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But Central to this study (and most interesting fromthe semiotic point of view) is the comparison of verbal and visualtext, verbal and visual thinking. Ya Linzbach trying to findthe parameters differ. One of them he saw in the attitudeto time. "The fundamental difference between the verbal text and the illustrationhere comes down to that -- he says, -- that figure refers to onepoint in time, and the text -- to many moments. So the picture refers tothe text as a certain unit relates to a number" (Theresame. C. 2-3). He meant that looking at the signs takestime. Then, respectively, "the page of a book ishence, from the individual moments separated from each other not onlyspace, but time. It is, mathematically speaking, not onlydescribed by 3 coordinates of space xyz, sets out how it is justfigure, but also in the coordinate time t" (ibid.P.2). Should clarify this provision so that the drawing too, of course,takes time. However, as F. de Saussure, J. Linzbach focuses inthis plan is a one-dimensional character of the language. "At that time, as anygraphic images need at least a two-dimensional space,verbal expressions are strictly one-dimensional. According to its principleverbal language represents a numeric range, having onlyone dimension" (ibid.With.61). Moreover, Ya Linzbach even saw a different logic inherent inboth of these ways of communication. "It is obvious that before us here two formsof presentation, each of which has its own logic. If the textbased on the logic of the excluded middle, then the illustration is based on logicwhich may be called the logic of the "excluded second", because it boils down tothe direct image of the object to the immediate establishment of a judgment. Itaffects us directly, without intermediate verbalapparatus, with its terms and negation" (ibid.P. 56-57).
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