Biosemiotics: Communication and Causation (Information Included)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Biosemiotic Medicine: from an Effect-Based Medicine to a Process-Based Medicine
Special article Arch Argent Pediatr 2020;118(5):e449-e453 / e449 Biosemiotic medicine: From an effect-based medicine to a process-based medicine Carlos G. Musso, M.D., Ph.D.a,b ABSTRACT Such knowledge evidences the Contemporary medicine is characterized by an existence of a large and intricate increasing subspecialization and the acquisition of a greater knowledge about the interaction among interconnected network among the the different body structures (biosemiotics), different body structures, which both in health and disease. This article proposes accounts for a sort of “communication a new conceptualization of the body based on channel” among its elements, a true considering it as a biological space (cells, tissues, and organs) and a biosemiotic space (exchange of “dialogic or semiotic space” that is signs among them). Its development would lead conceptually abstract but experientially to a new subspecialty focused on the study and real, through which normal and interference of disease biosemiotics (biosemiotic pathological intra- and inter- medicine), which would trigger a process- based medicine centered on early diagnosis and parenchymal dialogs (sign exchange) management of disease. occur. Such dialogs determine a Key words: medicine, biosemiotics, diagnosis, balanced functioning of organ systems therapy. or the onset and establishment of http://dx.doi.org/10.5546/aap.2020.eng.e449 disease, respectively. The investigation and analysis of such phenomenon is the subject of a relative new discipline: To cite: Musso CG. Biosemiotic medicine: From an biosemiotics, which deals with the effect-based medicine to a process-based medicine. 1 Arch Argent Pediatr 2020;118(5):e449-e453. study of the natural world’s language. -
Peirce's Theory of Communication and Its Contemporary Relevance
Ahti-Veikko Pietarinen Peirce’s Theory of Communication and Its Contemporary Relevance Introduction The mobile era of electronic communication has created a huge semi- otic system, constructed out of triadic components envisaged by the American scientist and philosopher Charles S. Peirce (1839–1914), such as icons, indices and symbols, and signs, objects and interpretants. Iconic signs bear a physical resemblance to what they represent. Indices point at something and say “there!”, and symbols signify objects by conven- tions of a community.1 All signs give rise to interpretants in the minds of the interpreters. It is nonetheless regrettable that the somewhat simplistic triadic ex- posé of Peirce’s theory of signs has persisted in semiotics as the some- how exhaustive and final description of what Peirce intended. The more fascinating and richer structure of signs emerging from their intimate relation to intercommunication and interaction (Peirce’s terms) has been noted much less frequently. Despite this shortcoming, the full Peircean road to inquiry – per- formed by the dynamic community of learning inquirers, or the com- 1 In fact, according to Peirce (2.278 [1895]): “The only way of directly communi- cating an idea is by means of an icon; and every indirect method of communicating an idea must depend for its establishment upon the use of an icon.” Peirce’s chef d’œuvre came shortly after these remarks into being as his diagrammatic system of existential graphs, a thoroughly iconic representation of and a way of reasoning about “moving pictures of thought”, which encompassed not only propositional and predicate logic, but also modalities, higher-order notions, abstraction and category-theoretic notions. -
A Biosemiotic Framework for Artificial Autonomous Sign Users
A Biosemiotic Framework for Artificial Autonomous Sign Users Erich Prem Austrian Research Institute for Artificial Intelligence Freyung 6/2/2 A-1010 Vienna, Austria [email protected] Abstract It is all the more surprising that recent publications in this In this paper we critically analyse fundamental assumptions area rarely address foundational is-sues concerning the underlying approaches to symbol anchoring and symbol semantics of system-environment interactions or other grounding. A conceptual framework inspired by problems related to biosemiotics (a notable exception is biosemiotics is developed for the study of signs in (Cangelosi 01)). As we will discuss below, the approaches autonomous artificial sign users. Our theory of reference make little or no reference to specifically life-like or even uses an ethological analysis of animal-environment robotic characteristics such as goal-directedness, interaction. We first discuss semiotics with respect to the purposiveness, or the dynamics of system-environment meaning of signals taken up from the environment of an interaction. These features are, however, central to much autonomous agent. We then show how semantic issues arise of robotics and ALife. It is highly questionable, however, in a similar way in the study of adaptive artificial sign us- ers. Anticipation and adaptation play the important role of whether technical approaches to symbol anchoring should defining purpose which is a neces-sary concept in the be developed devoid of any sound theoretical foundation semiotics of learning robots. The proposed focus on sign for concepts such as “meaning” or “reference”. Until now, acts leads to a se-mantics in which meaning and reference simplistic versions of Fregean or Peircean semiotics seem are based on the anticipated outcome of sign-based in- to have motivated existing technical symbol anchoring and teraction. -
