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Resemblance and camouflage in Graeco-Roman antiquity

Resemblance and camouflage in Graeco-Roman antiquity

Author(s): Massimo Leone / Language(s): English Issue: 1-4/2010

In the twenty-eighth book of the Naturalis Historia Pliny the Elder claims that, if a chameleon’s left leg is roasted together with a herb bearing the same name, and everything is mixed with ointment, cut in lozenges, and stored in a wooden little box, this will bestow on those who own it a perfect camouflage. The ring of Gyges (Plato, etc.), that of Midas (Pliny), the heliotropium (Pliny), the dracontitis (Philostratus): ancient cultures abound with references to objects, recipes, and techniques able to bestow different kinds of invisibility, meant as a perfect resemblance with the environment. At the same time, these same cultures also teem with references to how to avert the perfect camouflage: for instance, by being endowed with a pupula duplex, a double pupil (Ovid). The paper explores such vast corpus of texts from the point of view of a semiotics of cultures, in order to track the roots of a conception of camouflage that, from these ancient cultures on, develops through intricate paths into the contemporary imaginaires (and practices) of invisibility. The paper’s more general goal is to understand the way in which cultures elaborate conceptions of invisibility meant as the perfect resemblance between humans and their environments, often on the basis of the observation of the same resemblance between other living beings and their habitat. Ancient texts are therefore focused on in order to decipher the passage from camouflage as an adaptive natural behaviour to camouflage as an effective combat strategy.

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Analogical associations in the frame of a “neoclassical” semiotic theory

Analogical associations in the frame of a “neoclassical” semiotic theory

Author(s): Guido Ferraro / Language(s): English Issue: 1-4/2010

It has been a long time since the concept of iconic signs was proposed by C. S. Peirce. From that time on, we have been increasingly realizing that semiotic systems are for the most part established just on some type of similarity. But the more we see the sphere of analogical signification expanding its realm, the more we become aware of how inadequate is the notion of a simple relationship connecting locally a physical object with a second object, or with a mental entity. There is, on the other hand, the more refined theory of sign conceived by Ferdinand de Saussure, but this theory, by its very definition, addresses a restricted domain, and definitely does not include the field of those signs which rest on analogical associations. The main purpose of this article is then to show how the more polished Saussurean model can act as a starting point for a general restatement, primarily intended to embrace the signs that rest on an analogical basis. We may so speak of a “neoclassical”, innovative semiotic theory, able to join the latest “sociosemiotic” approach with the most precious foundations of our discipline.

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Metaphorical analogies in approaches of Victor Turner and Erving Goffman: Dramaturgy in social interaction and dramas of social life

Metaphorical analogies in approaches of Victor Turner and Erving Goffman: Dramaturgy in social interaction and dramas of social life

Author(s): Ester Võsu / Language(s): English Issue: 1-4/2010

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is a representation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality and cultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspired numerous writers, philosophers and, later, social scientists to look for particular similarities between social life, drama and theatre. In this paper I chose two particular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases his analogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles of performing used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed.

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Cross-modal iconicity: A cognitive semiotic approach to sound symbolism

Cross-modal iconicity: A cognitive semiotic approach to sound symbolism

Author(s): Felix Ahlner,Jordan Zlatev / Language(s): English Issue: 1-4/2010

It is being increasingly recognized that the Saussurean dictum of “the arbitrariness of the linguistic sign” is in conflict with the pervasiveness of the phenomenon commonly known as “sound symbolism”. After first presenting a historical overview of the debate, however, we conclude that both positions have been exaggerated, and that an adequate explanation of sound symbolism is still lacking. How can there, for example, be (perceived) similarity between expressions and contents across different sensory modalities? We offer an answer, based on the Peircian notion of iconic ground, and G. Sonesson’s distinction between primary and secondary iconicity. Furthermore, we describe an experimental study, in a paradigm first pioneered by W. Köhler, and recently popularized by V. Ramachandran, in which we varied vowels and consonants in fictive word-forms, and conclude that both types of sounds play a role in perceiving an iconic ground between the word-forms and visual figures. The combination of historical conceptual analysis, semiotic explication and psychological experimentation presented in this article is characteristic of the emerging paradigm of cognitive semiotics.

