avoid using fancy or decorative types that might look cool but are hard to understand. Stick to simple and professional-looking options instead. Edit with Precision Once you&#39;ve created your design, take the time to fine-tune it. Use editing tools to make small adjustments to the layout, colors, and spacing until everything looks just right. These little changes can make a big difference in how your card looks overall. Expert Guidance If you&#39;re not confident in your design skills, don&#39;t be afraid to ask for help! There are plenty of professionals out there who specialize in graphic design and can assist you in creating an eye-catching card. They can provide valuable insights into current design trends and help you make choices that convey professionalism. Remember, the goal is to make a lasting impression. By paying attention to these details and putting effort into your design, you&#39;ll create a card that people will want to hold onto. The following section explores how creative card designs can serve various industries and professions, showcasing the diverse possibilities available when utilizing free templates and makers. Showcasing Examples of Creative Business Card Designs Business cards are an important part of brand identity, representing your business and leaving a lasting impression on potential clients. With the help of free business card templates and designer tools, you can create eye-catching designs that showcase your professionalism and attention to detail. Here are some examples of creative designs: Industry-Specific Cards For real estate professionals, featuring architectural blueprints or elegant property images sets the right tone. Healthcare providers often choose clean, trust-inspiring designs with medical imagery. Artistic Flair Designers have the freedom to use templates as a starting point and let their creativity shine through. Here&#39;s an example: An illustrator might choose a template with ample white space to highlight their vibrant portfolio pieces. Tech and Innovation Those in the tech industry usually prefer sleek, modern templates that reflect their cutting-edge mindset. Here&#39;s an example: A software developer could go for a design with sharp lines and dynamic color schemes, embodying innovation. Hospitality and Service Businesses in the hospitality industry thrive on creating warm and inviting experiences for their customers. Here&#39;s an example: A bed and breakfast owner might opt for a template with warm colors and inviting textures, conveying comfort and high-quality service. The availability of different templates allows you to customize your design according to your profession&#39;s unique story. Whether you&#39;re a corporate professional looking for a minimalist layout or a creative wanting something more ornate, you can use these tools to create visually appealing business cards that represent you well. Conclusion Crafting a compelling card has never been easier, thanks to the wealth of free resources available online. With a plethora of free templates and user-friendly design tools at your disposal, you can create personalized business cards that not only reflect your brand&#39;s identity but also leave a lasting impression on recipients. Initiating this free process allows you to explore a wide selection of high-quality designs, all tailored to suit different industries and professions. From minimalist and sleek designs to more creative and out-of-the-box templates like luxury business cards , there is something for everyone. Remember, the effectiveness of your card hinges largely on its design. Therefore, take the time to: Choose your favorite design Customize it according to your brand&#39;s color scheme and logo Incorporate all the necessary details before printing This journey of creating your own business card not only cultivates creativity but also reinforces your brand&#39;s identity. So why wait? Start exploring these tools and create impressive business cards that will make you stand out from the crowd. In the world of networking, a well-designed business card can open doors to new opportunities. Make every first impression count by leveraging these free resources today! FAQs(Frequently Asked Questions) What is the significance of professional quality in business card templates? Access to an array of high-res files and vector files ensures professional quality designs, enhancing the overall look and feel of the business card. How customizable are business card templates? Despite starting with a foundation laid out by the template, there is still ample room for customization to tailor the design to specific branding needs. What are the steps involved in creating business cards with free templates and makers? The steps involve choosing a suitable template, optimizing it with branding elements, adding contact information, and reviewing the design before finalizing it. What tips are important for designing an effective business card? Important tips include prioritizing clarity, ensuring consistent branding, choosing the right fonts, editing with precision, and seeking expert guidance if needed. What are the benefits of using business card templates? Using templates provides an efficient path to creating a well-designed business card. It allows for immediate focus on customization, access to expert layouts, and time-saving convenience. How can I customize a pre-designed business card template? Despite starting with a foundation laid out by the template, you can infuse branding elements and contact information to personalize the design according to your preferences. What are some examples of industry-specific business card designs? For real estate professionals, business cards featuring architectural elements may be suitable. Designers have the freedom to use templates as a starting point for creative flair, while those in the tech industry usually prefer sleek, modern templates. Why is it important to prioritize clarity in business card design? Prioritizing clarity ensures that the most important information on your card stands out and is easily readable. This is crucial for making a memorable first impression. What are the benefits of using a free business card maker tool? Using a free business card maker tool provides the convenience of creating professional-quality business cards without the need for advanced design skills or software. It also allows for customization to reflect your brand identity and saves time by offering pre-designed templates. How can customizable templates save time? Customizable templates save time by providing a foundation for the design, allowing for immediate focus on personalizing the template with branding elements and contact information. This eliminates the need to start from scratch and speeds up the overall design process. What is the significance of consistent branding in business card design? Consistent branding in business card design is important because it helps reinforce brand identity and recognition. Using consistent colors, fonts, and visual elements across all marketing materials, including business cards, creates a cohesive and professional image for your business. Why is it important to review your business card design before finalizing it? Reviewing your business card design before finalizing it is crucial to ensure that all information is accurate, the layout is visually appealing, and there are no errors. Taking the time to review the design helps avoid potential mistakes and ensures that your business card makes a positive first impression.