Download/ Nwp File/2013/Notes on a Working Hypothesis.Pdf?X-R=Pcfile D
Psychosemiotics: communication as psychological action Marko Mili Doctor of Philosophy (Psychology) University of Western Sydney November 2008 ACKNOWLEDGEMENTS I would like to express my gratitude to my wife Juliana Payne for her patience, accessibility for debate on all issues, practical assistance, and help in avoiding clichés like the plague. My parents Petar and Nediljka Mili shared their enthusiasm for learning and balanced their encouragement with flexibility about the direction that their influence took. My sister, Angela Mili, provided moral and practical support. To my extended family—Ante, Maria, Mirko, Lina, Kristina, Anthony, and Nikolas Mili; and Steve and Veronica Harwood—thank you for your support for this project. Thanks to Megan McDonald for helpful grammatical-stylistic suggestions and to Domagoj Veli, who has been an enthusiastic supporter of this project from the beginning. Professor Philip Bell, Professor Theo van Leeuwen, Dr Scott Mann and Dr Phillip Staines provided me with valuable opportunities to assist in teaching their courses in mass media, semiotics, social theory and the philosophy of language. This experience has significantly enhanced the present work. My supervisor, Dr Agnes Petocz, consistently provided detailed and incisive feedback throughout the conception and execution of this work. Her vision of a richer science of psychology has been inspirational for me. As co-supervisor, Professor Philip Bell has been an exemplary mentor and model for post- disciplinary research. ii STATEMENT OF AUTHENTICATION The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in whole or in part, for a degree at this or any other institution. -
Picasso's Cubism: Politics And/Or Semiosis
MIT 4.602, Modern Art and Mass Culture (HASS-D+CI) Spring 2012 Professor Caroline A. Jones Notes History, Theory and Criticism Section. Department of Architecture Lecture 10 SERIALISM & SEMIOSIS: Lecture 10: Picasso's Cubism: Politics and/or Semiosis 1990: Picasso's primitivism is part of a cultural discourse in which "Africa" conveyed widely accepted meanings that cannot be extricated from allusions to its art and people. - Patricia Leighton, 'The White Peril and I 'art m?gre ... " 1981 /'98: The extraordinary contribution of collage is that it is the first instance within the pictorial arts of anything like a systematic exploration of the conditions of representability entailed by the sign. - Rosalind Krauss, "In the Name of Picasso" I. Picasso's escape via Paris: from paternal academy, and provincialism A. The international "Youth Style" (Jugendstil, Joven Tut, Arte Joven magazines) B. Impressionist modes and motives, Barcelona -> Paris C. "Blue period" 1) the depressed fliineur (harlequin) 2) a "Moorish" Spaniard in France II. Picasso's escape from Paris: The Demoiselles d' A vignon A. Picasso's self-described "exorcism" - of what? B. The way modem abstraction works 1) African sculpture as "raisonnable ,. (conceptual) 2) towards a system of visual signs (away from representing towards signifying) C. Colonialist critique through performing the primitive (how different from Gauguin?) III. Cubism- hermetic language, or popular culture? A. "Braque, c 'est ma femme" - the codes of a private language 1) Georges Braque - wit, conceptualism, pattern, (French) fancypaint traditions 2) Pablo Picasso - weight, sculptural concerns, "modeling," oscillations between depth! surface B. The force of caricature in the portraits C. -
Marketing Semiotics
Marketing Semiotics Professor Christian Pinson Semiosis, i.e. the process by which things and events come to be recognized as signs, is of particular relevance to marketing scholars and practitioners. The term marketing encompasses those activities involved in identifying the needs and wants of target markets and delivering the desired satisfactions more effectively and efficiently than competitors. Whereas early definitions of marketing focused on the performance of business activities that direct the flow of goods and services from producer to consumer or user, modern definitions stress that marketing activities involve interaction between seller and buyer and not a one- way flow from producer to consumer. As a consequence, the majority of marketers now view marketing in terms of exchange relationships. These relationships entail physical, financial, psychological and social meanings. The broad objective of the semiotics of marketing is to make explicit the conditions under which these meanings are produced and apprehended. Although semioticians have been actively working in the field of marketing since the 1960s, it is only recently that semiotic concepts and approaches have received international attention and recognition (for an overview, see Larsen et al. 1991, Mick, 1986, 1997 Umiker- Sebeok, 1988, Pinson, 1988). Diffusion of semiotic research in marketing has been made difficult by cultural and linguistic barriers as well as by divergence of thought. Whereas Anglo-Saxon researchers base their conceptual framework on Charles Pierce's ideas, Continental scholars tend to refer to the sign theory in Ferdinand de Saussure and to its interpretation by Hjelmslev. 1. The symbolic nature of consumption. Consumer researchers and critics of marketing have long recognized the symbolic nature of consumption and the importance of studying the meanings attached by consumers to the various linguistic and non-linguistic signs available to them in the marketplace. -
