Symbol in the context of Graphic

A cradle of civilization is a location and a culture where civilization was developed independently of other civilizations in other locations. A civilization is any complex society characterized by the development of the state, social stratification, urbanization, and symbolic systems of communication beyond signed or spoken languages (namely, writing systems and graphic arts).

Scholars generally acknowledge six cradles of civilization: Mesopotamia, Ancient Egypt, Ancient India and Ancient China are believed to be the earliest in Afro-Eurasia, while the Caral–Supe civilization of coastal Peru and the Olmec civilization of Mexico are believed to be the earliest in the Americas. All of the cradles of civilization depended upon agriculture for sustenance (except possibly Caral–Supe which may have depended initially on marine resources). All depended upon farmers producing an agricultural surplus to support the centralized government, political leaders, religious leaders, and public works of the urban centers of the early civilizations.

A civilization (also spelled civilisation in British English) is any complex society characterized by the development of the state, social stratification, urbanization, and symbolic systems of communication beyond signed or spoken languages (namely, writing systems).

Civilizations are organized around densely populated settlements, divided into more or less rigid hierarchical social classes of division of labour, often with a ruling elite and subordinate urban and rural populations, which engage in intensive agriculture, mining, small-scale manufacture and trade. Civilization concentrates power, extending human control over the rest of nature, including over other human beings. Civilizations are characterized by elaborate agriculture, architecture, infrastructure, technological advancement, currency, taxation, regulation, and specialization of labour.

Dance is an art form, consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of origin. Dance is typically performed with musical accompaniment, and sometimes with the dancer simultaneously using a musical instrument themselves.

Two common types of group dance are theatrical and participatory dance. Both types of dance may have special functions, whether social, ceremonial, competitive, erotic, martial, sacred or liturgical. Dance is not solely restricted to performance, as dance is used as a form of exercise and occasionally training for other sports and activities. Dance performances and dancing competitions are found across the world exhibiting various different styles and standards.

A writing system comprises a set of symbols, called a script, as well as the rules by which the script represents a particular language. The earliest writing appeared during the late 4th millennium BC. Throughout history, each independently invented writing system gradually emerged from a system of proto-writing, where a small number of ideographs were used in a manner incapable of fully encoding language, and thus lacking the ability to express a broad range of ideas.

Writing systems are generally classified according to how their symbols, called graphemes, relate to units of language. Phonetic writing systems – which include alphabets and syllabaries – use graphemes that correspond to sounds in the corresponding spoken language. Alphabets use graphemes called letters that generally correspond to spoken phonemes. They are typically divided into three sub-types: Pure alphabets use letters to represent both consonant and vowel sounds, abjads generally only use letters representing consonant sounds, and abugidas use letters representing consonant–vowel pairs. Syllabaries use graphemes called syllabograms that represent entire syllables or moras. By contrast, logographic (or morphographic) writing systems use graphemes that represent the units of meaning in a language, such as its words or morphemes. Alphabets typically use fewer than 100 distinct symbols, while syllabaries and logographies may use hundreds or thousands, respectively.

A sacrament is a Christian rite which is recognized as being particularly important and significant. There are various views on the existence, number and meaning of such rites. Many Christians consider the sacraments to be a visible symbol of the reality of God, as well as a channel for God's grace. Many denominations, including the Catholic, Lutheran, Moravian, Reformed (Continental Reformed, Presbyterian, and Congregationalist traditions), Anglican, Methodist and Baptist, hold to the definition of sacrament formulated by Augustine of Hippo: an outward sign of an inward grace, that has been instituted by Jesus Christ. Sacraments signify God's grace in a way that is outwardly observable to the participant.

The Catholic Church, Hussite Church and the Old Catholic Church recognize seven sacraments: Baptism, Penance (Reconciliation or Confession), Eucharist (or Holy Communion), Confirmation, Marriage (Matrimony), Holy Orders, and Anointing of the Sick (Extreme Unction). The Eastern Churches, such as the Eastern Orthodox Church and Oriental Orthodox Church as well as the Eastern Catholic Churches, recognize these as the seven major sacraments, but also apply the words sacred mysteries corresponding to Greek word, μυστήριον (mysterion), and also to rites that in the Western tradition are called sacramentals and to other realities, such as the Church itself. Many Protestant denominations, such as those within the Reformed tradition, preach just two sacraments instituted by Christ: the Eucharist (or Holy Communion) and Baptism. The Lutheran sacraments include these two, often adding Confession (and Absolution) as a third sacrament. Anglican and Methodist teaching is that "there are two Sacraments ordained of Christ our Lord in the Gospel, that is to say, Baptism and the Supper of the Lord", and that "those five commonly called Sacraments, that is to say, Confirmation, Penance, Orders, Matrimony, and Extreme Unction, are not to be counted for Sacraments of the Gospel."

