Peircean Semiotics

The prevalent idea that semiosis is evolutionary is a driving point for biosemiotic research, starting from the Peircean premises of continuity and including a large number of views on how signs evolve. In this paper I wish to add a small pinch of skepticism to an otherwise productive point of view. Briefly, the question to be asked is: Is there any proper and fair connection between the logical abstraction of signs, genetic expressions interpreted as signs and the animal usage of signs? And how do we go about answering this? Instead of attempting a negative account of the possibility of an evolutionary view of biosemiosis, I will attempt to make an argument in favor of skepticism as a way to make a more fine-grained distinction across the areas where biosemiotic thinking seems to have some impact. The aim is then to find philosophical strategies to overcome this skepticism when possible, while also raising some awareness about the possible limits of current biosemiotics regarding the ideal evolutionary chain of signs. Ultimately, the idea is reexamining some core assumptions of the biosemiotic point of view at its most general, accounting for some possible ways in which theory may move forward. The potential incompatibility of theoretical standpoints between some of the different approaches that may be taken is, it will be argued, a desirable outcome for biosemiotic research. That is, the way we deal with the possible theories on the evolutionary continuity of signs will also affect our different research programs, and having a nuanced philosophical discussion on it can only contribute to the expansion and clarification of where different positions within biosemiotics currently stand.

In philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and representation, and interactive kinds, which respond to being studied in ways that alter the very kinds under study. This is in essence a discussion on ontologies and, I argue, more precisely about ontological levels. The discussion of kinds of kinds can be resolved by using a semiotic approach to ontological levels, building on the key semiotic concept of representation. There are three, and only three, levels of semiosis: non-or proto-semiotic processes without representation, such as physical or causal processes; semiotic processes with representation, such as the processes of life and cognition; and second-order semiotic processes with representation of representation, such as self-awareness and self-reflexive communication. This leads to the distinction between not two, but three kinds of kinds: indifferent, adaptive and reflexive kinds, of which the last two hitherto have not been clearly distinguished.

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

Does the school destroy creativity by treating it as il treats other disciplines? To answer this question, this study shows how school culture tends to put everything in suspension (epoche), to filter everything through its system of values and to create a distance with concrete and complex experiences of life outside school. ln line with the philosophy of the research undertaken by the pragmatic movement, this study attempts to show that to actually change the beliefs and habits creativity must be driven by the search for solutions to real problems.
A survey undertaken with young creative designers in the multimedia sector supports these assumptions.

Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura dell’in-volto, dell’in-viso, da una parola nutrimento a una parola escremento, e non quello della sua eiezione naturale ma quello di una parola-vomito, borborigma che parla a sé stesso, che inverte la traiettoria del bolo dal dentro al fuori. Ma ventriloquo è anche colui che parla al ventre, nel senso che non si rivolge al viso, alle orecchie, alla bocca, al volto dell’altro, ma spinge l’interlocutore a dismettere il proprio volto per farsi ventre, per rimanere nel chiuso del proprio io, nel rimuginare la parola ricevuta dal ventriloquo finché essa non diviene a sua volta sterco, e non viene eietta come natura vorrebbe ma vomitata verso il volto altrui, negandone la purezza fenomenologica, frustrandone la funzione di volto, oppure spingendolo a diventare anch’esso pancia, in una asemiosi illimitata che spegne il senso invece di accenderlo, che chiude l’esistenza nell’angolo buio dell’essere, che restituisce i corpi alla natura e li rende ferini, invisi gli uni agli altri, nemici, barbari.

It can safely be assumed that with its well-known icon-index-symbol trichotomy, Peirce's 1903 ten-class typology can adequately analyze still images, photographs and films. Moreover, given the implication principle whereby a symbol can involve an index and an index an icon, it follows that any symbolic element can, by transitivity, involve iconic elements, making it possible within this system to accommodate complex forms of signification. Its phenomenological basis, however, and the nature of the divisions composing it make it less amenable to the analysis of intentionality in signs. Now, in 1908 Peirce introduced two far more complex typologies. The first, formed of six divisions from which the icon-index-symbol trichotomy is absent, generates twenty-eight classes of signs; the second, ten-division system, theoretically generates sixty-six. The exact order of the ten divisions forming the latter system is disputed, rendering the typology's semiotic viability uncertain, whereas the 28-class typology, which classifies signs not on how they represent their object but, amongst other things, according to the sorts of objects they represent, is fully operational. It is therefore of considerable semiotic interest to investigate the way this typology without icons, indices or symbols, might contribute to the analysis of image-based expressions of intentionality. The paper sets out the basic features of the ten-and 28-class systems, explores the semiotic potential of the latter for the analysis of image-based signs by examining the transmodal iconoclasm characteristic of the photomontages of Barbara Kruger and the films of Guy-Ernest Debord, and attempts in this way to establish the logical basis of their transgressive ideological motivation and commitment.

