Biosemiotica

El libro aborda asuntos centrales para la construcción teórica y epistemológica de las Ciencias de la Comunicación desde una perspectiva teórica múltiple. Los autores congregados en torno a este volumen discuten y analizan el estado actual del campo de la comunicación, destacando la importancia que las dimensiones teóricas e investigativa han tenido en su emergencia e institucionalización a escala internacional: debates, identidad académica, objetos de estudio, procesos regionales y globales de institucionalización, procesos de investigación, organización conceptual, enseñanza y profesionalización de este campo.

This book traces the origins and evolution of cybersemiotics, beginning with the integration of semiotics into the theoretical framework of cybernetics and information theory. The book opens with chapters that situate the roots of cybersemiotics in Peircean semiotics, describe the advent of the Information Age and cybernetics, and lay out the proposition that notions of system, communication, self-reference, information, meaning, form, autopoiesis, and self-control are of equal topical interest to semiotics and systems theory. Subsequent chapters introduce a cybersemiotic viewpoint on the capacity of arts and other practices for knowing. This suggests pathways for developing Practice as Research and practice-led research, and prompts the reader to view this new configuration in cybersemiotic terms. Other contributors discuss cultural and perceptual shifts that lead to interaction with hybrid environments such as Alexa. The relationship of storytelling and cybersemiotics is covered at chapter length, and another chapter describes an individual-collectivity dialectics, in which the latter (Commind) constrains the former (interactants), but the former fuels the latter. The concluding chapter begins with the observation that digital technologies have infiltrated every corner of the metropolis - homes, workplaces, and places of leisure - to the extent that cities and bodies have transformed into interconnected interfaces. The book challenges the reader to participate in a broader discussion of the potential, limitations, alternatives, and criticisms of cybersemiotics.

Resumen: Con el objeto de continuar la propuesta semiótica de Iuri Lotman, hemos centrado nuestro interés en reflexionar acerca de las posibilidades de superar la oposición entre ciencias humanas y ciencias naturales, entendiendo a la semiótica no solo como ciencia de los signos, sino como historia de la cultura, lo cual nos permite detenernos en los mecanismos semióticos que articulan un diálogo posible entre ser humano y mundo natural. Si bien este no fue un tópico central en el edificio teórico lotmaniano, hemos rastreado esta preocupación en lugares marginales de sus artículos, sus clases y sus entrevistas. El objetivo del presente trabajo consiste en repensar la categoría de evolución en la semiótica lotmaniana, vinculada al pasado y como proyección futura ―re-evolución―, permite explorar ciertas modelizaciones de lo humano que encontramos en textos contemporáneos, sobre todo en algunos artísticos. Para dar cuenta de ello, analizaremos el filme Lucy, dirigido por Luc Besson (2014), cuya protagonista no solo cuestiona el canon de heroicidad masculino, sino que supera en la propia experiencia del cuerpo, los límites de la evolución humana. Palabras clave: Modelización – Semiótica de la cultura – Biosemiótica. [Full Paper] Evolution as Re-evolution in Iuri Lotman's semiotic Summary: In order to continue with Iuri Lotman's semiotic proposal, we have focused our interest on reflecting on the possibilities to overcome the opposition between social sciences and natural sciences, understanding semiotics not only as a science of signs, but as history culture, which allows us to dwell on the semiotic mechanisms that articulate a possible dialogue between human beings and the natural world. Although this subject was not central to the lotmanian theoretical edifice, we have traced this concern in marginal stands in his articles, classes and interviews. The aim of this work is to rethink the category of evolution in Lotman's semiotic perspective. The evolution linked to the past and as future projection (re-evolution), allows us to explore some modelling of the human that is possible to find in contemporary texts, especially the artistic ones. To account for this, we will analyze Lucy, directed by Luc Besson (2014), a film whose protagonist not only questions the canon of male heroism, but also exceeds in the experience of her own body, the limits of human evolution.