Jakob von Uexküll’s umwelt theory opens new perspectives for understanding animal extinction. The umwelt is interpreted here as a sum of structural correspondences between an animal’s subjective experience, ecosystem, physiology, and behaviour. The global environmental crisis disturbs these meaning-connections. From the umwelt perspective, we may describe extinction as umwelt collapse: The disintegration of an animal’s umwelt resulting from the cumulative errors in semiotic processes that mediate an organism and ecosystem. The loss of umwelt-ecosystem integration disturbs “ecological memory,” which provides the (...) ecosystem with adaptive modelling and self-design capacities. Making a distinction between core and mediated umwelts, and describing different types of umwelt collapse, are suitable methods for more detailed analysis. The concept of umwelt collapse enables the reinterpretation of extinction, from an internal perspective, as a semiotic breakdown. Such an approach may help us map scenarios of animal extinction, and may lead to successful compensation strategies in adapting to environmental change. (shrink)

Growing ecological problems have raised the need for conceptual tools dedicated to studying semiotic processes in cultural-ecological systems. Departing from both ecosemiotics and cultural semiotics, the concept of an ecosemiosphere is proposed to denote the entire complex of semiosis in an ecosystem, including the involvement of human cultural semiosis. More specifically, the ecosemiosphere is a semiotic system comprising all species and their umwelts, alongside the diverse semiotic relations (including humans with their culture) that they have in the given ecosystem, and (...) also the material supporting structures that enable the ecosemiosphere to thrive. Drawing parallels with Juri Lotman’s semiosphere concept, the ecosemiosphere is characterized by its heterogeneity, asymmetry, and boundedness. But unlike Lotman’s concept, the ecosemiosphere is not characterized by an overall boundedness, that is, by the presence of external binary boundaries and the shared identity arising from this unity. The involvement of human culture in the ecosemiosphere manifests in interspecies dialogues and semiotic engagements. We need to scrutinize what affordances and semiotic resources culture could offer to nonhuman species and how culture could, by semiotic means, raise the integrity, stability, and resiliency of the ecosystem. The ecosemiosphere is a grounded semiosphere. (shrink)

Kalevi Kull’s biosemiotic aesthetics has apparent potential for ecosemiotics. This potentiality will be elaborated through the concepts of collateral beauty and adjacent semiosis. If diverse organisms aim towards better fitting, perfection, and beauty, than aesthetics arises in ecosystems occasionally yet recurrently. Perceiving such collateral beauty becomes an effective means to create new semiotic connections and associations, thereby contributing to the integrity and coherence of the semiotic system. Collateral beauty may help humans become better connected with the broader ecosemiosphere, or to (...) perceive the meaning and the value of ecological systems. (shrink)

Based on his previous elaborations on semiotic fitting, Kalevi Kull develops a relations-focused theory of beauty in the organic world. I will point to further strands of thought in the Western history of ideas that have introduced the convergence of the aesthetic and organic. The reflections of Immanuel Kant and the early romantics are foundational for these parallels, although not necessarily in concordance with the biocentric and biosemiotic stance of Kull. This comment also raises some questions related to the compatibility (...) of some arguments with the authors who are mentioned as inspirational sources of the theory. In the end, additional authors are suggested as potential associates of biosemiotic aesthetics, authors who might help to broaden the scope of aesthetic phenomena covered by the theory. (shrink)

Species conservation activities are gaining more attention in the context of environmental degradation. This article proposes to tackle different semiotic aspects of reintroduction as one possible way of furthering species conservation. More specifically, we aim to bring forth the strength of ecosemiotic perspective when dealing with such a complex matter with many different human and non-human subjects. We concentrate on animal agency, search and function tone, semiotic fitting and changes in umwelten when analysing the reintroduction process from the perspective of (...) the animal. When considering the locals’ perspective, we take into account the appeal and cultural placement of the species, as well as human and non-human umwelt overlap when it comes to resources. As our case study we use the European mink (Mustela lutreola) and its reintroduction to the island of Hiiumaa and planned reintroduction to the island of Saaremaa in Estonia. By employing semiotic analysis, we discover that reintroduced animals need to exhibit innovation and plasticity to establish novel semiotic relations but also restore relations characteristic to the historical environments of the species. We argue that human views and expectations towards the species and (re)introduction efforts account for animals’ appearance and agency. Additionally, contrast with other wild species, the perceived overlap of human and non-human umwelten, and broader conservation discourse are decisive for the formation of interspecific relations in situ. Thus, ecosemiotcs proves to be a valuable research platform for an analysis of conservation practices that targets both, sociocultural context and animal umwelten. (shrink)

We propose a model which argues that aesthetics is based on biosemiotic processes and introduces the non-anthropomorphic aesthetics. In parallel with habit-taking, which is responsible for generating semiotic regularities, there is another process, the semiotic fitting, which is responsible for generating aesthetic relations. Habit by itself is not good or bad, it is good or bad because of semiotic fitting. Defining the beautiful as the perfect semiotic fitting corresponds to the common conceptualisation of the aesthetic as well as extends it (...) over all umwelten. Perfection is not omnipotence, it only means the omnirelational semiotic fitting in the umwelt, or harmony with context. The process that presents something to be perceived as beautiful is of the same kind as the semiotic process that builds something to become beautiful. The argument is based on the observation that learning has a tendency towards perfection, until it is grounded. Semiosis is usually biased towards semiotic fitting, which stepwise leads towards perfection, and thus towards beauty. Such a general semiotic model implies that beauty is species-specific; that it is not limited to the sphere of emotions; that the reduction of the evolution of aesthetic features to sexual selection is false; and that humans should learn the aesthetics of other beings in order to avoid destroying valuable biocoenoses. (shrink)

Demonstration of illusiveness of basic beliefs of the Modern Synthesis implies the existence of evolutionary mechanisms that do not require natural selection for the origin of adaptations. This requires adaptive changes that occur independently from replication, but can occasionally become heritable. Plastic self-organizational changes regulated by genome are largely incorporable into the old theory. A fundamentally different source of adaptability is semiosis which includes the agent’s free choice. Adding semiosis into the theory of Extended Evolutionary Synthesis completes the distancing from (...) the Modern Synthesis. I focus here on the importance of semiosis as the necessary factor in organisms’ meaning making. (shrink)

The intricate appearances produced by various lineages of biota have long been viewed as calling for a rational explanation. Biologists are capable of interpreting still just a relatively small part of the overall range of organismal forms and patterns. In fact, we can explain only those for which we find a functional role. Kalevi Kull’s current initiative, which aims at establishing biosemiotic foundations of aesthetics and introduction of concepts such as semiotic fitting, may help us elucidate various hitherto largely neglected (...) aspects of self-expressive domains of life. Given that organisms are active autonomous agents, I suggest that some cases of semiotic fitting may be facilitated by semiotic co-option, a process where a trait is newly interpreted as meaningful within the umwelt of a living being and further adopted for a particular role. Clarification of connections between semiotic co-option and semiotic fitting may aid our attempts to better understand the role of meaning-attributive processes via which the aesthetic faculties of animate things come into existence. (shrink)