This article examines the question of Latin American cultural identity from a philosophical perspective informed by the logic and semiotics of Charles Sanders Peirce. A Peircean perspective was first suggested in Fernando Zalamea’s Ariel y Arisbe (2000), which argues that Latin America is a place of cultural synthesis at the
margins of, but closed linked to, the West. Zalamea’s view is examined to argue that while Latin American culture is characterized by a process of synthesis of various sources, one of which is European, the cultural aspects of resistance and originality need to be more fully considered. Latin American universalism or cosmopolitanism is not to be confused with the Occidentalism that some elites have advocated. Latin
American culture may thus be understood as an evolving process of resistance and synthesis that is original, creative, and its own locus of freshness in relation to other cultures. Brief case studies from Latin American poetry and popular music are adduced
to substantiate the argument.

The contributions to Iconic Investigations deal with linguistic or literary aspects of language. While some studies analyze the cognitive structures of language, others pay close attention to the sounds of spoken language and the visual characteristics of written language. In addition this volume also contains studies of media types such as music and visual images that are integrated into the overall project to deepen the understanding of iconicity – the creation of meaning by way of similarity relations. Iconicity is a fundamental but relatively unexplored part of signification in language and other media types. During the last decades, the study of iconicity has emerged as a vital research area with far-reaching interdisciplinary scope and the volume should be of interest for students and researchers interested in scholarly fields such as semiotics, cognitive linguistics, conceptual metaphor studies, poetry, intermediality, and multimodality.

Looking at a TV-series' poster is something that sparked interest in many of my class-mates. This paper uses theory on semiotics to go beyond what a film producer creates, and show another universe through static images. This was applied to a TV-series centred on a marginalised community, that of the bikers, namely "Sons of Anarchy". The reason why I chose to combine these two topics is to show the impact of an image, to the viewer, when that image gains symbolic meaning.

The article proposes a typology of meaninglessness based on the semiotics of Charles S. Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience gained while riding Japanese buses. Meaninglessness, however, is not insignificance. Insignificance is a much more disquieting anthropological condition, which the article describes with reference to two symmetrical processes: on the one hand, the euphoric passage from significance to insignificance, a passage meant as the “birth of new meaning”; on the other hand, the dysphoric passage from significance to insignificance, a passage which coincides with the alienation of human existence. Through several examples take from present-day societies, the article advocates for an active role of semiotics in warning human communities against the “emergence of insignificance” and its potential of violence and exploitation.

John E. Smith argued that there were almost as many pragmatisms as pragmatists. Almost all pragmatists criticized abstractive and reductive reasoning in the modern academy, but most entertained different visions of how and to what end academic reasoning should be repaired. Smith's vision was shaped by his strong preference for the classical pragmatisms of Peirce, Dewey, James and also Royce, whose differences contributed to the inner dynamism of Smith's pragmatism. Smith was far less impressed with the virtues of neo-pragmatists who rejected key tenets of the classical vision. My goal in this brief essay is to outline a partial list of these tenets, drawing on Smith's writings and those of a sample of recent pragmatists who share his commitment to the classical vision, such as Richard Bernstein, John Deely, and Doug Anderson. I restate the tenets in the terms of a pragmatic semeiotic, which applies Peirce's semeiotic to classical doctrines of habit-change and reparative inquiry. I conclude by adopting the tenets as signs of pragmatism's elemental beliefs. Consistent with Peirce's account of "original" beliefs, these are not discrete claims about the world or well-defined rational principles but a loose and dynamic network of habits. The habits grow, change, inter-mix or self-segregate through the run of intellectual and social history. They can be distinguished but only imprecisely, described but only vaguely, encountered per se only through their effects. Among these effects are sub-communities of pragmatic inquiry, sub-networks of habits, and existentially marked series of social actions and streams of written and spoken words: including context-specific, determinate claims about the world, about other claims, and about habits of inquiry like pragmatism. Among these claims are my way of stating of the tenets and my arguments about the history of pragmatism. Such claims are determinate, but the habits and tenets of pragmatism are not.