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Semiotic modeling of mimicry with reference to brood parasitism

Semiotic modeling of mimicry with reference to brood parasitism

Author(s): Timo Maran / Language(s): English Issue: 1-4/2010

Biological mimicry can be considered as having a double-layered structure: there is a layer of ecological relations between species and there is a layer of semiotic relations of the sign. The present article demonstrates the limitations of triadic models and typologies of mimicry, as well as their lack of correspondence to mimicry as it actually occurs in nature. It is argued that more dynamical semiotic tools are needed to describe mimicry in a theoretically coherent way that would at the same time allow comparative approach to various mimicry cases. For this a five-stage model of analysis is proposed, which incorporates classical mimicry theory, Jakob von Uexküll’s Umwelt-theory, as well as semiotic and communication analysis. This research model can be expressed in the form of five questions: 1) What is the formal structure of mimicry system? 2) What are the perceptual and effectual correspondences between the participants of mimicry? 3) What are the characteristics of resemblances? 4) How is the mimicry system regulated in ontogenetic and evolutionary processes? 5) How is the mimicry system related to human cultural processes? As a practical example of this semiotic methodology, brood parasitism between the common cuckoo Cuculus canorus and his frequent host species is examined.

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Re-semblance and re-evolution: Paramorphism and semiotic co-option may explain the re-evolution of similar phenotypes

Re-semblance and re-evolution: Paramorphism and semiotic co-option may explain the re-evolution of similar phenotypes

Author(s): Karel Kleisner / Language(s): English Issue: 1-4/2010

The independent emergence of similar features in phylogenetically nonallied groups of organisms has usually been explained as the result of similar selection pressures particular to specific environments. This explanation has been more or less helpful in elucidating convergent resemblances among organisms since the times of Darwin. Nevertheless, intensive research has brought new knowledge on the emergence of structural similarity among organisms, especially during the last two decades. We now have manifold evidence of the phenomena of evolutionary re-entries or re-evolution, which happens when a particular character present in one organic taxon also appears in another taxon which does not share an immediate ancestry. This is not the re-appearance of the same character, but rather of a similar one. Here I propose a model of threefold origin of similar phenotypic features in unrelated organisms stemming from intrinsic, extrinsic and semiosic causation. It is suggested that neither externalist nor internalist explanations per se, nor any combination thereof, are sufficient to cover all the manifold instances of character re-evolution. There is also a special group of resemblances that consists of what is originated, shaped, and retained in evolution due to meaning attributed to them by particular organic subjects. These cases cannot be fully understood without inviting a biosemiotic approach. Integrating Uexküll’s theory of meaning with the recent evolutionary developmental perspective could complete our understanding of phenotypic re-evolution.

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An owl and a mirror: On Bosch’s visual motif’s meaning

An owl and a mirror: On Bosch’s visual motif’s meaning

Author(s): Olga Bogdanova,Jelena Melnikova-Grigorjeva / Language(s): English Issue: 1-4/2010

Our main goal in this paper is to study one Hieronymus Bosch’s iconographic motif, an owl, considering the iconography, production of meaning and connotations. Pursuant to the comparative analysis of the variants of the formal model we intend to ascertain the meaning of Bosch’s “owl” motif. We supplement its pure visual legend throughout European art history with mythological and symbolic (mainly verbal) legend. Methodologically, we base the vast range of interpretations on the school of history of ideas (Aby Warburg, Ernst Gombrich, Erwin Panofsky, Francis Yates, Carlo Ginzburg) and the Tartu-Moscow school of semiotics of culture and text analysis. The article concludes that the “owl” motif, including in the works of Bosch, conveys the semantic aura of the “blind sight” (“blind foresight”). This ideological concept is in turn included into the archaic concept of mutual communication between the worlds carried out by a mythological observer — shaman, trickster.

