Although this study inspects context in general, it is even intended as a prerequisite for a meta-study of contextual time&space in zoo-communication. Moving the scope from linguistics to culture, communication, and semiotics may reveal new similarities between context-perceptions. Paradigmatic historical moves and critical context theories are inspected, asking whether there is a least-common-multiple for perceptions of context. The short answer is that context is relational – a bi-product of attention from a position, creating a focused object, and hence an obscured (...) (back-)ground – the attention’s context. A more comprehensive one is that when the focused phenomenon is culture, semiotics, or communication, context becomes embodied. This recognition triggers new questions: What is the relation between embodied, immanent context and this perception’s external, physical context (its surroundings)? If utterances are regarded as constituted by the triad form-content-act and the dyadic chronotope time&space, what and where is then context? Which challenges will empirical (zoo-)communicational research face if context is split in internal and external versions of context? These questions raise some epistemological and methodological issues. These are discussed based on a framework that regards communication as a micro-macro interplay between utterance and genre. Genres are kinds of communication. More specifically animal genres related to their basic life-functions are called life-genres. A conclusion is that life-genres function as both mental and situational contexts. This complicates empirical research on communication in general, and zoo-communication in particular. The paper concludes that contexts’ relational and embodied nature and the ‘situational’ characteristics of life-genres challenge researchers to validate continuously, shifting between contextualising, decontextualising, and recontextualising. (shrink)

This meta-study applies a socio-semiotic framework combining five basic communicational aspects, form, content, act, time, and space, developed to help answering the questionCan animals refer?It further operates with four levels, sign, utterance, genre, and lifeworld, studying relations between utterance and genre in particular. Semantic key terms found in an excerpted ‘resource collection’ consisting of three anthologies, two academic journals, and a monography, studying content in animal communication, are inspected, and discussed, especially information, functional reference, and reference. Since a temporary inspection (...) concluded that the field seems unable to give convincing joint answers, the scope of the meta-study was extended to include critical investigations of implicit communicational epistemologies applied in the sources. Two major challenges were brought to surface. Firstly, the problem of conflicting interrelatedness in animal utterances (parts versus whole). Positioning analyses revealed that theories and project-designs were mostly dyadic, prioritising form/content, content/function, or function/form, and rarely form/content/function, as a whole. The second concerned the issue of functional openness of animal communication systems. The meta-study found that more recent studies tend to reduce an essentialist search for ‘clear’ categories in favor of more complex designs, where focus is less on references in utterances as such and more on a species’ communicational system. This shift in turn leads to a problematisation of the role of context, kinds of communication (life-genres) and semantic levels in animal utterances, in other words, on animal communication for particular species as a whole. (shrink)

The introduction claims that there might exist an evolutionary bridge from possible genres in nature to human cultural genres. A sub-hypothesis is that basic life-conditions, partly common for animals and humans, in the long run can generate so-called life-genres. To investigate such hypotheses a framework of interrelated key communicational concepts is outlined in the second, main part. Four levels are suggested. Signs are seen as elements in utterances. Further, sufficiently similar utterances can be perceived as kinds of utterances or genres. (...) Genres are kinds of communication in a species' life-world. Utterance and genre are the framework’s key concepts. Both are seen as products and processes and as constituted by five reciprocal aspects: form, content, act, time, and space, the necessary elements to initiate and interpret communication. A model illustrates this integrative principle. Part three dwells with the idea of life-genres, and part four exemplifies and problematises how a chimpanzee’s ‘begging’ for meat, a fish’s nest-making, and kinds of birdsongs, could be seen as possible life-genres. The last, short part gives a brief summary, highlights challenges, and reflects over the framework’s relevance for biosemiotics. (shrink)

How is time transformed when signs appear? In the sign system of the conditioned reflex, the sign (conditioned stimulus) reverses, changes the direction of time, and overcomes its unidirectionality and irreversibility. In a sense, there is a “return” to the past in the form of the future when the sign is introduced. The sign serves as a “Time machine” of sorts. The mechanism of time transformation is possible because a mirror is embedded inside the sign, the surface of which represents (...) the psychological present time. When past experience meets that surface in the present, it may be reflected in the form of a future event. In the course of reflection, time changes its direction: if earlier time flowed from the event (the cause), it subsequently flows to other events (the purpose). Previously inaccessible past experience is now projected into the present, “comes to life” in it and is transformed into the future. In humans, unlike in animals, signs of the second order appear. Inside the signs of the second order, a mirror is built in, and the experience of the past as a subject is reflected in the future form as an object. An individual has the opportunity to consider oneself externally as an object. It goes beyond the subjective form. Thus, secondary signs once again change time direction. Due to this phenomenon, time becomes doubly reversible: first it turns around in a conditioned stimulus, and then in a secondary sign. (shrink)