Mimicry and deception are two important issues in studies about animal communication. The reliability of animal signs and the problem of the benefits of deceiving in sign exchanges are interesting topics in the evolution of communication. In this paper, we intend to contribute to an understanding of deception by studying the case of aggressive signal mimicry in fireflies, investigated by James Lloyd. Firefly femmes fatales are specialized in mimicking the mating signals of other species of fireflies with the purpose of (...) attracting responding males to become their prey. These aggressive mimics are a major factor in the survival and reproduction of both prey and predator. It is a case of deception through active falsification of information that leads to efficient predation by femmes fatales fireflies and triggered evolutionary processes in their preys’ communicative behaviors. There are even nested coevolutionary interactions between these fireflies, leading to a remarkable system of deceptive and counterdeceptive signaling behaviors. We develop here a semiotic model of firefly deception and also consider ideas advanced by Lloyd about the evolution of communication, acknowledging that deception can be part of the explanation of why communication evolves towards increasing complexity. Increasingly complex sign exchanges between fireflies evolve in an extremely slow pace. Even if deceptive maneuvers are played out time and time again between particular firefly individuals, the evolution of the next level of complexity—and thus the next utterance in the dialogue between species—is likely to take an immense amount of generations. (shrink)

In this paper, we intend to discuss if and in what sense semiosis can be regarded as an "emergent" process in semiotic systems. It is not our problem here to answer when or how semiosis emerged in nature. As a prerequisite for the very formulation of these problems, we are rather interested in discussing the conditions which should be fulfilled for semiosis to be characterized as an emergent process. The first step in this work is to summarize a systematic analysis (...) of the variety of emergence theories and concepts, elaborated by Achim Stephan. Along the summary of this analysis, we pose fundamental questions that have to be answered in order to ascribe a precise meaning to the term "emergence" in the context of an understanding of semiosis. After discussing a model for explaining emergence based on Salthe's hierarchical structuralism, which considers three levels at a time in a semiotic system, we present some tentative answers to those questions. (shrink)

This paper explores Victoria Welby's fundamental assumption of meaning process (“semiosis” sensu Peirce) as translation, and some implications for the development of a general model of intersemiotic translation.

Terms loaded with informational connotations are often employed to refer to genes and their dynamics. Indeed, genes are usually perceived by biologists as basically ‘the carriers of hereditary information.’ Nevertheless, a number of researchers consider such talk as inadequate and ‘just metaphorical,’ thus expressing a skepticism about the use of the term ‘information’ and its derivatives in biology as a natural science. First, because the meaning of that term in biology is not as precise as it is, for instance, in (...) the mathematical theory of communication. Second, because it seems to refer to a purported semantic property of genes without theoretically clarifying if any genuinely intrinsic semantics is involved. Biosemiotics, a field that attempts to analyze biological systems as semiotic systems, makes it possible to advance in the understanding of the concept of information in biology. From the perspective of Peircean biosemiotics, we develop here an account of genes as signs, including a detailed analysis of two fundamental processes in the genetic information system (transcription and protein synthesis) that have not been made so far in this field of research. Furthermore, we propose here an account of information based on Peircean semiotics and apply it to our analysis of transcription and protein synthesis. (shrink)

Modern semiotics is a branch of logics that formally defines symbol-based communication. In recent years, the semiotic classification of signs has been invoked to support the notion that symbols are uniquely human. Here we show that alarm-calls such as those used by African vervet monkeys (Cercopithecus aethiops), logically satisfy the semiotic definition of symbol. We also show that the acquisition of vocal symbols in vervet monkeys can be successfully simulated by a computer program based on minimal semiotic and neurobiological constraints. (...) The simulations indicate that learning depends on the tutor-predator ratio, and that apprentice-generated auditory mistakes in vocal symbol interpretation have little effect on the learning rates of apprentices (up to 80% of mistakes are tolerated). In contrast, just 10% of apprentice-generated visual mistakes in predator identification will prevent any vocal symbol to be correctly associated with a predator call in a stable manner. Tutor unreliability was also deleterious to vocal symbol learning: a mere 5% of “lying” tutors were able to completely disrupt symbol learning, invariably leading to the acquisition of incorrect associations by apprentices. Our investigation corroborates the existence of vocal symbols in a non-human species, and indicates that symbolic competence emerges spontaneously from classical associative learning mechanisms when the conditioned stimuli are self-generated, arbitrary and socially efficacious. We propose that more exclusive properties of human language, such as syntax, may derive from the evolution of higher-order domains for neural association, more removed from both the sensory input and the motor output, able to support the gradual complexification of grammatical categories into syntax. (shrink)

