This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

This article applies some conceptual tools from semiotics to better understand the disastrous impacts of the world economy on global ecology. It traces the accelerating production of material disorder and waste to the logic of the money sign, as economic production processes simultaneously increase exchange-values and entropy. The exchange of indexical and iconic signs is essential to the dynamics of ecological systems and the proliferation of biological diversity. The human species has added a third kind of sign, the symbol, and (...) more recently a fourth: all-purpose money. Money does not refer to any referent either through contiguity, similarity, or convention. It is an empty sign, capable of assuming any significance that its owner attributes to it. The article argues that the concept of symbolic reference should be restricted to cultural and linguistic phenomena. Money qualifies as a new species of sign based on its exceedingly open mode of reference. It does not refer to any object by social convention but owes its specific properties precisely to the absence of such conventions. The logic of money pivots on decontextualisation: it presupposes and encourages the detachment of exchange values, people, and concepts from the particular and the local. Selective advantage is no longer primarily about calibration within local contexts, but increasingly a matter of transcending or emancipating oneself from the specific. This drift toward decontextualisation reverses the evolution of complexity and diversity throughout the planetary biosphere. (shrink)

Maurice Merleau-Ponty is widely recognized as one of the major figures of twentieth-century philosophy. The recent publication of his lecture courses and posthumous working notes has opened new avenues for both the interpretation of his thought and philosophy in general. These works confirm that, with a surprising premonition, Merleau-Ponty addressed many of the issues that concern philosophy today. With the benefit of this fuller picture of his thought, Merleau-Ponty and Contemporary Philosophy undertakes an assessment of the philosopher's relevance for contemporary (...) thinking. Covering a diverse range of topics, including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art, the editors gather representative voices from North America and Europe, including both Merleau-Ponty specialists and thinkers who have come to the philosopher's work through their own thematic interest. (shrink)