THIS IS PART II OF A TWO PART PUBLICATION

Abstract: Nourishment stands apart from other physiological events: whilst we normally exercise discretion in relation to bodily functions, food consumption takes place in public. We dine, snack and nibble in front of others, and the imagery associated with food takes on the manifold of meanings—religious, cultural, historic and so forth. Gastronomic practices unite or divide people, and as such are a powerful communication tool. As the twenty-first century confrontational stance between fast food and family meal traditions intensifies, we investigate fast food’s visual imagery and its ability to attract consumers. Keywords: Fast food, visual imagery, semiotics of gastronomy, Peirce, Porphyry *** Resume : La nutrition se distingue d'autres evenements physiologiques: alors que normalement nous exercons avec discretion les fonctions corporelles, la consommation d'aliments a lieu en public. Nous mangeons, prenons une collation et grignotons devant les autres, et l'imagerie ...

An International, Interdisciplinary Conference Organized by


SILC, Semiotic Interdisciplinary Laboratory on Cultures, Shanghai University and University of Turin

Co-Sponsored by

The Department of Chinese Language and Literature, Shanghai University, Shanghai, China

CIRCE, the Interdisciplinary Center for Research on Communication, University of Turin, Italy

The European Research Council (This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 819649 – FACETS).

This article deals with strategy step of furniture design, in particular with sensemaking. This last is an abductive process, which this paper restricts to designer’s interpretation on objects of his/her area of expertise.
The research has complied with a circular evolution, essentially composed by: 1. empirical analysis of furniture sector and relative cultural trends; 2. research of semantically coherent groups of furniture; 3. theory-building. The result is a methodology able to guide and visualize sensemaking in furniture design process.
Beginning from Peirce’s Semiotics, this study reconstructs a theoretical framework by identifying four kinds of furniture-referent connections and four corresponding semantic purposes. Then, it guides the creation of a concept map representing mental organization and interpretation of the gathered iconographic material. Concept mapping generates semantically coherent groups of furniture, which we can see as design patterns directing final sensegiving.
This paper focuses on a practical use of semiotics in furniture design, in particular in the strategy step of design process. It proposes a referential vision, using visual tools that could help designer in managing the sense of his/her product.

In the early 1990s, a group of Jewish, Christian and Muslim scholars nurtured a practice of shared study across the borders of different scriptural traditions, dubbed Scriptural Reasoning (SR). Over time, participants adapted their practices of SR to different contexts. For some, it became a tool for teaching comparative scriptural traditions; for others, an instrument of inter-religious engagement outside the university; and for others, it introduced new approaches to inter-religious peacebuilding.

This class, introducing students to the pragmatist tradition and to neo-pragmatism, turned out unexpectedly: students knew so little of the history of modern philosophy that  it was necessary to include  summaries of. e.g., Descartes' approach.  One of the term papers in this class, by the way, was subsequently published in the Transactions of the C. S. Peirce Society.

In search of the identity of photography, many contemporary photo-theorists have tended to regard it as a kind of index, following the footsteps of Charles S. Peirce. But the photo-index theory has begun to be questioned after the advent of digital photo. Since Peircean index is usually defined as a sign which has a direct physical (i.e., causal) connection with its object, a number of photo-theorists have casted doubt on the notion that a digital photo can be an index on the ground that no physical causality is found between a digital photo and its object. It is not altogether clear, however, that the kind of physically causal relations constitutes the definitive features of the indices. My claim is that digital photos could be regarded as Peircean indices when Peirce's actual notion of index is closely examined. Main points of my argument are drawn from Albert Atkin's recent paper on indexical signification where he classifies five defining features of the indices: significatory, independence, singularity, indicatory, and phenomenological features. If a photo, analogue or digital, satisfies all these conditions, one could regard it as an index.