In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes of (...) signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Biosemiotics is a growing fi eld that investigates semiotic processes in the living realm in an attempt to combine the fi ndings of the biological sciences and semiotics. Semiotic processes are more or less what biologists have typically referred to as “ signals, ” “ codes, ”and “ information processing ”in biosystems, but these processes are here understood under the more general notion of semiosis, that is, the production, action, and interpretation of signs. Thus, biosemiotics can be seen as biology (...) interpreted as a study of living sign systems — which also means that semiosis or sign process can be seen as the very nature of life itself. In other words, biosemiotics is a field of research investigating semiotic processes (meaning, signification, communication, and habit formation in living systems) and the physicochemical preconditions for sign action and interpretation. -/- (...). (shrink)

This article presents some results of a research on computational strategies for the visualization of sign classification structures and sign processes. The focus of this research is the various classifications of signs described by Peirce. Two models are presented. One of them concerns specifically the 10-fold classification as described in the 1903 Syllabus (MS 540, EP 2: 289–299), while the other deals with the deep structure of Peirce’s various trichotomic classifications. The first is 10cubes, an interactive 3-D model of Peirce’s (...) 10-fold classification, as described in the Syllabus. The second is 3N3, a computer program that builds equivalent diagrams for any n-trichotomic classification of signs. We are specially interested in how a graphic design methodology, associated with computer graphic resources and techniques, can contribute to the construction of interactive models that serve as tools for the investigation of C. S. Peirce’s theory of signs. (shrink)

Habit in semiosis can be modeled both as a macro-level in a hierarchical multi-level system where it functions as boundary conditions for emergence of semiosis, and as a cognitive niche produced by an ecologically-inherited environment of cognitive artifacts. According to the first perspective, semiosis is modeled in terms of a multilayered system, with micro functional entities at the lower-level and with higher-level processes being mereologically composed of these lower-level entities. According to the second perspective, habits are embedded in ecologically-inherited environments (...) of signs that co-evolve with cognition. Both descriptions offer a novel approximation of Peirce’s semiotics and theoretical findings in other areas (hierarchy theory, evolutionary biology), suggesting new frameworks to approach the concept of habit integrated with its role in semiosis. (shrink)

Philosophers and social scientists of diverse orientations have suggested that the pragmatics of semiosis is germane to a dynamic account of meaning as process. Semiosis, the central focus of C. S. Peirce's pragmatic philosophy, may hold a key to perennial problems regarding meaning. Indeed, Peirce's thought should be deemed seminal when placed within the cognitive sciences, especially with respect to his concept of the sign. According to Peirce's pragmatic model, semiosis is a triadic, time-bound, context-sensitive, interpreter-dependent, materially extended dynamic process. (...) Semiosis involves inter-relatedness and inter-action between signs, their objects, acts and events in the world, and the semiotic agents who are in the process of making and taking them. (shrink)

Peirce's pragmatic notion of semiosis can be described in terms of a multi-level system of constraints involving chance, efficient, formal and final causation. According to the model proposed here, law-like regularities, which work as boundary conditions or organizational principles, have a downward effect on the spatiotemporal distribution of lower-level semiotic items. We treat this downward determinative influence as a propensity relation: if some lower-level entities a,b,c,-n are under the influence of a general organizational principle, W, they will show a tendency (...) to behave in certain specific ways, and, thus, to instantiate a set of specific processes. Our goal in this paper is to examine the role of downward determination in semiotic systems, conceived as multi-level hierarchical systems. (shrink)

