Editing One and Three Chairs (section)

==Interpretation==
{{original research|section|date=March 2025}}

The work ''One and Three Chairs'' can be seen to highlight the relation between language, picture and referent. It problematizes relations between object, visual and verbal references ([[denotation (semiotics)|denotations]]) plus semantic fields of the term chosen for the verbal reference. The term of the dictionary includes [[connotation (semiotics)|connotations]] and possible denotations which are  relevant in the context of the presentation of ''One and Three Chairs''. The meanings of the three elements are congruent in certain semantic fields and incongruent in other semantic fields: A semantic congruity ("One") and a threefold incongruity ("One and Three").  Ironically,  ''One and Three Chairs'' can be looked upon as simple but rather complex model, of the science of signs. A viewer may ask "what's real here?" and answer that "the definition is real"; Without a definition, one would never know what an actual chair is.{{cn|date=March 2025}}

There exist different interpretations of these semantic and ontological aspects. Some refer to [[Plato]]'s ''Republic'' (Book X);<ref>Gerwen, Rob van: Introducing My Philosophical Directions: [http://www.phil.uu.nl/~rob/directions/cave.shtml Plato's Cave]. Universiteit Utrecht 2009.</ref> others refer to [[Ludwig Wittgenstein]]´s ''Tractatus''<ref>Inboden, Gudrun: Introduction: Joseph Kosuth - Artist and Critic of Modernism. In: Joseph Kosuth: The Making of Meaning. Selected Writings and Documentation of Investigations on Art Since 1965. Cat. of exhib. [[Staatsgalerie Stuttgart]]. Stuttgart 1981, p. 16-19.</ref> or to [[Charles Sanders Peirce]]'s triad icon-index-symbol.<ref>Tragatschnig, Ulrich: Konzeptuelle Kunst. Interpretationsparadigmen: Ein Propädeutikum. Reimer, Berlin 1998, p. 116.</ref> Dreher discusses the semantic problems of ''One and Three Chairs'' as inclusions of circles which represent semantic fields.<ref>Dreher, Thomas: [http://dreher.netzliteratur.net/3_Konzeptkunst_Diss.pdf Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976]. Thesis Ludwig-Maximilians-Universität/Peter Lang, Frankfurt am Main 1992, p. 70-79.</ref>

The work tends to defy formal analysis because one chair can be substituted for another chair, rendering the photograph and the chair photographed elusive to description. Nevertheless, the particular chair and its accompanying photograph lend themselves to formal analysis. There are many chairs in the world; thus only those actually used can be described. Those chairs not used would not be analyzed. The enlarged dictionary definition of the word chair is also open to formal analysis, as is the diagram containing instructions of the work.{{cn|date=March 2025}}