By focusing on three different yet correlated disciplines in China in which the Sebeok’s Chinese connection has been found, this article elaborates on his personal contact with the Chinese semiotic community and extant constructive academic responses from Chinese semioticians. It provides a detailed description of the reasons for the uniqueness of Sebeok’s Chinese connection and proceeds to demonstrate the three major Chinese figures that used to know Sebeok and the interactions between them. Against the common belief that influence of Sebeok (...) the semiotician, rather than Sebeok the convener, is quite minimal in China, I have proven that he did have a direct impact upon the Chinese semiotic literati, which is evident not only in the form of the work exclusively on Sebeok the person but also in the form of the writings in recognition of both his contributions to semiotics as a global cause and his status as the mid-wife of contemporary semiotics. As a projection into the future, I put forward a vision in which Sebeok’s work and achievements should be duly appreciated in their full extent by the new Eastern stronghold of semiotics. (shrink)

This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from the (...) domain of cybernetics with a major focus on the concept of circularity, which links perception to action in a continuous process of sense-making and interaction with the environment. As such, it is closely related to some pragmatic, biosemiotic and ecosemiotic claims which can be subsumed under the general notion of functional significance. An attempt is made to apply this conceptual framework to the process of musical sense-making which involves the realisation of systemic cognition in the context of epistemic interactions that are grounded in our biology and possibilities for adaptive control. Central in this approach is the concept of coping with the environment, or, in musical terms, to perceive the sounding music in terms of what it affords for the consummation of musical behaviour. (shrink)

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 by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional (...) behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model thepurpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but onthe other hand it can increase the stored information and transform the consumer. (shrink)

Prompted by the thesis that an organism’s umwelt possesses not just a descriptive dimension, but a normative one as well, some have sought to annex semiotics with ethics. Yet the pronouncements made in this vein have consisted mainly in rehearsing accepted moral intuitions, and have failed to concretely further our knowledge of why or how a creature comes to order objects in its environment in accordance with axiological charges of value or disvalue. For want of a more explicit account, theorists (...) writing on the topic have relied almost exclusively on semiotic insights about perception originally designed as part of a sophisticated refutation of idealism. The end result, which has been a form of direct givenness, has thus been far from convincing. In an effort to bring substance to the right-headed suggestion that values are rooted in the biological and conform to species-specific requirements, we present a novel conception that strives to make explicit the elemental structure underlying umwelt normativity. Building and expanding on the seminal work of Ayn Rand in metaethics, we describe values as an intertwined lattice which takes a creature’s own embodied life as its ultimate standard; and endeavour to show how, from this, all subsequent valuations can in principle be determined. (shrink)

Uexküll’s 1917 critique of what he calls the “English morality”, written during World War I, points the contemporary reader toward important implications of the translation of descriptive scientific models to normative ethical theories. A key figure motivating biosemiotics, Uexküll presents here a darker side: one where his Umwelt theory seems to motivate a bio-cultural hierarchy of value and worth, where some human beings are worth more than others precisely because of the constraints of their Umwelten. The first English translation of (...) this essay, introduced here, gives scholars access to Uexküll’s lines of thought, historical context, and normative interpretations. It is particularly pertinent for contemporary attempts to develop a biosemiotic ethics based, among other things, on the Umwelt theory. (shrink)

The purpose of this paper is to describe some parallels and theoretical affinities between biosemiotics and biolinguistics. In particular, this paper examines the importance of Uexküll's Umwelt and Peircean abduction as foundational concepts for Sebeok's biosemiotics and Chomsky's biolinguistic program. Other affinities touched upon in this paper include references to concepts articulated by Immanuel Kant, Konrad Lorenz, Marcel Florkin, François Jacob, C.H. Waddington, D'Arcy Thomson and Ernst Haeckel. While both programs share theoretical influences and historiographical parallels in their mid-century origins (...) continuing throughout the late twentieth century, recent articulations of biosemiotics and biolinguistics privilege different intellectual styles and methods of inquiry that define their future objectives as intellectual movements. The goal of this paper is to show that, in spite of the different scholarly agendas of biosemiotics and biolinguistics, both movements share a theoretical and philosophical core in Peirce and Uexküll. (shrink)