In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework (...) to describe a cognitive creative phenomenon with a philosophically robust theory of meaning results in a cognitive semiotic account of IT. (shrink)

Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of “multilevel poetry translation” to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an “experimental lab” which submits (...) language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos’ Portuguese translation of John Donne’s poem “The Expiration.”. (shrink)

We explore Peirce’s pragmatic conception of sign action, as a distributed and emergent view of cognition and exemplify with the emergence of classical ballet. In our approach, semiosis is a temporally distributed process in which a regular tendency towards certain future outcomes emerges out of a history of sign actions. Semiosis self-organizes in time, in a process that continuously entails the production of more signs. Emergence is a ubiquitous condition in this process: the translation of signs into signs cannot be (...) inferred from the properties of the components of a semiotic triad alone, but has to take into account a complex interaction between a micro-semiotic and macro-semiotic level of description. This interaction can be understood as an interplay of potentialities and tendencies, or upward constitutive determinative relations and downward selective determinative relations. According to this view, emergence is a central defining condition of processes of meaning. Ballet is a sign in action. The emergence of classical ballet is a self-regulatory process, in which a system of different kinds of cognitive artifacts (musical, bodily/motor, spatial/architectonic) and agents obtained a stable semiotic relation throughout many phases of development between the 16th and the 19th Century. One case is the development of the verticality of dance in classical ballet as a semiotic relation connecting proscenium arch stages, dancing bodies, and audiences. This development is micro-semiotically determined by the spatial constraints of the proscenium arch stage, and macro-semiotically determined by a historical construction of the dancing body as a sign within a network of semiotic chains, such as the intersemiotic regulation of body of the dancer by principles coming from painting. This is not only the emergence of actual meaning, but also the emergence of an open-ended field of potential and general meanings, an autonomous tendency of development. To say that ballet, as sign action, emerges, is to say that cognitive artifacts such as dancer’s bodies, stages and audience’s point of view, musical compositions, costumes, all sorts of supporting institutions, etc, constitute a niche for sign action, interacting according to tendencies of development that didn’t exist before. (shrink)

The icon is the type of sign connected to efficient representational features, and its manipulation reveals more information about its object. The London Underground Diagram (LUD) is an iconic artifact and a well-known example of representational efficiency, having been copied by urban transportation systems worldwide. This paper investigates the efficiency of the LUD in the light of different conceptions of iconicity. We stress that a specialized representation is an icon of the formal structure of the problem for which it has (...) been specialized. By embedding such rules of action and behavior, the icon acts as a semiotic artifact distributing cognitive effort and participating in niche construction. (shrink)

Os signos e as classes dos signos estão entre os tópicos mais importantes do sistema filosófico de Charles S. Peirce. As 10, 28, e 66 classes de signos são classificações desenvolvidas especialmente a partir de 1903 e representam um grande refinamento da divisão fundamental de signos – ícone, índice, símbolo. Nossa abordagem aqui define uma estratégia de visualização das classificações dos signos, com especial atenção para as 10 e 66 classes de signos. O livro está dividido em duas partes: (i) (...) bases teóricas, (ii) diagramas para as classes de signos. Na Parte I (bases teóricas), são apresentadas introdutoriamente as noções fundamentais das categorias fenomenológicas, classes de signos, as tricotomias e diagramas, assim como implicações gerais de nossa abordagem, metodologia e aplicações. Na Parte II (diagramas para as classes de signos), são apresentados e discutidos os modelos das classes, propostos por Peirce e seus comentadores, incluindo uma introdução detalhadamente documental de nossos modelos, 10cubes e 3N3, diagramas dinâmicos para as classes de signos. (shrink)