Lotman Semiotics Like a Knowledge Theory
Abstract
Iuri Mijailovich Lotman (1922-1993) was an investigator of Tartu University (Estonia) with a recognized
international trajectory, whose contributions in the field of the Semiotics of Culture extended the borders of the
then so called Soviet Union, in spite of the difficulties and censorships imposed by the communist government to
the diffusion of their work. According to Caceres Sanchez (in Lotman, 1996), this work included a whole diversity of
problems beyond the Semiotics theory, to enter itself in mythology, cinema, history of culture, aesthetic one, theater,
Literature, among others. The present theoretical reflection tries to add a value more to the Lotman contributions,
when examining his text La semiosfera II. Semiótica de la cultura, del texto, de la conducta y del espacio (1998) and
showing them as the bases to construct a knowledge theory.
Key words: Semiotics of Culture, Knowledge Theory, Tartu University, Semiotics of Text

On several occasions during his life, Peirce argued that Aristotle was the first to present  perfect form of induction, and also claimed that he followed Aristotle in this formulation. Despite this, Peirce criticizes Aristotle´s justifi cation of induction as an enumeration of all individuals and as a self-evident and immediate inference that depends upon intuition (nous). In this article, the author explores the readings and comments that Peirce makes of the two most important passages of Aristotle on induction (epagōgē), namely, Prior Analytics II, 23 and Posterior Analytics II, 19. The first is commented and partially translated by Peirce whereas the second is not mentioned directly, although it seems that Peirce refers to it when he discusses the problem of fi rst principles. In addition to presenting Peirce’s  comments about these two passages, the author evaluates critically their accuracy and finds that Peirce sometimes interprets them wrongly.

This is the introduction to my Ph. D. dissertation "Remediating Security - A semiotic framework for analyzing how video speaks security", defended at University of Copenhagen's Centre for Advanced Security Theory (CAST) on the 12th of February 2015. The following is an abstract of the whole dissertation:

In the decade after September 11th, video has become one of our primary ways of knowing about security and international conflict.
Video surveillance is deployed to keep homelands and neighbourhoods secure. Citizens’ video recordings communicate and coordinate civilian protests, and are used in intelligence assessments as well as in journalism. Battlefield video from soldiers’ cameras, from weapon systems, and a steady stream of prisoner abuse videos gives western spectators access to the distant battlefields of the war on terror.
In this work I ask the question of how video articulates security, how it ‘speaks’ security. I answer it by building a semiotic framework for understanding what it is that conditions whether video is able to articulate security political meaning or whether it ends up as non-political entertainment.
I argue that video can articulate security in two different ways: The first is by producing symbolic referent objects that stand in for a broader issue. I assert that the #neda videos from the 2009 Iranian post-election protests did this. The second is by producing evidence of specific situations, as in a court case. The Collateral Murder video released by WikiLeaks became such a piece of evidence, even if WikiLeaks tried to make it a symbol of the war in Iraq. Whether video does one or the other – or remains non-political – is a question that is influenced by the digital mediation systems in which video circulates, by a video’s spectators, as well as by political leaders.
Therefore I argue that video is not like traditional security articulations - e.g. the declaration of war or peace made by a political leader - clear and unambiguous with immediate political effects. Rather it is complex, ambiguous and unstable, always beyond the control of its author and always open for interpretation. Video is therefore what I call a post-sovereign form of articulation.

C’est au problème de distribution, de désignation et de discrétisation de la séquence d’inférence abductive ainsi qu’à ses conséquences sur nos systèmes de connaissance que je consacre cet article. Charles S. Peirce a fait de l’abduction la dynamique inférentielle unique de la créativité. Par elle seule advient toute idée nouvelle. Son importance dans l’épistémologie peircienne est donc considérable, mais la compréhension de son fonctionnement réel n’est pas sans poser quelques problèmes à notre entendement, à commencer par le mystère que représente son origine et la difficulté qu’il y a à saisir la portée réelle de son action. Pourtant, l’abduction est au cœur des processus inférentiels qui structurent notre expérience épistémique ordinaire. Contre l’hypothèse intuitionniste, je défends l’argument évolutionniste ; contre une explication logique, je fais valoir la nature sémiosique de l’expérience abductive. Pour étayer ma compréhension du phénomène et des problèmes qui lui sont inhérents, il me faut élargir le spectre de l’analyse à un ensemble plus vaste que l’abduction seule et considérer ce que j’appelle l’instruction. En m’appuyant sur une hypothèse de Mihhail Lotman, j’invite à considérer le caractère « homofinal » de l’instruction : telle que je la définis, elle est à la fois à l’origine et le résultat de l’abduction en tant que telle. Les conclusions fournies ici sont d’abord méthodologiques : à défaut de pouvoir résoudre le mystère de l’abduction, elles en précisent la nature.

