Kalevi Kull

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.

Animals are treated in philosophy dominantly as opposed to humans, without revealing their independent semiotic richness. This is a direct consequence of the common way of defining the uniqueness of humans. We analyze the concept of ‘semiotic animal’, proposed by John Deely as a definition of human specificity, according to which humans are semiotic (capable of understanding signs as signs), unlike other species, who are semiosic (capable of sign use). We compare and contrast this distinction to the more standard ways of drawing the distinction between humans and animals.

We develop here a semiotic model of evolution. We point out the role of confusion and choice as a condition for semiosis, which is a precondition for semiotic learning and semiotic adaptation. Semiosis itself as interpretation and decision-making between options requires phenomenal present. The body structure of the organism is largely a product of former semiosis. The organism’s body together with the structure of the ecosystem serves also as a scaffolding for the sign processes that carry on the ontogenetic cycle and the organisms’ behaviour, providing the experience-based channels for decision making in the indeterminate situations of choice. The stability and persistence of ontogenesis and behaviour are based on the plasticity, or the multiviality of organic dynamics. The same plasticity or multivial dynamics is providing the material for further potential evolution. Evolution has occurred when some change becomes irreversible via its stabilization, and it usually means a modification of existing constraints, or scaffoldings. Some examples of these processes are described in the article

This paper examines the biosemiotic approach to the study of life processes by fashioning a series of questions that any worthwhile semiotic study of life should ask. These questions can be understood simultaneously as: (1) questions that distinguish a semiotic biology from a non-semiotic (i.e., reductionist–physicalist) one; (2) questions that any student in biosemiotics should ask when doing a case study; and (3) still currently unanswered questions of biosemiotics. In addition, some examples of previously undertaken biosemiotic case studies are examined so as to suggest a broad picture of how such a biosemiotic approach to biology might be done

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.

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.

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.

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

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.

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.