A business card can help represent you professionally. These cards contain your contact info, job title, and company details. As a result, they make it easy to connect and swap information in more formal situations. The size of your business card is a big part of your brand&rsquo;s identity. Whether you settle for a mini card size or the standard business card dimensions, your preference will impact how others embrace your brand. Standard Business Card Size In the United States of America, the standard dimension for business cards is 2&quot; &times; 3.5&quot; or (89 mm x 51 mm). This size will fit into most purses or wallets. Using this dimension adds a traditional tone to any business. It is a dependable way to present your business to clients and signal its stability. Slim and Mini Business Cards There are two other dimensions known as slim (1.75&quot; &times; 3.5&quot;) and mini (1.5&quot; x 3.5&quot;). Due to the sleekness and size, these dimensions are increasingly becoming popular in our modern age. These sizes are smaller than the standard size. This miniature size is attention-grabbing and can help to simplify your message. Square and Rounded Corner Cards Non-traditional designs like square and rounded corner cards are innovative designs. Their unique appearance is attention-grabbing and creates a sense of modernity. Some features like full-color printing, different thickness options, and other factors make this design feel different. You can explore different square and rounded corner cards at 4OVER4.COM . We design based on your branding and vision. Having a custom-shaped business card will show the creative twist of your business. You can choose from our Custom-Shaped or Die-cut cards for unique card sizes and shapes. Credit Card-Sized Business Cards This is a credit card-sized business card. With a dimension of (2.125&quot; &times; 3.375&quot;), the cards will fit into a standard cardholder. Using this dimension showcases your efficiency and professionalism. Also, credit card sizes emphasize your willingness to integrate into the daily lives of the business prospects. Custom-Sized Business Card You can create a custom-sized business card at your discretion. Since these cards digress from standard sizes, they can help you make a bold statement. However, you should consider their creativity and functionality when deciding. The Psychological Impact of Different Sizes The size of your business card isn&#39;t just a number; it plays mind games, subtly influencing your brand&rsquo;s perceptions. Standard sizes say you&#39;re dependable and traditional, while slim and mini scream modernity. The custom size whispers boldness, while square or rounded corners help to showcase your innovation. Industry Applications An industry can dictate the business card sizes that you should adopt. For example, a tech startup will likely settle for a standard-sized card. This card illustrates the reliability that is a norm for such an industry. In contrast, a graphic design professional may opt for square and rounded corner cards. These designs are unique and custom-made. Also, they match the innovation and creativity that graphic design requires. Design and Content Strategy for Different Sizes No matter the size, the essential information like the company name, logo, and contact information must be present and clear enough. Avoid including unnecessary information on the card. The fonts must be appealing and easy to read. Also, you can blend your brand&#39;s color with your business card. This harmony can help to create and cement your brand identity. The card size is just one design element to consider when designing creative business cards. The card&rsquo;s design is also critical. Edge painting , spot UV , and velvet lamination are printing techniques for standing out. Conclusion When it comes to business cards , size is like your brand&#39;s personal megaphone. Whether you stick to the standard or custom size, it will help amplify your brand&rsquo;s values. Hence, you should carefully consider your card&rsquo;s size. You can order high-quality custom card sizes and shapes on 4OVER4 today.

