Gitai go: the art of deepening everyday life through exceeding codes.

The present commentary is focused on exploring holistic ways to approach sense-making processes by following the usage of specific Japanese mimic words, Gitai go, and describing how its functioning cannot be disengaged from an embodied lens to approach language-in-use. In fact, according to Komatsu's (2010) discussion about the extension of meaning derived from Gitai go and its intrinsic flexible characteristics, it is possible--in terms of semiotics--to inquire into vaguely coded systems of mutual understanding, trying to make sense of the general functioning of signs through their peculiar ambiguity as well as their potential to evoke a vivid negotiation of meaning. This seems to show the openness of meaning highlighted by Gitai go, as it is to be referred to the logic of multiplicity deeply linked with the actors' feelings in the setting that could in general terms be labeled as the carnal knowledge. Furthermore, it has been arguing about the complexity of daily life experience and its close relation to a concept of "ordinary art", as the active involvement people show in imagining, changing and creating their personal experience of the world is always performed in their day-by-day frameworks, deeply suggesting a unique strive for appropriating-negotiating-contesting networks of meanings. And this is to be approached as an artistic mode of experiencing, since art too is just embedded in this ever-emerging ambivalence coming from the complex we call "ordinary life" and relating to our deep feelings of facing our futures. Along these lines I suggest that a particular role exists in communicative messages for what is labeled as "redundant" or "superfluous"--since the ambivalence of those messages explicates the dialogical frame of sense-making, in everyday life as a concept of art.