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Opposition theory and the interconnectedness of language, culture, and cognition

Author(s): Marcel Danesi / Language(s): English Issue: 1-2/2009

The theory of opposition has always been viewed as the founding principle of structuralism within contemporary linguistics and semiotics. As an analytical technique, it has remained a staple within these disciplines, where it continues to be used as a means for identifying meaningful cues in the physical form of signs. However, as a theory of conceptual structure it was largely abandoned under the weight of post-structuralism starting in the 1960s — the exception to this counter trend being the work of the Tartu School of semiotics. This essay revisits opposition theory not only as a viable theory for understanding conceptual structure, but also as a powerful technique for establishing the interconnectedness of language, culture, and cognition.

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A biosemiotic conversation: Between physics and semiotics

Author(s): Kalevi Kull,Howard H. Pattee / Language(s): English Issue: 1-2/2009

In this dialogue, we discuss the contrast between inexorable physical laws and the semiotic freedom of life. We agree that material and symbolic structures require complementary descriptions, as do the many hierarchical levels of their organizations. We try to clarify our concepts of laws, constraints, rules, symbols, memory, interpreters, and semiotic control. We briefly describe our different personal backgrounds that led us to a biosemiotic approach, and we speculate on the future directions of biosemiotics.

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A sketch of Peirce’s Firstness and its significance to art

Author(s): Dinda L. Gorlée / Language(s): English Issue: 1-2/2009

This essay treats the growth and development of Charles S. Peirce’s three categories, particularly studying the qualities of Peirce’s Firstness, a basic formula of “airy-nothingness” (CP: 6.455) serving as fragment to Secondness and Thirdness. The categories of feeling, willing, and knowing are not separate entities but work in interaction within the three interpretants. Interpretants are triadomaniac elements through the adopted, revised, or changed habits of belief. In works of art, the first glance of Firstness arouses the spontaneous responses of musement, expressing emotions without the struggle and resistance of factual Secondness, and not yet involving logical Thirdness. The essential qualities of a loose or vague word, color, or sound give the fugitive meanings in Firstness. The flavor, brush, timbre, color, point, line, tone or touch of the First qualities of an aesthetic object is too small a base to build the logic of aesthetic judgment. The genesis art is explained by Peirce’s undegeneracy growing into group and individual interpretants and building into the passages and whole forms of double and single forms of degeneracy. The survey of the flash of Firstness is exemplified in a variety of artworks in language, music, sculpture, painting, and film. This analysis is a preliminary aid to further studies of primary Firstness in the arts.

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Sign activity of mammals as means of ecological adaptation

Sign activity of mammals as means of ecological adaptation

Author(s): Elina Vladimirova / Language(s): English Issue: 3-4/2009

The present article discusses different basic semiotic-scientific postulates regarding mammals’ sign activity. On the one hand, there are arguments denying animals sign activity, according to which mammals are not capable of semantic generalization on the basis of conventional linguistic values. According to another approach, mammals’ sign activity can be considered as means of ecological adaptation, that is, the features of animal behaviour based on the information, received by them through their habitat characteristics without direct visual contacts with their kind. Movement elements, behavioural reactions of similar motivation and parameters of the sign field, which represents an animal’s sign-information environment, may have some numerical expression and can be calculated depending on the research tasks. Formalization of the animal activity implies simultaneous consideration of the following parameters: magnitude, intensity, anisotropy and the value of a given sign object.

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Introduction

Introduction

Author(s): Dario Martinelli / Language(s): English Issue: 3-4/2009

“Zoosemiotics” was introduced in 1963 by Thomas Albert Sebeok, initially as a compromise between ethological and semiotic research. In the beginning, Sebeok was convinced that “zoosemiotics” had to be used mostly as an umbrella term, uniting different scholarly approaches to animal communication). In the light of its most recent developments, a synthetic definition of zoosemiotics can be today that of the study of semiosis within and across animal species. Let us see the implications of this definition.