New digital features have been introduced to business cards, making business connections more effective than they used to be. Technology has reshaped the role of business cards as a more robust tool for networking. This article focuses on the evolution of traditional business cards. The Digital Transformation of Networking As of today, there are many ways people network in the digital space, from traditional methods to social media, digital business cards, and webinars. These changes have influenced how brands design and share business cards. As a result, business cards are now more than a piece of paper. Instead, they help brands establish a connection and build trust with potential clients and prospects. The Enduring Value of Physical Business Cards Physical business cards have benefits that set them apart. As a result, these cards remain popular despite the many modern alternatives. These benefits include: Ease of Use: Physical business does not require a tech-savvy audience. You simply need to hand the cards to potential clients or prospects. Easy Reference: The ease of reference helps recipients remember your business details when they glance at your card. As a result, these cards are relevant in any setting. Versatility: You can share a physical business card without an internet connection or digital device. Although we&rsquo;re in the digital age, many people prefer physical cards. These cards are intuitive and tangible. They help to remind others of your brand. Modern Business Card Innovations Technological enhancements like QR codes, NFC chips, and augmented reality features enable ease when sharing information. For example, having a QR code on your business card will direct customers to your website and portfolios, where there is more information about your business. Also, digital business cards have their application. Designing Business Cards for the Future With NFC integration and a QR code on your physical business card, you can direct prospective clients to your business page with one click. Also, you can consider post-consumer recycled materials like Kraft and Cotton business cards . We offer eco-friendly options at 4OVER4. Global Perspectives As people continue to embrace more technology worldwide, business cards are adopting this trend. QR codes with comprehensive information are added to business cards to bridge traditional and modern networking practices. However, it is advisable to adhere to etiquette when sharing a business card. When designing your business card, you should format your contact information to international standards. You should add a country code to your number and indicate whether it is mobile or landline. Ensure you have all the essential information on your business card. This includes full name, title, company name, job title, address, and social media handles. The Role of Print Shops Like 4OVER4.COM 4OVER4 is at the forefront of the evolution of business cards. We&rsquo;ve added modern technology to traditional cards to produce something lasting. Consider these innovations: Blending Physical Cards with Technology: With the addition of QR codes , we combine digital features with physical cards, helping to connect customers easily. Die-Cut Shapes: We create beautiful card designs different from the regular rectangular format, making people prefer a physical business card. Eco-friendly Materials: We use eco-friendly and sustainably sourced materials so you do not harm the environment when doing business. Conclusion The evolution of business cards shows a shift from ordinary paper to a more robust tool to connect a business owner to customers. This has made networking smoother and more professional across the globe. However, brands must adjust to this change. Printing companies like 4OVER4 are infusing technology with physical cards. You can order modern cards for networking on 4OVER4 today.

First impression matters, especially when marketing your business. An effective business card design will help you impress potential prospects and partners. Hence, we&#39;ll explore business card marketing ideas so you are one step closer to the deal. Designing Your Business Card Your business card reflects your brand, so creating a visually appealing and memorable design is crucial. When choosing a design, you should consider various design elements, such as fonts, colors, and materials. Also, a prominent logo will give it a distinct and personal look. A clean and professional design will help to market your brand effectively. Strategic Information Placement Consider the following tips when choosing where and how to place business card information: Prioritize essential information: Focus on the most critical details, such as your name, job title, and company name. Make this information prominent so it&#39;s easy to identify. Choose readable fonts and sizes. Recipients can get to the gist of your presentation with just a glance. Utilize white spaces: They contribute to a clutter-free design, enhance visual appeal, and make it easier for the recipient to absorb the information. Using white space around the design elements will make your business card design stand out. Highlight your unique selling proposition: It&#39;s critical to communicate your unique proposition. Why should customers buy from you, not your competitor? A simple tagline or brief statement about your expertise can help answer this question. Add a call to action: Encourage recipients to take action. Do you want users to visit your website, connect with you on social media, or schedule a consultation? Then, tell them how to complete the action. Including this information will help drive traffic and engagement. Networking with Business Cards There are various business networking strategies. But you must avoid the temptation of randomly sharing your cards. While you will succeed in getting it into more hands, this action may cheapen your perceived value. As a result, randomly sharing your cards is ineffective. Instead, focus on individuals who align with your professional goals or could benefit from your services. Tracking and ROI Measures You can track your marketing results with QR code business cards . Users can scan these cards to visit your website or social media pages. This feature helps you track website visits and conversions. Also, it is more convenient than typing a URL or manually looking up your social media handle. Integration with Digital Marketing Efforts You can combine traditional and digital marketing methods for even more effective results. For example, your business card can have a coupon code for customers to apply for a discount before checkout. Promoting a discount or sale this way will incentivize customers to check out your brand and buy from you. Innovative Business Card Ideas Consider these innovative business card ideas for standing out in a crowded market: Use Custom Die-Cut Shapes The conventional rectangular-shaped cards may not cut it for you. Instead, opt for uniquely shaped Die-cut cards . You can choose shapes that align with your brand or industry. Whether it&#39;s a circular card for a fashion business or a house-shaped card for a real estate business, you can order your preferred style on 4OVER4. Incorporate Interactive Elements Foldover , 3D Lenticular , and QR business cards are interactive business cards. Their designs engage the recipient and showcase your creativity and attention to detail. Use of Unconventional Materials Don&#39;t restrict your designs to paper when you have business cards on Wood , Plastic , or Metal cards . These cards are more durable than paper cards and can help to communicate your value. Conclusion There are various networking strategies. However, business cards can help to drive your commercial success. You can design an impactful business card with 4OVER4.COM today!

Definition of 'no-no'

No-no in american english, examples of 'no-no' in a sentence no-no, cobuild collocations no-no, browse alphabetically no-no.