This article discusses Peircean ideas and integrates them into a system that can be understood as magical communication within the Umwelt of the Runemaster of the elder runic tradition. I begin by discussing the issue with the word "magic," and I shed light on the problematic etymon. I then go through various schools of academic thought on what this word means and how it may or may not contrast with religion. Albeit rather briefly, I present various schools of thought from Tylor, Frazer, Peirce, Mauss, Durkheim, Malinowski, Lévy-Bruhl, Jakobson, and Nöth. After discussing these approaches, I offer my own idea, called the Law of Magical Semiosis, which is a definition for magical communication specific to the Runemaster and his Umwelt. The goal of this article is to create an objective framework that will allow runologists to use a model to measure magical communication specific to the Elder Futhark tradition.

Peirce's account of the Self shows some of the main critics to the classical, cartesian, substantial conception. Peirce's conception of the Self is social and historical, it rejects any form of intuition and is based on a fallibilist epistemology. Following the stages of the development of the Self, Peirce shows that it emerges as a subject of error, and therefore it can exist only in a social context, in a linguistic community.

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis (or sign-action) is problematic beyond academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory.

Ces dernières années, dans le domaine de la participation citoyenne aux politiques de la ville, bon nombre de chercheurs en philosophie politique et en sciences sociales ont plaidé pour un décentrement du discours et de l’argumentation, pour une communication démocratique plus « inclusive », plus « sensible », davantage en prise sur les environnements, sur les dimensions expérientielle et matérielle des problèmes urbains. Le message semble avoir été reçu. Visites de groupes dans les quartiers, reportages vidéo ou photo, expositions de dessins, jeux de construction, fonds de cartes à recouvrir d’icônes et de gommettes autocollantes, ateliers visant à imaginer « la ville de ses rêves », activités de théâtre-action, jeux de rôle et jeux de plateau, etc., sont en effet devenus des incontournables de la « boîte à outils » des professionnels de la participation. Dans cet article, plutôt que de nous intéresser aux différents « outils » dans leurs spécificités, nous voudrions interroger plus généralement la prolifération des méthodes cadrant les contributions citoyennes dans le domaine de l’image ou de l’imagination, et repliant la parole ordinaire dans ses fonctions d’ostension et de figuration, c’est-à-dire dans ses fonctions « indexiques » et « iconiques » (Charles Sanders Peirce). L’hypothèse qui nous guide est celle-ci : en lieu et place d’un enrichissement des processus de communication, on assisterait plutôt à un véritable « tournant sémiotique » dans les pratiques de démocratie participative ; un tournant à travers lequel l’image profane en viendrait peu à peu à se substituer au discours citoyen et à éluder, avec lui, les prétentions d’articulation, de problématisation, de synthèse et de généralisation chez les « participants ordinaires ».

Lencastre, Paulo (Ed.) (2007). O Livro da Marca [The Brand Book]. Lisboa: Dom Quixote.

O que é uma marca? Em que se distingue uma marca de um produto? Que áreas de conhecimento devem ser convocadas para a sua compreensão? O direito? A semiótica? O design? A psicologia? O marketing?...
O objectivo deste livro é contribuir para a compreensão de um conceito polifacetado, objecto de estudo e de prática de vários saberes. O conceito de marca cruza disciplinas, o que nem sempre facilita o olhar de cada uma sobre o objecto em causa.
Ao conjugar competências de um grupo de investigadores do Brasil e de Portugal, acreditamos que este livro dá um contributo importante à bibliografia sobre a marca em língua portuguesa. Para o leitor, estudante, docente, investigador, consultor ou gestor de marcas, pretende-se que ilustre o "estado de arte" de uma área que, de praticamente marginal na literatura internacional de marketing, se transformou nos últimos anos em área estrela. Para os autores este livro é a expressão da cumplicidade em torno de um tema pioneiro, que hoje vê desenvolver-se e levantar todos os dias novas questões de prática e de investigação.

Artigo publicado pela David Publishing Company em: http://www.davidpublishing.org/show.html?16375

"This paper is a proposal of analyzing Grupo Corpo Dance Company’s ballet Nazareth, on video. The work
represents intersemiotic translation of the literature by Machado de Assis, as the stories Um Homem Célebre (A
Famous Man) and Terpsícore (Terpsichore), to adapting to the music of Ernesto Nazareth by José Miguel Wisnik
and therefore to the dance of Rodrigo Pederneiras, the choreographer. In this study, what is important is how the
different languages, such as literature and music, are suitable for the dance’s spectacle. Thereby, Peirce’s semiotics,
conceptions of translation of the Brazilian poet Haroldo de Campos and the concept of corpomídia (“bodymedia”)
developed by teachers Helena Katz and Christine Greiner (Pontifícia Universidade Católica de São Paulo) are the
main theoretical tools of analysis. Creating a legitimate form of contemporary dance, this proposal of ballet
Nazareth’s lecture begins about the first chapter’s “rhizomatic” ramifications for the seven others transformed by excellence in Grupo Corpo’s choreographic language."