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Monsters we met, monsters we made: On the parallel emergence of phenotypic similarity under domestication

Monsters we met, monsters we made: On the parallel emergence of phenotypic similarity under domestication

Author(s): Karel Kleisner,Marco Stella / Language(s): English Issue: 3-4/2009

Creatures living under the rule of domestication form a communicative union based on shared morphological, behavioural, cognitive, and immunological resemblances. Domestic animals live under particular conditions that substantially differ from the original (natural) settings of their wild relatives. Here we focus on the fact that many parallel characters have appeared in various domestic forms that had been selected for different purposes. These characters are often unique for domestic animals and do not exist in wild forms. We argue that parallel similarities appear in different groups in response to their interaction with the umwelt of a particular host. In zoosemiotic sense, the process of domestication represents a kind of interaction in which both sides are affected and eventually transformed in such a way that one is more integrated with the other than in the time of initial encounter.

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Studying the cognitive states of animals: Epistemology, ethology and ethics

Studying the cognitive states of animals: Epistemology, ethology and ethics

Author(s): Otto Lehto / Language(s): English Issue: 3-4/2009

The question of cognitive endowment in animals has been fiercely debated in the scientific community during the last couple of decades (for example, in cognitive ethology and behaviourism), and indeed, all throughout the long history of natural philosophy (from Plato and Aristotle, via Descartes, to Darwin). The scientific quest for an empirical, evolutionary account of the development and emergence of cognition has met with many philosophical objections, blind alleys and epistemological quandaries. I will argue that we are dealing with conflicting philosophical world views as well as conflicting empirical paradigms of research. After looking at some examples from the relevant literature of animal studies to elucidate the nature of the conflicts that arise, I propose, in strict Darwinian orthodoxy, that cognitive endowments in nature are subject to the sort of continuum and gradation that natural selection of fit variant forms tends to generate. Somewhere between the myth of “free” humans and the myth of “behaviourally conditioned” animals lies the reality of animal behaviour and cognition. In the end, I hope to have softened up some of those deep-seated philosophical problems (and many quasi-problems) that puzzle and dazzle laymen, scientists and philosophers alike in their quest for knowledge about the natural world.

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Are “non-human sounds/music” lesser than human music? A comparison from a biological and musicological perspective

Are “non-human sounds/music” lesser than human music? A comparison from a biological and musicological perspective

Author(s): Regina Rottner / Language(s): English Issue: 3-4/2009

The complexity and variation of sound emission by members of the animal kingdom, primarily produced by the orders Passeriformes (songbirds), Cetacea (whales), but also reported in species belonging to the Exopterygota (insects) and Carnivora (mammals), has attracted human attention since the Middle Ages, where birds’ calls were used in compositions of that time. However, the focus of this paper will be on sound productions of birds and whales, as recent scientific and musicological research concentrates on these two animals.

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From biorhetorics to zoorhetorics

From biorhetorics to zoorhetorics

Author(s): Stephen Pain / Language(s): English Issue: 3-4/2009

The present article aims to introduce the field of “Zoorhetorics”, as a particular case of Biorhetorics, earlier introduced by the author in the academic world. A brief explanation will be provided of its aims, methods and models, while particular attention will be devoted to the concept of “sustainable good”, considered crucial in both the “Bio-” and “Zoorhetorics” formulations.

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Abstraction, cruelty and other aspects of animal play (exemplified by the playfulness of Muki and Maluca)

Abstraction, cruelty and other aspects of animal play (exemplified by the playfulness of Muki and Maluca)

Author(s): Morten Tønnessen / Language(s): English Issue: 3-4/2009

Play behaviour is notorious for constituting a much debated, yet little clarified field of research. In this article, attempts are made to reach conclusions on the relation between human play and the play of other animals (especially cat play), as well as on the very character of play. The concept of Umwelt is reviewed, as are definitions of animal play, categorization of animal play and the role of meta-communication in playful behaviour. For some, play is a symbol of everything that is good. The author of the current article does not deny that social morality may have originated from play behaviour, but stresses the existence of cruelty play, which leads to additional assumptions. Another notion that is treated in some detail is perceptual play, which proves to demonstrate complex semiotic play that is related first of all to signification. At the end of the article an alternative categorization of animal play is suggested, in which the fundamental role of mind games is emphasized. Throughout the text, examples of play behaviour are offered by the two domestic cats Muki and Maluca.