• no-nonsense
• no-nonsense approach
• no-nonsense attitude
• All ENGLISH words that begin with 'N'

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Not Equal Symbol

In math, the “not-equal” symbol (≠) is used to indicate that two values or expressions are not equal to each other. The not-equal symbol is the counterpart to the equal symbol (=), which is used to show that two values or expressions are equal. Typically, the symbol is used in an expression like this:

In plain language, this expression means that the value of is not equal to the value of .

The equals symbol or equal sign is used in mathematics to assert that two expressions have the same value. It is also used in boolean logic as an operator, evaluating to true or false based on the two input expressions.

What Does No Standing Sign Mean?

Posted by Ryan Brennan on Mar 15th 2023

Driving a vehicle requires an understanding and respect for the many street signs that you encounter on a daily basis. They not only tell you what you’re allowed to do and not do while driving your vehicle, but they increase the level of safety and maintain a sense of unity among drivers you’re sharing the road with.

Did you know there are more than 500 federally-approved traffic signs being utilized in streets across the United States? While drivers are expected to understand each and every one of them – even though some of them are rarely seen or used – it’s no surprise that confusion might arise in some instances.

While there are a number of signs that contribute to this confusion, a majority of drivers have a hard time distinguishing the differences between a ‘no standing’ sign, ‘no parking’ sign, and ‘no stopping’ sign. They look similar and are used in similar situations, but the meaning behind each sign is completely different.

Meaning of ‘No Standing’ Sign

‘No Standing’ signs have a white background with red lettering that reads ‘No Standing Any Time’ – there’s also a double-sided arrow below the lettering. In most cities in the United States, this sign permits stopping your vehicle to load or unload goods from your vehicle – it also permits parking of any kind.

So, what is allowed under a ‘no standing’ sign? While you can’t load or unload goods, drivers are allowed to pick up or drop off people – so long as the driver doesn’t leave the vehicle and they leave immediately after picking them up or dropping them off. Drivers should keep their car running while they’re stopped.

No Standing Sign vs No Parking Sign

‘No Parking’ signs have a similar appearance as the ‘No Standing’ sign described above. They have a white background with red lettering that reads ‘No Parking Any Time’ above a double-sided arrow. In most cities, the sign permits parking and doesn’t allow the driver to leave their vehicle alone for any reason.

So, what is allowed under a ‘no parking’ sign? Much like a ‘no standing sign,’ drivers are allowed to pick up or drop off passengers. Unlike a ‘no standing sign,’ drivers are also allowed to load and/or unload goods from their vehicle. As long as the driver doesn't leave the vehicle unattended, drivers can stop and handle their business freely.

No Standing Sign vs No Stopping Sign

‘No Stopping’ signs have the same appearance as the other signs – a white background and red lettering that reads ‘No Stopping Any Time’ above a double-sided arrow. In most cities in the US, this sign permits stopping for any reason – no parking, no loading/unloading goods, no picking up or dropping off people.

So, what is allowed under a ‘no stopping’ sign? To be honest, not much – in fact, the only thing you’re really allowed to do is keep driving past the sign. In most cities, these laws don’t apply on major holidays – such as New Year's Day, Memorial Day, the 4th of July, Labor Day, Thanksgiving, and/or Christmas.

Punishment for Disobeying a ‘No Standing’ Sign

Drivers who disobey a ‘no standing’ sign should expect to be hit with a fine of anywhere between $100 and $200. The exact penalty – as well as the very definition or meaning of the sign – is likely to vary from one state to the next since these laws are often regulated by individual municipalities within the state.

With that said, you should always check the exact laws in your local area to ensure you’re following these signs – including the ‘no standing’ sign, ‘no parking’ sign, and ‘no stopping’ sign. The definitions explained above are applicable in most states, but often give a vague description of what the sign actually means.

Not only that, but there are instances where the law doesn’t apply. For example, you should still follow the direct orders of a police officer, even if they ask you to stop in an area with a designated ‘no stopping’ sign. You can also avoid a ticket or fine if you’re stopping in an effort to avoid conflict and obey other traffic signals or signs.

Difference Between ‘No Standing’ Sign and ADA Signs

ADA signage plays an essential role in making public areas and facilities easier to navigate for anyone living with a disability (blind individuals, for example). These signs often feature the use of braille and are required by law in public areas – all of which is spelled out in the Americans With Disabilities Act (ADA).

While a ‘no standing’ sign isn’t considered an ADA sign, there are certain traffic and street signs that fall into that category. The perfect example of this is handicap parking and other reserved parking signs. Handicap parking is required by law and most parking lots need them in order to comply with the ADA.

Unlike traditional parking spaces, handicap spaces are reserved for those that have a handicap parking permit – which are only given to those that need them. Individuals with a permit are given a placard to place in their windshield, allowing them to park in the reserved space without facing a penalty or fine.

