Frederik Stjernfelt

Based on the conception of life and semiosis as co-extensive an attempt is given to classify cognitive and communicative potentials of species according to the plasticity and articulatory sophistication they exhibit. A clear distinction is drawn between semiosis and perception, where perception is seen as a high-level activity, an integrated product of a multitude of semiotic interactions inside or between bodies. Previous attempts at finding progressive trends in evolution that might justify a scaling of species from primitive to advanced levels have not met with much success, but when evolution is considered in the light of semiosis such a scaling immediately catches the eye. The main purpose of this paper is to suggest a scaling of this progression in semiotic freedom into a series of distinct steps. The elleven steps suggested are: 1) molecular recognition, 2) prokaryote-eukaryote transformation, 3) division of labor in multicellular organisms, 4) from irritability to phenotypic plasticity, 5) sense perception, 6) behavioral choice, 7) active information gathering, 8) collaboration, deception, 9) learning and social intelligence, 10) sentience, 11) consciousness. In light of this, the paper finally discusses the conceptual framework for biosemiotic evolution. The evolution of biosemiotic capabilities does not take the form of an ongoing composition of simple signs into composite wholes. Rather, it takes the shape of the increasing subdivision and control of a primitive, holophrastic perception-action circuit already committed to “proto-propositions” reliably guiding action already in the most primitive species.

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

​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general.

It is a well-known fact that Ernst Cassirer was inspired by his colleague, the biologist Jakob von Uexkiill at the university of Hamburg. This paper claims this inspiration was double—affecting both Cassirer's philosophical anthropology and Cassirer's epistemology of biology, but in two rather different ways. Thus, the paper intends to shed light on a corner of the history of the development of German thought of the interwar period. It may also have an actual interest because both Cassirer and Uexkiill enjoy, for the time being and each in their way, a renaissance, e.g. in the recent field of biosemiotics

Theses on the semiotic study of life as presented here provide a collectively formulated set of statements on what biology needs to be focused on in order to describe life as a process based on semiosis, or sign action. An aim of the biosemiotic approach is to explain how life evolves through all varieties of forms of communication and signification (including cellular adaptive behavior, animal communication, and human intellect) and to provide tools for grounding sign theories. We introduce the concept of semiotic threshold zone and analyze the concepts of semiosis, function, umwelt, and the like as the basic concepts for theoretical biology.

Two different concepts of iconicity compete in Peirce's diagrammatical logic. One is articulated in his general reflections on the role of diagrams in thought, in what could be termed his diagrammatology — the other is articulated in his construction of Existential Graphs as an iconic system for representing logic. One is operational and defines iconicity in terms of which information may be derived from a given diagram or diagram system — the other has stronger demands on iconicity, adding to the operational criterion a demand for as high a degree of similarity as possible and may be termed optimal iconicity. Peirce himself does not clearly distinguish these two iconicity notions, a fact that has caused some confusion. By isolating them, we get a clearer and more refined conceptual apparatus for analyzing iconic signs, from pictures to logic

A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made.

The paper gives a detailed reconstruction and discussion of Peirce’s doctrine of propositions, so-called Dicisigns, developed in the years around 1900. The special features different from the logical mainstream are highlighted: the functional definition not dependent upon conscious stances nor human language, the semiotic characterization extending propositions and quasi-propositions to cover prelinguistic and prehuman occurrences of signs, the relations of Dicisigns to the conception of facts, of diagrammatical reasoning, of icons and indices, of meanings, of objects, of syntax in Peirce’s logic-as-semiotics

The following two review papers have a common origin. Pietarinen’s book Signs of Logic and Stjernfelt’s book Diagrammatology were both published in the same Synthese Library Series being published by Springer. The two books also share the common topic of diagrammatic reasoning in Charles Peirce’s work. Beginning in a conference Applying Peirce held in Helsinki in conjunction with the World Congress of Semiotics in June 2007, two authors have commented upon these books under the headline of Synthese Library Book Session on several occasions, including the Aarhus meeting on Signs and Meaning held in February 2008, the Diagrammatology and Diagram Praxis workshop in Lisboa in March 2009, and the Peirce and Early Analytic Philosophy symposium in Helsinki in June 2009. Therefore, these two review papers form a continuing discussion on the contributions Peirce’s diagrammatic epistemology and logic will have to a broad range of issues at the intersections of philosophy, logic, cognitive sciences and beyond