Kalevi Kull

This article analyses the possibility to look at living systems as biorhetorical systems. Rhetorics of biology, which studies the rhetoric of biological discourse, is distinguishable from biorhetorics, which attempts to analyse the expressive behaviour of organisms in terms of primordial (unconscious) rhetoric. The appearance of such a view is a logical consequence from recent developments in new (or general) rhetorics on the one hand (e.g., G. A. Kennedy's claim that rhetoric exists among social animals), and from the biosemiotic approach to living systems on the other hand.

This article compares the methodologies of two types of sciences (according to J. Locke) — semiotics, and physics — and attempts thereby to characterise the semiotic and non-semiotic approaches to the description of ecosystems. The principal difference between the physical and semiotic sciences is that there exists just a single physical reality that is studied by physics via repetitiveness, whereas there are many semiotic realities that are studied as unique individuals. Seventeen complementary definitions of the semiosphere are listed, among them, semiosphere defined as the space of qualitative (incommensurable) diversity. It is stated that, paradoxically, diversity, being a creation of communication, can also be destroyed due to excessive communication.

This article by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model thepurpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but onthe other hand it can increase the stored information and transform the consumer.

In this essay we argue for the possibility to describe the co-presence of species in a community as a consortium built by acoustic codes, using mainly the examples of bird choruses. In this particular case, the consortium is maintained via the sound-tope that different bird species create by singing in a chorus. More generally, the formation of acoustic codes as well as cohesive communicative systems (the consortia) can be seen as a result of plastic adaptational behaviour of the specimen who can solve and avoid conflicts both with conspecifics and with other species in the vicinity. Thus, sign-relations appear to resolve potential conflicts, and as a foundation for symbiotic aggregations. The spatio-temporal configuration of consortia—their chronotope—includes several eco-fields as respective to different functions of the participating organisms. Biological study is combined with a semiotic approach that, as we suggest, should be more often used together to effectively describe ecological processes

The paper focuses on the semiotic principles of the organisation of ecosystems, attempting to find concepts that point to relations and not to elements. (1) Consortium (the term introduced by Johannes Reinke around 1873) can be defined as a group of organisms connected via (sign) relations, or groups of interspecific semiosic links in biocoenosis. The consortial relations include trophic and topic relations, both implying a recognition (identification) of the object by an organism involved (these, i.e., are sign relations). These relations are ecologically inheritable. (2) Umwelt (the term introduced by Jakob von Uexküll around 1909) can be defined as a set of relations an organism has in an ecosystem (as in a semiosphere). The formation of an umwelt is dependent on the modelling system of the organism. (3) Biophony (the term introduced by Bernie Krause around 2000) denotes the coordination of inter- and intra-species relations in a soundscape of a biological community. This can be seen as a special case of Komposition as defined by Jakob and Thure von Uexküll. (4) Ecological code (as introduced, e.g. by Alexander Levich around 1977) can be defined as the set of (sign) relations (regular irreducible correspondences) characteristic to an entire ecosystem. We also mention the concepts of ecomones and coactones (introduced by Marcel Florkin in 1965) as the substances which are responsible for mediation of ecological inter-individual relations. All the relations as sign-relations evidently imply both a static or structuralist description (in terms of codes), and a processual description (in terms of semiosis carried on by interpretation). We conclude that all the above mentioned concepts can be viewed as conceptually connected and are suitable for semiotic description of biological communities

Any biological species of biparental organisms necessarily includes, and is fundamentally dependent on, sign processes between individuals. In this case, the natural category of the species is based on family resemblances, which is why a species is not a natural kind. We describe the mechanism that generates the family resemblance. An individual recognition window and biparental reproduction almost suffice as conditions to produce species naturally. This is due to assortativity of mating which is not based on certain individual traits, but on the difference between individuals. The biosemiotic model described here explains what holds a species together. It also implies that boundaries of a species are fundamentally fuzzy, and that character displacement occurs in case of sympatry. Speciation is a special case of discretisation that is an inevitable result of any communication system in work. The biosemiotic mechanism provides the conditions and communicative restrictions for the origin and persistence of diversity in the realm of living systems.

Asking, whether plants have semiosis, the article gives a review of the works on phytosemiotics, referring to the tradition in botany that has seen plants as non-mechanic systems. This approach can use the concept of biological need as the primary holistic process in living systems. Demonstrating the similarity between the need and semiosis, it is concluded that sign is a meronomic entity. A distinction between five levels of sign systems is proposed: cellular, vegetative, animal, linguistic, and cultural. Vegetative sign systems are those which are responsible for the morphogenesis and differentiation within an organism, thus belonging to all multicellular organisms.

The article provides an overview of different approaches to the semiotic study of landscapes both in the field of semiotics proper and in landscape studiesin general. The article describes different approaches to the semiotic processes in landscapes from the semiological tradition where landscape has been seen as analogous to a text with its language, to more naturalized and phenomenological approaches, as well as ecosemiotic view of landscapes that goes beyond anthropocentric definitions. Special attention is paid to the potential of cultural semiotics of Tartu–Moscow school for the analysis of landscapes and the possibilities held by a dynamic, dialogic and holistic landscape definition for the development of ecosemiotics.

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.

The article deals with the relationships between the concepts of life process and sign process, arguing against the simplified equation of these concepts. Assuming that organism (and its particular case — cell) is the carrier of what is called ‘life’, we attempt to find a correspondent notion in semiotics that can be equalled to the feature of being alive. A candidate for this is the textual process as a multiple sign action. Considering that biological texts are generally non-linguistic, the concept of biotext should be used instead of ‘text’ in biology.

This essay – a collection of contributions from 10 scholars working in the field of biosemiotics and the humanities – considers nature in culture. It frames this by asking the question ‘Why does biosemiotics need the humanities?’. Each author writes from the background of their own disciplinary perspective in order to throw light upon their interdisciplinary engagement with biosemiotics. We start with Donald Favareau, whose originary disciplinary home is ethnomethodology and linguistics, and then move on to Paul Cobley’s contribution on general semiotics and Kalevi Kull’s on biosemiotics. This is followed by Cobley with Frederick Stjernfelt who contribute on biosemiotics and learning, then Gerald Ostdiek from philosophy, and Morten Tønnessen focusing upon ethics in particular. Myrdene Anderson writes from anthropology, while Timo Maran and Louise Westling provide a view from literary study. The essay closes with Wendy Wheeler reflecting on the movement of biosemiotics as a challenge, often via the ecological humanities, to the kind of so-called ‘postmodern’ thinking that has dominated humanities critical thought in the universities for the past 40 years. Virtually all the matters gestured to in outline above are discussed in much more satisfying detail in the topics which follow.