Are You Looking for Quality ADA Signs?

Do you own a business or public building? Are you worried that your facility isn’t complying with the Americans with Disabilities Act? Are you searching for quality ADA signs to ensure disabled people feel comfortable when navigating your location? If you answered ‘yes,’ then you’ve come to the right place.

At ADA Central, we understand how difficult it is to properly comply with the ADA requirements and are aware of the limited amount of wiggle room owners have when making their guests feel comfortable. That’s why we work with each individual customer to ensure their wants and needs are taken care of.

We take pride in helping customers achieve and maintain compliance with the ADA by supplying the proper signs needed for each space. We have general designs available to choose from, but also have the capacity to build custom signs for those that need something more specific. Contact us today to learn more!

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The Trump camp and the White House clash over Biden’s recognition of ‘Transgender Day of Visibility’

President Joe Biden waves as he arrives Air Force One, Tuesday, March 29, 2024, in Hagerstown, Md. Biden is en route to Camp David.(AP Photo/Alex Brandon)

FILE - Republican presidential candidate former President Donald Trump speaks at a campaign rally March 9, 2024, in Rome Ga. (AP Photo/Mike Stewart, File)

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WASHINGTON (AP) — President Joe Biden is facing criticism from Donald Trump’s campaign and religious conservatives for proclaiming March 31 — which corresponds with Easter Sunday this year — as “Transgender Day of Visibility.”

The Democratic president issued the proclamation on Friday, calling on “all Americans to join us in lifting up the lives and voices of transgender people throughout our Nation and to work toward eliminating violence and discrimination based on gender identity.”

But in 2024, the March 31 designation overlaps with Easter, one of Christianity’s holiest celebrations. Trump’s campaign accused Biden, a Roman Catholic, of being insensitive to religion, and fellow Republicans piled on.

“We call on Joe Biden’s failing campaign and White House to issue an apology to the millions of Catholics and Christians across America who believe tomorrow is for one celebration only — the resurrection of Jesus Christ,” said Karoline Leavitt, the Trump campaign’s press secretary. She assailed what she called the Biden administration’s “years-long assault on the Christian faith.”

House Speaker Mike Johnson, R-La., said on social media that the “Biden White House has betrayed the central tenet of Easter” and called the decision “outrageous and abhorrent.”

White House spokesperson Andrew Bates said the Republicans criticizing Biden “are seeking to divide and weaken our country with cruel, hateful and dishonest rhetoric.”

“As a Christian who celebrates Easter with family, President Biden stands for bringing people together and upholding the dignity and freedoms of every American,” Bates said. “President Biden will never abuse his faith for political purposes or for profit.”

The advocacy group GLAAD said in a statement that people can both celebrate Easter and show their support for the trans community.

“The date of Easter moves each year, while Trans Day of Visibility is always recognized on March 31, but this year right-wing politicians and talking heads are using the coincidental timing to overshadow the hope and joy that Easter represents,” said Sarah Kate Ellis, GLAAD president and CEO.

Biden first issued a proclamation on transgender visibility in 2021 . Proclamations are generally statements about public policy by the president. But this year’s overlap with Easter and the heated tensions from the presidential campaign made the latest transgender proclamation a way for many Republicans to question the Democrat’s religious faith.

Biden devoutly attends Mass and considers his Catholic upbringing to be a core part of his morality and identity. In 2021, he met with Pope Francis at the Vatican and afterward told reporters that the pontiff said he was a “good Catholic” who should keep receiving Communion.

But Biden’s political stances on gay marriage and support for women having the right to abortion have put him at odds with many conservative Christians.

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Here's How Spring's Mercury Retrograde Will Affect You, Based on Your Zodiac Sign

Mercury retrograde begins on April 1 and according to celebrity astrologer Kyle Thomas' predictions, it's going to be "a fiery one"

Feeling that kind of way? Yeah, you have Mercury retrograde to blame!

It's that time of the year that has everyone feeling in a funk because the often-dreaded planetary movement begins on April 1 this year, coincidentally coinciding with April Fool's Day.

A retrograde occurs when a planet appears to be moving backward in the sky, which celebrity astrologer  Kyle Thomas tells PEOPLE can result in periods often of "confusion, delay and frustration." However, this event is just an optical illusion from our vantage point on Earth as planets don't actually move backward).

Mercury turns retrograde around three to four times a year, a frequency more than any other planet. As for the approaching event in particular, Thomas — who's  known for his cosmic guidance  for celebrities, business executives and prominent influencers — predicts it to be "a fiery one" with effects lasting until April 25 (and for some, even May 2024)!

Aries is the zodiac sign Mercury will be retrograding in this spring, notes Thomas, which is likely to "bring confusion to how we pursue our passions, goals and endeavors." He says it can also cause us to feel "fired up" about our own desires and feel "quite angry and frustrated" with obstacles we might face in the future.

To combat this negative energy, Thomas suggests "taking a step back to realize that we are being given an opportunity to find new solutions and answers that will refine and empower our progress moving forward."

To find out what Spring's Mercury retrograde could mean for you based on your zodiac sign, per Thomas' suggestions, read on!

Aries (March 21-April 19)

Get ready for the greatest test, Aries. The test of patience, that is — which is why Thomas says you should consider how you can "unplug and practice mindfulness" around this retrograde.

Mercury will be causing "all sorts of drama" in your zodiac sign, which Thomas predicts "will cause challenges and hurdles to pop up in regards to every project, plan or desire you set your mind upon."

Instead of fighting the current, go with the flow! "Nothing will proceed now," notes Thomas, "So it is best to chill."

Taurus (April 20-May 20)

Feeling frazzled, Taurus? "You’re going to need to focus on your mental health," says Thomas.

This Mercury retrograde period might make you feel like "your anxiety, frustration and insecurity is all over place," he puts forth. "You may be obsessing about closure or baggage. Secrets, hidden enemies, and unresolved situations may haunt you."

Thomas' suggestion? "Try to release what is blocking you from moving forward."

Gemini (May 21-June 20)

Hang in there, Gemini, your planetary ruler is going retrograde! Mercury's apparent planetary movement "will bring mischief to your friendships, social life and network," predicts Thomas.

"Miscommunication could happen with people that you know," he puts forth, noting that drama may result. On the other hand, he says "old friends and flames may return to you" during this time, too!

If you’d like to reunite with anyone, Thomas advises you "do so now" because "you could enjoy reconnection.

Cancer (June 21-July 22)

Pace yourself, Cancer! "You’ll want to race headfirst in work matters, but you’ll need to take two steps backward before you do so, advises Thomas. "Mercury retrograde will bring thunderstorms to your career and professional projects."

"Delays, conflicts with a boss or challenging news around your ambitions, success or public recognition could all manifest," he continues. "Don’t launch new projects, they will fail."

Thinking of returning to a previous employer? Thomas says to "reach out now." He adds, "Consider reviewing your plans and fine-tuning them."

Leo (July 23-Aug. 22)

Hindsight is 20/20, right Leo? "The universe is encouraging you to expand your perspective," says Thomas, "but you may instead notice that you’re reviewing old visions, ideologies and progress now."

Thomas adds that some of you may even be experiencing some "frustrations" around academics, media endeavors or legalities. "Something is up for review," he says.

If you can revisit old destinations, spiritual teachings or colleagues, he predicts you'll instead "use this energy in a positive way."

Virgo (Aug. 23-Sept. 22)

It's time to dial in, Virgo! "You’re going to need to take a microscope to your relationships now, especially what you give and receive," says Thomas. "The Mercury retrograde phase stirs the pot on all levels within partnership."

"You’ll be feeling a significant connection is not balanced," he continues. "You could be having trust or sharing issues. This could instead bring frustration to assets or investments, as well or delays around debts, payouts or settlements."

Libra (Sept. 23-Oct. 22)

It's time to face the truth in your connections, Libra! Spring's Mercury retrograde period "will bring confusion and miscommunication to your partnerships and relationships," predicts Thomas. "This may bring friction or cause you to wonder why you’re not on the same page."

This Mercury retrograde may even "bring back an old partner in business or love to you," adds Thomas. "If you’d like to reconnect with someone, use the time now."

Scorpio (Oct. 23-Nov. 21)

Breathe in and breathe out, Scorpio. "This Mercury retrograde will bring headaches around work and employment matters," predicts Thomas.

"You may sense confusion with coworkers or around projects and responsibilities," he says. "Someone may up and quit, causing all sorts of matters to spin off the rails." If you’d like to reconnect with an old employer, Thomas suggests you "do so now."

Elsewhere in his prediction, Thomas says "you could be reviewing a challenge around your routines, physical health or even a pet."

Sagittarius (Nov. 22 – Dec. 21)

Love on the brain, Sagittarius? "You'll be seeing all sorts of confusion around dating, your passions and creativity," says Thomas — even children or drama surrounding an ex, he adds.

"If casually meeting new people, you may find yourself suddenly ghosted or that your lover is having second thoughts," says Thomas. "An ex, old hookup or old flame could even cross your path."

If you’d like to reconnect with someone, Thomas advises that you "do so now." You got this!

Capricorn (Dec. 22-Jan. 19)

Lucky for you, Capricorn, Thomas says "you can afford to take a step back [and] just coast for a bit." However, he advises that you "be aware" that Mercury retrograde "can bring confusion to your home, family, real estate and domestic matters."