A Semiotic Theory of Music: According to a Peircean Rationale
A SEMIOTIC THEORY OF MUSIC: ACCORDING TO A PEIRCEAN RATIONALE The Sixth International Conference on Musical Signification University of Helsinki Université de Provence (Aix-Marselle I) Aix-en-Provence, December 1-5, 1998 José Luiz Martinez (Ph.D.) [1] The recent growth of musical applications of Peirce’s general theory of signs, such as in the works of David Lidov (1986), Robert Hatten (1994), William Dougherty (1993, 1994), shows that this approach, once set properly in both musical and semiotic contexts, has great analytical power on questions of musical signification. In this paper I will present the structure of a semiotic theory of music, as demonstrated in my doctoral dissertation, Semiosis in Hindustani Music (Imatra: International Semiotics Institute), submitted and approved by the University of Helsinki in 1997. [2] Peirce, in his studies of semiotics, concluded that thought is only possible by means of signs (vide CP 1.538, 4.551, 5.253). Music is a species of thought; and thus, the idea that music is sign and depends on significative processes, or semiosis, is obviously true. A musical sign can be a system, a composition or its performance, a musical form, a style, a composer, a musician, hers or his instrument, and so on. According to Peirce, signification occurs in a triadic relation of a sign and the object it stands for to an interpretant (CP 6.347), which - in music - is another sign developed in the mind of a listener, musician, composer, analyst or critic. [3] In Peirce’s classification of the sciences, semiotics (or semeiotic) has three branches: Speculative Grammar, Critic and Methodeutic (or Speculative Rhetoric) (CP 1.192). -
Review: Marcello Barbieri (Ed) (2007) Introduction to Biosemiotics. the New Biological Synthesis
tripleC 5(3): 104-109, 2007 ISSN 1726-670X http://tripleC.uti.at Review: Marcello Barbieri (Ed) (2007) Introduction to Biosemiotics. The new biological synthesis. Dordrecht: Springer Günther Witzany telos – Philosophische Praxis Vogelsangstr. 18c A-5111-Buermoos/Salzburg Austria E-mail: [email protected] 1 Thematic background without utterances we act as non-uttering indi- viduals being dependent on the discourse de- Maybe it is no chance that the discovery of the rived meaning processes of a linguistic (e.g. sci- genetic code occurred during the hot phase of entific) community. philosophy of science discourse about the role of This position marks the primary difference to language in generating models of scientific ex- the subject of knowledge of Kantian knowledge planation. The code-metaphor was introduced theories wherein one subject alone in principle parallel to other linguistic terms to denote lan- could be able to generate sentences in which it guage like features of the nucleic acid sequence generates knowledge. This abstractive fallacy molecules such as “code without commas” was ruled out in the early 50s of the last century (Francis Crick). At the same time the 30 years of being replaced by the “community of investiga- trying to establish an exact scientific language to tors” (Peirce) represented by the scientific com- delimit objective sentences from non-objective munity in which every single scientist is able the ones derived one of his peaks in the linguistic place his utterance looking for being integrated turn. in the discourse community in which his utter- ances will be proven whether they are good ar- 1.1 Changing subjects of knowledge guments or not. -
Qualia NICHOLAS HARKNESS Harvard University, USA
Qualia NICHOLAS HARKNESS Harvard University, USA Qualia (singular, quale) are cultural emergents that manifest phenomenally as sensuous features or qualities. The anthropological challenge presented by qualia is to theorize elements of experience that are semiotically generated but apperceived as non-signs. Qualia are not reducible to a psychology of individual perceptions of sensory data, to a cultural ontology of “materiality,” or to philosophical intuitions about the subjective properties of consciousness. The analytical solution to the challenge of qualia is to con- sider tone in relation to the familiar linguistic anthropological categories of token and type. This solution has been made methodologically practical by conceptualizing qualia, in Peircean terms, as “facts of firstness” or firstness “under its form of secondness.” Inthephilosophyofmind,theterm“qualia”hasbeenusedtodescribetheineffable, intrinsic, private, and directly or immediately apprehensible experiences of “the way things seem,” which have been taken to constitute the atomic subjective properties of consciousness. This concept was challenged in an influential paper by Daniel Dennett, who argued that qualia “is a philosophers’ term which fosters nothing but confusion, and refers in the end to no properties or features at all” (Dennett 1988, 387). Dennett concluded, correctly, that these diverse elements of feeling, made sensuously present atvariouslevelsofattention,wereactuallyidiosyncraticresponsestoapperceptions of “public, relational” qualities. Qualia were, in effect, -
