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This article focuses on revealing the ontological peculiarities of the multimodal nature of the verbally represented category EMOTIONS in the ecology of art discourse. On the grounds of philosophy of emotion, psychology of art, cognitive theories of emotion and B. Mandelbrot’s theory of fractals to complement the linguocognitive, cognitive-discursive and semiotics approaches, we elaborate an integrative evidence framework of the fractality of the category EMOTIONS in the circumflex of its conceptual components JOY, SADNESS, INTEREST, SURPRISE, ANGER, FEAR, DISGUST as natural fractals, actualized in modern art discourse in matrices of their conceptual features EXPERIENCE STIMULUS, APPRAISAL, EMERGENCE TIME, DIRECTION. A special emphasis has been laid on both the essence of art discourse, implying discourses on art and art as discourse, being an environment of conceptualizing and verbalizing aesthetic emotions, and on the role of the cognitive mechanisms of metaphors and metonymies in multimodal objectivizations of the category EMOTIONS fractals in discourses of visual arts and music (installations and tone painting). The relation between emotion, cognition, semiotics, art and language has been specified. As a result of the analysis based on the core multimodal research concepts of modes, semiotic resource, modal affordance and intersemiotic relations we have found out that verbalized category EMOTIONS conceptual ingredients are anchored in art perception, acquiring their fractal representation in clusters of modalities. The latter comprise the alethic, deontic, axiological, temporal, spatial, epistemic ones, getting recursively realized verbally, visually, aurally, linked with synesthesia, including chromesthesia, ideasthesia, spatial sequence, triggered by conceptualized and verbalized feeling experience response. With this work we demonstrate the value of fractal semiotics approach as a heuristic device to study multimodal categories.

Multimodality of the category EMOTIONS in art discourse: a fractal semiotics perspective