Esta investigación es una propuesta sistémica, para la formalización de los siguientes fenómenos del lenguaje: el
proceso de adquisición de significado o semiosis, los sistemas de signos, sus representaciones en la historia
mesoamericana y la modelación de fenómenos simbólicos, a través de la teoría de las redes complejas. Los
fenómenos que se examinan son: (1) la operación de las clases léxicas y funcionales del lenguaje a través de sus
representaciones simbólicas arqueológicas, como una propiedad de los sistemas conscientes; (2) la elaboración de
una metodología sistémica, para identificar el significado de representaciones simbólicas no descifradas, por medio
de patrones de emergencia. La primera parte del trabajo (Capítulos 1-3) expone un contexto histórico, antropológico,
semiótico y sistémico en el cuál se justifica la pertinencia de la investigación, como parte de la ingeniería de
sistemas. La segunda parte del trabajo (Capítulos 4-5) expone la metodología sistémica utilizada para investigar los
patrones emergentes en las representaciones sígnicas mesoamericanas, y finalmente, la validación de la
metodología, modelando un fenómeno simbólico del ritual mesoamericano actual.

¿Es posible pensar sin signos? Impulsado por esta pregunta, Charles S Pierce desarrolló una teoría sobre la lógica del conocimiento que lo llevaría a ser considerado padre de la semiótica y fundador del pragmatismo angloamericano. En esta lectura renovada de los Collected Papers, Jesús Octavio Elizondo indaga la evolución del pensamiento peirceano para ofrecernos una imagen clara de la semiosis: signos en acción, signos que se expresan en creencias y hábitos, signos tan dinámicos como la vida misma.

In the passage of the Course in General Linguistics where Ferdinand de Saussure first foresaw the necessity to develop a new discipline called “semiology”, “nautical flags” are prominently listed among its objects of inquiry. Flags, indeed, are naturally interesting objects for semiotics, not only because they signify through a systematic display of forms and colors, but also because of the specific pragmatics of such display. A flag can be thought of abstractedly, as an array of symbols, but it features also a specific materiality, wherein two elements particularly stand out: (1) the flag is generally a textile; (2) this textile is meant to interact with a natural element, the wind. Flags are so symbolically important also because they seem to acquire an individual agency when they wave in the wind, and therefore to confer this autonomous agency to the cultural ideas which they stand for. The paper investigates this particular semiotics in relation to opposite ideological usages of the Italian national flag, meant to signify an either inclusive or exclusive identity.

A presente proposta apresenta os resultados parciais dos estudos de investigaçãofenomenológica da natureza social e de linguagem das mídias sociais. A partir de conceitosda Semiótica Peirceana e da Teoria Geral de Sistemas, buscamos apontar como as mídiassociais tendem a promover os processos comunicacionais. Ou seja, como os processossociais de comunicação interpessoal absorvem as transformações dessas mídias e como ouso produtivo delas tende a afetar as relações sociais e os processos cognitivos dos sujeitos participantes. Além das referidas bases teóricas, nossa discussão busca clareza em diversosautores contemporâneos que tratam do tema da cultura das mídias digitais para ampliarmoso debate e compreensão contemporânea do objeto.