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John Maynard Smith’s typology of animal signals: A view from semiotics

John Maynard Smith’s typology of animal signals: A view from semiotics

Author(s): Timo Maran / Language(s): English Issue: 3-4/2009

Approaches to animal communication have for the most part been quite different in semiotics and evolutionary biology. In this context the writings of a leading evolutionary biologist who has also been attracted to semiotics — John Maynard Smith — are an interesting exception and object of study. The present article focuses on the use and adaptation of semiotic terminology in Maynard Smith’s works with reference to general theoretical premises both in semiotics and evolutionary biology. In developing a typology of animal signals, Maynard Smith employs the concepts of icon, index and symbol to denote distinct signal classes. He uses “indices” or “indexes” to express a signal type where the relation between signal properties and meaning is restricted because of physical characteristics. Such approach also points out the issue of the motivatedness of signs, which has had a long history in semiotics. In the final part of the article the usage and content of the concepts of signal form and meaning in Maynard Smith’s writings are analysed. It appears that in evolutionary biology, the “signal” is a vague concept that may denote a variety of things from an animal’s specific physiological status to artificial theoretical constructs. It also becomes evident that in actual usage the concept of signal often includes references to the receiver’s activity and interpretation, which belong rather to the characteristics of sign process. The positive influence of Maynard Smith’s works on semiotics could lie in paying attention to the role of physical necessities in animal communication. Physical constraints and relations also seem to have a significant role in semiotic processes although this is not always sufficiently studied or understood in semiotics.

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Conditioning or cognition? Understanding interspecific communication as a way of improving animal training (a case study with elephants in Nepal

Conditioning or cognition? Understanding interspecific communication as a way of improving animal training (a case study with elephants in Nepal

Author(s): Helena Telkänranta / Language(s): English Issue: 3-4/2009

When animals are trained to function in a human society (for example, pet dogs, police dogs, or sports horses), different trainers and training cultures vary widely in their ability to understand how the animal perceives the communication efforts of the trainer. This variation has considerable impact on the resulting performance and welfare of the animals. There are many trainers who frequently resort to physical punishment or other pain-inflicting methods when the attempts to communicate have failed or when the trainer is unaware of the full range of the potential forms of human-animal communication. Negative consequences of this include animal suffering, imperfect performance of the animals, and sometimes risks to humans, as repeated pain increases aggression in some animals. The field of animal training is also interesting from a semiotic point of view, as it effectively illustrates the differences between the distinct forms of interaction that are included in the concept of communication in the zoosemiotic discourse. The distinctions with the largest potential in improving human-animal communication in animal training, is understanding the difference between verbal communication of the kind that requires rather high cognitive capabilities of the animal, and communication based on conditioning, which is a form of animal learning that does not require high cognitive ability. The differences and potentials of various types of human-animal communication are discussed in the form of a case study of a novel project run by a NGO called Working Elephant Programme of Asia (WEPA), which introduces humane, science-based training and handling methods as an alternative to the widespread use of pain and fear that is the basis of most existing elephant training methods.)

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Bird sounds in nature writing: Human perspective on animal communication

Bird sounds in nature writing: Human perspective on animal communication

Author(s): Kadri Tüür / Language(s): English Issue: 3-4/2009

The object of study in the present article is birds, more precisely the sounds of birds as they are represented in Estonian nature writing. The evolutionary and structural parallels of bird song with human language are reviewed. Human interpretation of bird sounds raises the question, whether it is possible to transmit or “translate” signals between the Umwelts of different species. The intentions of the sender of the signal may remain unknown, but the signification process within human Umwelt can still be traced and analysed. By approaching the excerpts of nature writing using semiotic methodology, I attempt to demonstrate how bird sounds can function as different types of signs, as outlined by Thomas A. Sebeok. It is argued that the zoosemiotic treatment of nature writing opens up a number of interesting perspectives that would otherwise remain beyond the scope of traditional literary analysis

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