Ecosemiotics is the study of sign processes (semioses) in relation to the natural environment in which they occur. The paper examines the cultural, biological, and evolutionary dimensions of ecosemioses on the basis of C. S. Peirce's theory of continuity between matter and mind and investigates the ecosemiotic dimensions of natural signs. Ecosemiotics and the semiotics of nature are distinguished from pansemiotism, and the coevolution of sign processes with their natural enviromnent is discussed as a determining factor of ecosemiosis.

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)

"Wilderness" is a concept which has undergone a radical change in recent years. Owing to the scale of global destruction of the wilderness and its various ecosystems, the idea of wilderness has been transformed from its original negative sense as an Other into a matter of public concern. This as replaced the understanding of "wilderness " not only as a place but as a category closely linked with the development of buman culture. As the result of human practice and representation, (...) nature is thus also political Models and concepts of nature in the creative arts can be indicative of a certain culture's relationship with nature, as they communicate prevailing ideologies. This is particularly pertinent to concepts of nature in Canada where wilderness includes vast tracts of forests, lakes and an Arctic North, which has led to a distinctively Canadian relationship between Canadians and their natural environment. The change in the literary representations of interactions between humankind and environment in Canadian fiction - from the "double vision" resulting from the view of the wilderness both as a threatening Other and free space; to the view of threatened nature as a means of identification; and, finally, as a post-modem place of transgression and possibility - invites questions about both the semiotic threshold between nature and culture, and about the function of boundaries in the constitution of identity. (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)

У статті досліджується екосеміотика (термін запропонований Вілфрідом Нотом) – міждисциплінарна галузь, що має на меті: 1) поглибити розуміння особливостей взаємодії між людиною і довкіллям, культурою і природою на основі застосування семіотичного підходу; 2) розширення пізнавальних можливостей людини у природнознавчій і культурознавчій сферах за допомогою семіотичного інструментарію. Відзначається, що екосеміотика безпосередньо пов’язана з біосеміотикою, семіотикою культури (культурною семіотикою), а також з екологічною (інвайронментальною) філософією. Вона спирається на принцип неперервності (спадкоємності) у розвитку природи та розуму (свідомості) (Ч. Пірс), уявлення про внутрішній зв'язок (...) між живими (природними) та семіотичними процесами (Дж. Хофмейер), голістичний (системний) погляд на семіосферу (Ю. Лотман). Екосеміотика розглядає взаємодію культури і природи як двосторонній процес, в якому природа визначає культуру так само, як і культура у різний спосіб окреслює природу. Зауважується, що для екосеміотики як порівняно нового дослідницького напряму не вироблено єдиного методологічного базису та бачення досліджуваного ним кола проблем, що цілком релевантно ситуації в семіотиці загалом. Автор доходить висновку, що на тлі постійного зростання досліджень, які позиціонують себе як екосеміотичні, цей напрям потребує відповідних методологічних рефлексій і оцінок. (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)

Michael Marder in Dump Philosophy claims that that there has been so much dumping with modern civilization that we now live in a dump, with those parts of our environment not contaminated by dumping, now rare. The growth of the dump is portrayed as the triumph of nihilism, predicted by Nietzsche as the outcome of life denying Neoplatonist metaphysics. Marder’s proposed solution, characterized as “undumping”, is to accept the dump and to promote reinterpretations and informal communities within the dump. It (...) is argued here that Marder provides great insight into our current situation and its causes; however, his proposed solution is too weak. To respond to the situation described, it is argued, it is necessary to distinguish between healthy and unhealthy dumping, or more broadly, healthy and unhealthy participation in nature. To make this distinction, it is necessary see humans as ecosystems and components of ecosystems, including the global ecosystem, as these have been characterized by anti-reductionist ecologists. Ecosystems can be healthy or unhealthy. Dumping and dumps should be identified as problematic outputs when they damage the health of ecosystems. The products of human activity not destined to be consumed or used for further productive activity, can then be identified and judged according to whether they augment or damage ecosystems’ health. Dumping should be severely restricted. This should be associated with making a commitment to life and its value, and living to augment life, developing the social and economic forms and institutions that facilitate living in this way. (shrink)