Title Peirce's General Theory of Signs Author(S)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kyoto University Research Information Repository Title Peirce's General Theory of Signs Author(s) Clare Thornbury Finding Meaning, Cultures Across Borders: International Citation Dialogue between Philosophy and Psychology (2011): 49-57 Issue Date 2011-03-31 URL http://hdl.handle.net/2433/143046 The copyright of papers included in this paper belongs to each Right author. Type Article Textversion publisher Kyoto University 49 Peirce's General Theory of Signs CLARE THORNBURY Institute of Education, University of London Charles. S Peirce was one ofthe founders ofPragmatism, alongside William James and John Dewey. This paper looks at Peirce's later work on his theory of signs, or semiotic. Peirce's semiotic is a broad one, including as signs things that other semioticians may reject. Peirce's semiotic includes a key division ofsigns into the three categories ofIcon, Index and Symbol. This trichotomy and the breadth ofPeirce's semiotic makes it well suited to, for example, a semiology of cinema. The basic structure ofthe sign in Peirce is also triadic, being a relation between sign-object-interpretant, and this brings us to a further appreciation of the sign as sign-action: a move from semiotic to semiosis. Peirce's approach to the philosophy of language goes beyond language to a theory of signs in general, and this 'semiotic' is deeply embedded within his broader systematic philosophical works. To understand it therefore, it is helpful to do two things: 1) to understand the breadth of Peirce's semiotic and 2) to differentiate it from other philosophical theories in the field. -
Redalyc.Intersemiotic Translation from Rural/Biological to Urban
Razón y Palabra ISSN: 1605-4806 [email protected] Universidad de los Hemisferios Ecuador Sánchez Guevara, Graciela; Cortés Zorrilla, José Intersemiotic Translation from Rural/Biological to Urban/Sociocultural/Artistic; The Case of Maguey and Other Cacti as Public/Urban Decorative Plants.” Razón y Palabra, núm. 86, abril-junio, 2014 Universidad de los Hemisferios Quito, Ecuador Available in: http://www.redalyc.org/articulo.oa?id=199530728032 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative RAZÓN Y PALABRA Primera Revista Electrónica en Iberoamerica Especializada en Comunicación. www.razonypalabra.org.mx Intersemiotic Translation from Rural/Biological to Urban/Sociocultural/Artistic; The Case of Maguey and Other Cacti as Public/Urban Decorative Plants.” Graciela Sánchez Guevara/ José Cortés Zorrilla.1 Abstract. This paper proposes, from a semiotic perspective on cognition and working towards a cognitive perspective on semiosis, an analysis of the inter-semiotic translation processes (Torop, 2002) surrounding the maguey and other cacti, ancestral plants that now decorate public spaces in Mexico City. The analysis involves three semiotics, Peircean semiotics, bio-semiotics, and cultural semiotics, and draws from other disciplines, such as Biology, Anthropology, and Sociology, in order to construct a dialogue on a trans- disciplinary continuum. The maguey and other cactus plants are resources that have a variety of uses in different spaces. In rural spaces, they are used for their fibers (as thread in gunny sacks, floor mats, and such), for their leaves (as roof tiles, as support beams, and in fences), for their spines (as nails and sewing needles), and their juice is drunk fresh (known as aguamiel or neutli), fermented (a ritual beverage known as pulque or octli), or distilled (to produce mescal, tequila, or bacanora). -
The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine and Jonathan Hope
Document generated on 09/29/2021 12:07 a.m. Recherches sémiotiques Semiotic Inquiry The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine and Jonathan Hope J. M. Lotman Article abstract Volume 35, Number 1, 2015 The notion of semiosphere is certainly one of Lotman’s most discussed ideas. In this essay, we propose to investigate its ecological and biological dimensions, URI: https://id.erudit.org/iderudit/1050984ar tracing them back to Vernadsky’s concept of biosphere and to Lotman’s DOI: https://doi.org/10.7202/1050984ar environmental vision of art articulated in his early work, The Structure of the Artistic Text. Our investigation reveals how the biosemiotic undercurrents in See table of contents Lotmanian thought enable the emergence of a cyclical, homeostatic model of culture that counterbalances a Modernist vision of art as a force working for unquestioned linear progress. Publisher(s) Association canadienne de sémiotique / Canadian Semiotic Association ISSN 0229-8651 (print) 1923-9920 (digital) Explore this journal Cite this article Patoine, P.-L. & Hope, J. (2015). The Semiosphere, Between Informational Modernity and Ecological Postmodernity. Recherches sémiotiques / Semiotic Inquiry, 35(1), 11–26. https://doi.org/10.7202/1050984ar Tous droits réservés © Association canadienne de sémiotique / Canadian This document is protected by copyright law. Use of the services of Érudit Semiotic Association, 2018 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal.