Well, if perception, worked upon even in the esthesic
studies, is the object of cognitive semiotics, wouldn't we be complicating things by proposing an alternative nomenclature to that which sensible semiotics already dealt with?
Breakdowns of this sort are engendered as much at the technical level (the making of artworks) as they are at the esthesic
level (observing artworks).
Philosophically, this is articulated as the duality between esthesic
(oriented toward the listener's needs and experience) and poietic (oriented toward the artist's experience and fulfillment) that recurs throughout the Oxford History.
He emphasizes the "poietic and esthesic
dimensions of the object," and notes, ironically, that "if the two were identical, .