The development of form in living organisms continues to challenge biological research. The concept of biological information encoded in the genetic program that controls development forms a major part of the semiotic metaphor in biology. Development is here seen in analogy to an execution of a program, written in a formal language in the computer. Other versions of the semiotic or "nature-as-language" metaphor use other formal or informal aspects of language to comprehend the specific structural relations in nature as explored (...) by molecular and evolutionary biology. This intuitively appealing complex of related ideas, which has a long history in the philosophy of nature and biology, is critically reviewed. The general nature of metaphor in science is considered, and different levels of metaphorical transfer of signification is distinguished. It is argued, that the metaphors may be of considerable value, not only heuristically, but in order to comprehend the irreducible nature of living organisms. In arguing for a semiotic perspective on living nature, it makes a marked difference whether the departure is made from the tradition of F. de Saussure´s structural linguistics or from the tradition of general semiotics of C. S. Peirce. An agenda is made for a Peircean perspective on the semiotics of nature. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 481-509.

Codes are mechanisms in which signs are actualized. They relate various sign sides to each other. These sign sides can be represented as heterogeneities (diversity, relations, differences), some are organized with the help of various differences – identities formulated in a specific way. The basis of the codes of visual perception and art are primarily the heterogeneities of the elements perceived directly (contours of objects, sizes, directions of movement, light and color irritants, etc.). A structure, conceived of as a manner (...) of connection, is a principle for constructing a kind of a whole and is the center of an organized heterogeneity. (shrink)

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...) Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)