"If you’ve been in the process of a move or renovation, it’s going to experience delays and frustrations," he explains. Residence aside, Thomas reveals that you could also "feel that frustrations are popping up with your kindred or parents."

Aquarius (Jan. 20-Feb. 18)

Life could feel like a cyclone now, Aquarius, as your mind will be spiraling! Thomas says Spring's Mercury retrograde might have you feeling "confused about your ideas, opinions and plans" — especially tied to "writing, speaking, advertising or a branding initiative."

Elsewhere in his prediction, Thomas says this Mercury retrograde "could be causing hurdles around travel or contracts."

Pisces (Feb. 19-March 20)

Mind your money, Pisces! "Prepare to experience plenty of delays, frustrations and drama around your income and finances," warns Thomas. "This can bring quite the anxiety."

His advice? "Be sure to triple check all of your expenses and transactions."

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Notice of FY 2025 H-1B Cap Initial Registration Selection Process Completion and Cap Season Reminders

H-1B Initial Electronic Registration Selection Process Completed

U.S. Citizenship and Immigration Services has received enough electronic registrations for unique beneficiaries during the initial registration period to reach the fiscal year (FY) 2025 H-1B numerical allocations (H-1B cap), including the advanced degree exemption (master’s cap). We have randomly selected enough properly submitted registrations for unique beneficiaries projected as needed to reach the H-1B cap and have notified all prospective petitioners with selected beneficiaries that they are eligible to file an H-1B cap-subject petition for such beneficiaries.

Registrants’ online accounts will now show one of the following statuses for each registration (that is, for each beneficiary registered):

• Submitted:  The registration has been submitted and is eligible for selection. If the initial selection process has been completed, this registration remains eligible, unless subsequently invalidated, for selection in any subsequent selections for the fiscal year for which it was submitted.
• Selected:  Selected to file an H-1B cap petition.
• Not Selected: Not eligible to file an H-1B cap petition based on this registration.
• Denied – duplicate registration:  Multiple registrations were submitted by or on behalf of the same registrant for the same beneficiary. If denied as a duplicate registration, all registrations submitted by or on behalf of the same registrant for this beneficiary for the fiscal year are invalid.
• Invalidated – failed payment: A registration was submitted but the payment method was declined, not reconciled, or otherwise invalid.
• Deleted: The submitted registration has been deleted and is no longer eligible for selection.
• Processing submission:  USCIS is processing your submission. It may take up to 72 hours for all of your case information to show on the case details page. While it is processing, you will be unable to access your draft.

For more information, visit the  H-1B Electronic Registration Process  page.

FY 2025 H-1B Cap Petitions May Be Filed Starting April 1

H-1B cap-subject petitions for FY 2025, including those petitions eligible for the advanced degree exemption, may be filed with USCIS beginning April 1, 2024, if filed for a selected beneficiary and based on a valid registration.

Only petitioners with registrations for selected beneficiaries may file H-1B cap-subject petitions for FY 2025.

An H-1B cap-subject petition must be properly filed at the correct  filing location (see H-1B Form I-129 Filing Location Change to Lockbox section below)   or online at  my.uscis.gov and within the filing period indicated on the relevant selection notice. The period for filing the H-1B cap-subject petition will be at least 90 days. Petitioners must include a copy of the applicable selection notice with the FY 2025 H-1B cap-subject petition.

Petitioners must also submit evidence of the beneficiary’s valid passport or travel document used at the time of registration to identify the beneficiary.

Petitioners filing for selected beneficiaries based on their valid registration must still submit evidence or otherwise establish eligibility for petition approval, as registration and selection only pertains to eligibility to file the H-1B cap-subject petition.

For more information, visit the  H-1B Cap Season  page.

New Fees and Form Edition

On Jan. 31, 2024, USCIS published a  final rule   that adjusts the fees required for most immigration applications and petitions. The new fees are effective April 1, 2024. Petitions postmarked on or after April 1, 2024 , must include the new fees or we will not accept them. Additionally, there will be a new 04/01/24 edition of  Form I-129, Petition for a Nonimmigrant Worker . There will be  no grace period  for filing the new version of Form I-129 because it must include the new fee calculation.

What to Know About Sending Us Your Form I-129.

• We will accept the 05/31/23 edition of this form if it is postmarked  before  April 1, 2024;
• We will not accept the 05/31/23 edition of this form if it is postmarked  on  or  after  April 1, 2024; and
• We will only accept the 04/01/24 edition of this form if it is postmarked  on  or  after  April 1, 2024.

We will use the  postmark date  of a filing to determine which form version and fees are correct but will use the  received date  for purposes of any regulatory or statutory filing deadlines.