Proto-writing consists of visible marks communicating limited information. Such systems emerged from earlier traditions of symbol systems in the early Neolithic, as early as the 7th millennium BC in China and southeastern Europe. They used ideographic or early mnemonic symbols or both to represent a limited number of concepts, in contrast to true writing systems, which record the language of the writer.

An ideogram or ideograph (from Greek idéa 'idea' + gráphō 'to write') is a symbol that is used within a given writing system to represent an idea or concept in a given language. (Ideograms are contrasted with phonograms, which indicate sounds of speech and thus are independent of any particular language.) Some ideograms are more arbitrary than others: some are only meaningful assuming preexisting familiarity with some convention; others more directly resemble their signifieds. Ideograms that represent physical objects by visually illustrating them are called pictograms.

• Numerals and mathematical symbols are ideograms, for example ⟨1⟩ 'one', ⟨2⟩ 'two', ⟨+⟩ 'plus', and ⟨=⟩ 'equals'.
• The ampersand ⟨&⟩ is used in many languages to represent the word and, originally a stylized ligature of the Latin word et.
• Other typographical examples include ⟨§⟩ 'section', ⟨€⟩ 'euro', ⟨£⟩ 'pound sterling', and ⟨©⟩ 'copyright'.

A creation myth or cosmogonic myth is a type of cosmogony, a symbolic narrative of how the world began and how people first came to inhabit it. While in popular usage the term myth often refers to false or fanciful stories, members of cultures often ascribe varying degrees of truth to their creation myths. In the society in which it is told, a creation myth is usually regarded as conveying profound truths – metaphorically, symbolically, historically, or literally. They are commonly, although not always, considered cosmogonical myths – that is, they describe the ordering of the cosmos from a state of chaos or amorphousness.

Creation myths often share several features. They often are considered sacred accounts and can be found in nearly all known religious traditions. They are all stories with a plot and characters who are either deities, human-like figures, or animals, who often speak and transform easily. They are often set in a dim and nonspecific past that historian of religion Mircea Eliade termed in illo tempore ('at that time'). Creation myths address questions deeply meaningful to the society that shares them, revealing their central worldview and the framework for the self-identity of the culture and individual in a universal context.

In structuralism-influenced studies of mythology, a mytheme is a fundamental generic unit of narrative structure (typically involving a relationship between a character, an event, and a theme) from which myths are thought to be constructed—a minimal unit that is always found shared with other, related mythemes and reassembled in various ways ("bundled") or linked in more complicated relationships. For example, the myths of Greek Adonis and Egyptian Osiris share several elements, leading some scholars to conclude that they share a source, i.e. images passed down in cultures or from one to another, being ascribed new interpretations of the action depicted, as well as new names in various readings of icons.

Semiotics is the study of signs. It is an interdisciplinary field that examines what signs are, how they form sign systems, and how individuals use them to communicate meaning. Its main branches are syntactics, which addresses formal relations between signs, semantics, which addresses the relation between signs and their meanings, and pragmatics, which addresses the relation between signs and their users. Semiotics is related to linguistics but has a broader scope that includes nonlinguistic signs, such as maps and clothing.

Signs are entities that stand for something else, like the word cat, which stands for a carnivorous mammal. They can take many forms, such as sounds, images, written marks, and gestures. Iconic signs operate through similarity. For them, the sign vehicle resembles the referent, such as a portrait of a person. Indexical signs are based on a direct physical link, such as smoke as a sign of fire. For symbolic signs, the relation between sign vehicle and referent is conventional or arbitrary, which applies to most linguistic signs. Models of signs analyze the basic components of signs. Ferdinand de Saussure's dyadic model identifies a perceptible image and a concept as the core elements, whereas Charles Sanders Peirce's triadic model distinguishes a sign vehicle, a referent, and an effect in the interpreter's mind.

A mental representation (or cognitive representation), in philosophy of mind, cognitive psychology, neuroscience, and cognitive science, is a hypothetical internal cognitive symbol that represents external reality or its abstractions.

Mental representation is the mental imagery of things that are not actually present to the senses. In contemporary philosophy, specifically in fields of metaphysics such as philosophy of mind and ontology, a mental representation is one of the prevailing ways of explaining and describing the nature of ideas and concepts.

In semiotics, a sign is anything that communicates a meaning that is not the sign itself to the interpreter of the sign. The meaning can be intentional, as when a word is uttered with a specific meaning, or unintentional, as when a symptom is taken as a sign of a particular medical condition. Signs can communicate through any of the senses, visual, auditory, tactile, olfactory, or taste.