El cine digital, entendido como aquél que utiliza la tecnología computacional en la representación de lo posible inexistente y en la puesta en pantalla novedosa de lo existente, muestra, narra, significa y sorprende a los espectadores gracias a las amplias posibilidades visuales y combinatorias de que dispone: el montaje en capas, la interacción entre personajes registrados e imágenes producidas computacionalmente, los recorridos imposibles a través del espacio o la manipulación del tiempo son ejemplos de una visualidad que, además de ser espectacular, ha producido cambios en las formas de concepción, producción, lectura e interpretación de los filmes de los últimos años.
Este libro parte de la idea de que el sentido de los mensajes audiovisuales se funda en los mecanismos de síntesis entre las materias expresivas del cine tales como imágenes y sonido, montaje, narración y raccord, que se han intensificado, aumentando su presencia cuantitativamente y suscitando cambios cualitativos importantes gracias a la tecnología digital que expande y renueva al cine y las concepciones que de él tenemos.  Ante este escenario, marcado por la aparición de imágenes, formas de relación y hábitos interpretativos novedosos, la teoría semiótica de Charles Sanders Peirce es ideal para aproximarnos a la manera en que la materialidad sígnica de las formas fílmicas digitales produce procesos semiósicos en el cine contemporáneo.
El libro La semiosis del cine digital. Síntesis intensificada y atribución de sentido, derivado de la investigación doctoral ganadora del primer lugar del 2° Concurso Bienal de Tesis sobre cine 2016-2018 de la Filmoteca de la UNAM.

Hashtags são largamente usadas em contextos de grande mobilização social para articular posicionamentos afins, configurando elos simbólicos que demarcam contextos coletivos de significação. Estabelecem, desse modo, narrativas fragmentadas e dispersas em conexões online e offline. Trata-se de uma forma significante que cresce em relevância à medida que seu uso social se expande e sua função mediadora se fortalece nas interações cotidianas. Com o propósito de compreender a função mediadora da hashtag e descrever sua dinâmica sociocomunicacional, acionamos o conceito de mediação derivado da semiótica peirceana. Com base nesse conceito, que é também um modelo de comunicação, descrevemos a dinâmica transmídia da hashtag #vemprarua, largamente utilizada em contextos de grande mobilização social no Brasil. A dinâmica transmídia é permeada por processos variados de mediação, normalmente provenientes da combinação entre ações institucionais, que se concretizam em distribuição multiplataforma, e a atividade produtiva da audiência em conexões de redes sociais online. No âmbito do que vem sendo caracterizado como transmídia ativismo, os processos de mediação são marcadamente políticos, comprometidos com causas sociais e voltados para gerar ação coletiva em busca de mudanças. Hashtags cumprem função mediadora destacada em dinâmicas transmídia, sendo especialmente relevantes em contextos de transmídia ativismo. Para investigar a ação mediadora da hashtag #vemprarua no contexto dos protestos brasileiros recentes, refizemos sua trajetória no Twitter e no Facebook por meio de coleta automática. A análise dos dados baseou-se nas relações sígnicas que conformam a semiose peirceana, ou mediação.
http://www.labcom-ifp.ubi.pt/ficheiros/201906241348-2019_prado_satuf_comunicacao_ambiente_digital.pdf?fbclid=IwAR3G7Ml4ibblBDhSEVRvjgelUpEVaMTNi8qjh52q_6TggRLDq3WB8zCJSLY

This article examines Peirce’s semiotic philosophy and its development in the light of his characterisations of “representationism” and “presentationism”. In his definitions of these positions, Peirce overtly pits the representationists, who treat percepts as representatives, against the presentationists, according to whom percepts do not stand for hidden realities. The article shows that Peirce’s early writings—in particular the essay “On the Doctrine of Immediate Perception” and certain key texts from the period 1868–9—advocate an inferentialist approach clearly associated with representationism. However, although Peirce continues to deny the cognitive import of first impressions throughout his philosophical career, the new view of perception that emerges in the early 1900s indicates a significant move in the direction of a presentationist point of view, a development partly corresponding to changes in his theory of categories. The strongest evidence for this reading is found in Peirce’s contention that the percept is not a sign. The discussion concludes with considerations of possible objections and alternatives to the proposed interpretation in addition to some reflections on the consequences and relevance of Peirce’s turn toward presentationism.

Collection of articles by Lars Elleström edited by Ana Cláudia Munari Domingos, Ana Paula Klauck and Glória Maria Guiné de Mello, containing Portuguese translations of:
“A Medium-Centered Model of Communication” by Rafael Eisinger Guimarães;
“The Modalities of Media: A Model for Understanding Intermedial Relations” by Glória Maria Guiné de Mello;
“Material and Mental Representation: Peirce Adapted to the Study of Media and Arts” by Sabrina Schneider;
“Adaptation within the Field of Media Transformations” by Ana Cláudia Munari Domingos;
“Adaptation and Intermediality” by Erika Viviane Costa Vieira;
“Transfer of Media Characteristics among Dissimilar Media” by Ana Paula Klauck;
“The Paradoxes of Mail Art: How to Build an Artistic Media Type” by Ana Paula Klauck.