As a reminder, we recently  announced  a  final premium processing fee rule  that increased the filing fee for  Form I-907, Request for Premium Processing Service , to adjust for inflation, effective Feb. 26, 2024. If we receive a Form I-907 postmarked on or after Feb. 26, 2024, with the incorrect filing fee, we will reject the Form I-907 and return the filing fee. For filings sent by commercial courier (such as UPS, FedEx, and DHL), the postmark date is the date on the courier receipt.

Online Filing and Organizational Accounts

On Feb. 28, 2024, we launched new online organizational accounts that allow multiple people within an organization and their legal representatives to collaborate on and prepare H-1B registrations, H-1B petitions, and any associated Form I-907. Information on organizational accounts is available on the  Organizational Accounts Frequently Asked Questions page.

We also launched online filing of Form I-129 and associated Form I-907 for non-cap H-1B petitions on March 25. On April 1, we will begin accepting online filing for H-1B cap petitions and associated Forms I-907 for petitioners whose registrations have been selected.

Petitioners will continue to have the option of filing a paper Form I-129 H-1B petition and any associated Form I-907 if they prefer. However, during the initial launch of organizational accounts, users will not be able to link paper-filed Forms I-129 and I-907 to their online accounts.

H-1B Form I-129 Filing Location Change to Lockbox

Starting April 1, 2024, H-1B and H-1B1 (HSC) Form I-129 petitions are no longer filed directly with the USCIS service centers. All paper-based H-1B and H-1B1 (HSC) Form I-129 petitions are now filed at USCIS lockbox locations. This includes cap, non-cap, and cap-exempt H-1B filings.

We will reject H-1B or H-1B1 (HSC) petitions received at a USCIS service center on or after April 1, 2024. There will be  no grace period  provided.

USCIS has specific mailing addresses for cases that are subject to the H-1B cap. To determine the correct mailing address, please see our  Form I-129 Direct Filing Addresses  page.

If a petition is filed at the wrong location, we may reject the petition. Rejected petitions will not retain a filing date. If we reject a petition because it was filed at the wrong location, it may be refiled at the correct location, or online. H-1B cap subject petitions may be refiled at the correct location, or online, as long as the petition is refiled during the designated 90-day filing window listed on the selection notice.

No More Pre-paid Mailers

As of March 25, 2024, we are no longer using prepaid mailers to send out any communication or final notices for any H-1B or H-1B1 (HSC) petitions. With H-1B intake now occurring at the lockbox or online, we will not be able to use any prepaid mailers for H-1B or H-1B1 (HSC) filings.

The process of printing and mailing H-1B petition approval notices by first-class mail is fully automated. For petitions filed online, myUSCIS account holders will also receive an email or text message notification in their myUSCIS account when there is a case status change on a case in their account, followed by a paper notice by mail.

Receipt Notice Delays

When we receive a timely and properly filed H-1B cap subject petition, the petitioner (and, if applicable, the petitioner’s legal representative) will be provided a Form I-797, Notice of Action, communicating receipt of the petition. Due to increased filing volumes typically seen during H-1B cap filing periods, there are instances where a paper petition is timely and properly filed by mail, but issuance of the Form I-797 is delayed. If you are a petitioner and have confirmation from the delivery service that the petition was delivered, but you have not yet received a Form I-797 confirming receipt of the petition, you should not submit a second petition. If you have confirmation from the delivery service that the petition was delivered and you then submit a second H-1B cap petition for the same beneficiary, you will be considered to have submitted multiple H-1B cap petitions. This will result in denial or revocation of both petitions.

If more than 30 days have passed since the confirmation of delivery and you have still not received a Form I-797, you may contact the  USCIS Contact Center  for assistance.

If you receive notification from the delivery service, or your tracking information suggests that there may be a delay or damage to the package or that the package was misrouted, you should follow the Delivery Service Error Guidance on the  H-1B Cap Season  webpage.

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The signs pointing to Brian Daboll taking over as the Giants’ play-caller — and what it would mean

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There are big deals and small deals. If Brian Daboll takes over the Giants’ play-calling on offense for the 2024 season, it would be a big deal.

Not that it would be revolutionary. It is fairly commonplace in the NFL for the head coach also to make the calls on offense. This past Super Bowl featured two head coaches known for their offensive creativity, Andy Reid of the Chiefs and Kyle Shanahan of the 49ers, who take on dual roles as the offensive play-caller and the head coach. No one questions their ability to seamlessly handle both responsibilities.

“I think there’s 20 head coaches at this point in time that call plays in the league,’’ Daboll said recently. “I’ve been doing a bunch of research, but no decision has been made. I’m still going through that process, thinking about what we need to do.”

Given the state of the Giants offense in 2023, it will be no surprise if Daboll’s process leads him to doing something he decided not to do when he received his first head coaching position after more than 20 years as an NFL assistant.

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