Two major theories describe the way signs acquire the ability to transfer information. Both theories understand the defining property of the sign as a relation between a number of elements. In semiology, the tradition of semiotics developed by Ferdinand de Saussure (1857–1913), the sign relation is dyadic, consisting only of a form of the sign (the signifier) and its meaning (the signified). Saussure saw this relation as being essentially arbitrary (the principle of semiotic arbitrariness), motivated only by social convention. Saussure's theory has been particularly influential in the study of linguistic signs. The other major semiotic theory, developed by Charles Sanders Peirce (1839–1914), defines the sign as a triadic relation as "something that stands for something, to someone in some capacity". This means that a sign is a relation between the sign vehicle (the specific physical form of the sign), a sign object (the aspect of the world that the sign carries meaning about) and an interpretant (the meaning of the sign as understood by an interpreter). According to Peirce, signs can be divided by the type of relation that holds the sign relation together as either icons, indices or symbols. Icons are those signs that signify by means of similarity between sign vehicle and sign object (e.g. a portrait or map), indices are those that signify by means of a direct relation of contiguity or causality between sign vehicle and sign object (e.g. a symptom), and symbols are those that signify through a law or arbitrary social convention.

A numerical digit (often shortened to just digit) or numeral is a single symbol used alone (such as "1"), or in combinations (such as "15"), to represent numbers in positional notation, such as the common base 10. The name "digit" originates from the Latin digiti meaning fingers.

For any numeral system with an integer base, the number of different digits required is the absolute value of the base. For example, decimal (base 10) requires ten digits (0 to 9), and binary (base 2) requires only two digits (0 and 1). Bases greater than 10 require more than 10 digits, for instance hexadecimal (base 16) requires 16 digits (usually 0 to 9 and A to F).

In works of art, literature, and narrative, a symbol is a concrete element like an object, character, image, situation, or action that suggests or hints at abstract, deeper, or non-literal meanings or ideas. The use of symbols artistically is symbolism. In literature, such as novels, plays, and poems, symbolism goes beyond just the literal written words on a page, since writing itself is also inherently a system of symbols.

Artistic symbols may be intentionally built into a work by its creator, which in the case of narratives can make symbolism a deliberate narrative device. However, it also may be decided upon by the audience or by a consensus of scholars through their interpretation of the work. Various synonyms exist for this type of symbol, based on specific genre, artistic medium, or domain: visual symbol, literary symbol, poetic symbol, etc.

In communications and information processing, code is a system of rules to convert information—such as a letter, word, sound, image, or gesture—into another form, sometimes shortened or secret, for communication through a communication channel or storage in a storage medium. An early example is an invention of language, which enabled a person, through speech, to communicate what they thought, saw, heard, or felt to others. But speech limits the range of communication to the distance a voice can carry and limits the audience to those present when the speech is uttered. The invention of writing, which converted spoken language into visual symbols, extended the range of communication across space and time.

The process of encoding converts information from a source into symbols for communication or storage. Decoding is the reverse process, converting code symbols back into a form that the recipient understands, such as English, Spanish, etc.

In articulatory phonetics, a consonant is a speech sound that is articulated with complete or partial closure of the vocal tract, except for [h], which is pronounced without any stricture in the vocal tract. Examples are [p] and [b], pronounced with the lips; [t] and [d], pronounced with the front of the tongue; [k] and [g], pronounced with the back of the tongue; [h], pronounced throughout the vocal tract; [f], [v], [s], and [z] pronounced by forcing air through a narrow channel (fricatives); and [m] and [n], which have air flowing through the nose (nasals). Most consonants are pulmonic, using air pressure from the lungs to generate a sound. Very few natural languages are non-pulmonic, making use of ejectives, implosives, and clicks. Contrasting with consonants are vowels.

Since the number of speech sounds in the world's languages is much greater than the number of letters in any one alphabet, linguists have devised systems such as the International Phonetic Alphabet (IPA) to assign a unique and unambiguous symbol to each attested consonant. The English alphabet has fewer consonant letters than the English language has consonant sounds, so digraphs like ⟨ch⟩, ⟨sh⟩, ⟨th⟩, and ⟨ng⟩ are used to extend the alphabet, though some letters and digraphs represent more than one consonant. For example, the sound spelled ⟨th⟩ in "this" is a different consonant from the ⟨th⟩ sound in "thin". (In the IPA, these are [ð] and [θ], respectively.)

Graphics (from Ancient Greek γραφικός (التصميم) 'pertaining to drawing, painting, writing, etc.') are visual images or designs on some surface, such as a wall, canvas, screen, paper, or stone, to inform, illustrate, or entertain. In contemporary usage, it includes a pictorial representation of data, as in design and manufacture, in typesetting and the graphic arts, and in educational and recreational software. Images that are generated by a computer are called computer graphics.

Examples are photographs, drawings, line art, mathematical graphs, line graphs, charts, diagrams, typography, numbers, symbols, geometric designs, maps, engineering drawings, or other images. Graphics often combine text, illustration, and color. Graphic design may consist of the deliberate selection, creation, or arrangement of typography alone, as in a brochure, flyer, poster, web site, or book without any other element. The objective can be clarity or effective communication, association with other cultural elements, or merely the creation of a distinctive style.