Joao Queiroz

This book applies notions from C.S. Peirce’s philosophy, such as semiosis, mind, diagrammatic reasoning, abduction, and habits, to contemporary problems in distributed cognitive science. These problems include distributed cognitive systems, cognitive niche construction, external representations, cognitive artifacts, agency, and emergence. In this movement, Peirce’s approach provides a philosophical framework that reconceptualizes fundamental notions in distributed cognitive science. Among the founders of pragmatism, Charles S. Peirce remains one of the least influential within the pragmatic turn in cognitive science. Nevertheless, Peirce’s theory of mind is processist and externalist, placing it at the center of cognition and the action of external signs. This book is therefore of interest to philosophers of science as well as cognitive scientists and cognitive linguists.

Terms loaded with informational connotations are often employed to refer to genes and their dynamics. Indeed, genes are usually perceived by biologists as basically ‘the carriers of hereditary information.’ Nevertheless, a number of researchers consider such talk as inadequate and ‘just metaphorical,’ thus expressing a skepticism about the use of the term ‘information’ and its derivatives in biology as a natural science. First, because the meaning of that term in biology is not as precise as it is, for instance, in the mathematical theory of communication. Second, because it seems to refer to a purported semantic property of genes without theoretically clarifying if any genuinely intrinsic semantics is involved. Biosemiotics, a field that attempts to analyze biological systems as semiotic systems, makes it possible to advance in the understanding of the concept of information in biology. From the perspective of Peircean biosemiotics, we develop here an account of genes as signs, including a detailed analysis of two fundamental processes in the genetic information system (transcription and protein synthesis) that have not been made so far in this field of research. Furthermore, we propose here an account of information based on Peircean semiotics and apply it to our analysis of transcription and protein synthesis.

The idea that translation involves revealing and discovery of information from the source has been discussed in a few fields of study, especially creative translation and intersemiotic translation. These operations are fundamentally dependent on iconic properties. An operational criterion detrivializes the common description of the icon as a sign of similarity to define more precisely iconic processes as a sign through which it is possible to discover or reveal new information about its object. This idea becomes particularly interesting when we think about multiple translations of the same source, each revealing such distinct traits that some may consider as opposing one another. As an example to be discussed in our case study, we have selected Lewis Carroll’s Alice’s Adventures in Wonderland, and Through the Looking-Glass and What Alice Found There, both of which have been widely translated. Until now there has been no systematic analysis in the field of intersemiotic translation studies of the relationship between one source and multiple targets. We compare two intersemiotic translations of the Alice novels: a 1980 TV episode from The Muppet Show by Jim Henson and the 1988 feature film Něco z Alenky by Jan Švankmajer, both displaying distinct characteristics of their own and revealing different information about the works of Carroll.

This paper presents, describes and analyses two photobooks: Palast der Republik and Domesticidades. We claim that, because of their highly iconic features, they can be regarded as epistemic artefacts (models) since they reveal information about their objects, as well as about their own morphological properties. The analysis focuses on (i) the kind of relations the photobooks establish with their respective objects (we claim that it is a mainly-iconic relation) and (ii) on the semiotic couplings that can be found in them – a type of interaction between semiotic resources (such as photographs, maps, written texts, illustrations, among others). We contextualize this analysis in relation to both a semiotic and an intermedial background.Further, we claim that the epistemic role of such artworks is directly related to their material and structural features that constrain the possibilities of manipulation and reasoning upon them. We conclude by presenting some of the information that was revealed by the manipulation of these photobooks, claiming that the semiotic-artefactual approach to models can be an epistemically interesting conceptual frame to thinking about artistic artefacts.

Metacognition—the iterative self-monitoring of thought—is not purely internal, but rather emerges as a second-order semiotic dynamic, deeply entangled with material and semiotic scaffolds, (aligning with Petrilli & Ponzio’s [2025] claim that ‘thanks to metasemiosis the human animal not only operates immediately in semiosis.’) This work reviews the main models on metacognition, culminating in a possible take on metacognition as metasemiosis through Peirce’s active cognitive externalism. The discussion explores how external sign systems, including language and other semiotic artifacts, form the basis of a second-order semiotic process that reshapes cognitive architecture. Finally, this Peircean approach is situated in relation to Andy Clark’s extended cognition framework.

This article presents the first results of a research on visual models for the classifications of semiotic processes. The main issue discussed is how a graphic design methodology, associated with computer graphics resources, may contribute to the construction of interactive models, that can be used as tools for the investigation of C. S. Peirce theory of signs. Two models are presented: the first is an interactive 3-D model of Peirce's 3-trichotomic classification; the second is a computer program that builds diagrams for any n-trichotomic classification of signs, and facilitates the analysis and comparison of different hypothesis regarding their structures.

The main purpose of this work is to provide a semiotic ontology for redescription of active cognitive externalism, recently developed by the paradigm 4E (embodied, embedded, enactive, extended cognition). In our approach, distributed cognitive systems (DCSs) are described as semiosis, signs in action. We explored the relationship between semiosis and cognition, as conceived by C. S. Peirce, in association with the notion of distributed cognitive system (DCS). We introduce Peircean externalist approach with an emphasis on the notion of temporal distribution of semiosis, and describe DCSs, and their elements, as “sign in action”. To develop this argument, we describe an example of DCS -- verbal-musical improvisation of repente, repentismo, or viola singing. It is a phenomenon of verbal-musical improvisation that takes the form of a challenge in versified oral poetry. We describe the phenomenon as the embodiment of the formal structure of a cognitive task and an inferential process. This embodiment corresponds to a semiotization of the repente performances as DCSs. The temporally distributed tendency of repentismo organizes the DCS as a system that performs metasemiotic experiments on the action of signs.

Philosophers and social scientists of diverse orientations have suggested that the pragmatics of semiosis is germane to a dynamic account of meaning as process. Semiosis, the central focus of C. S. Peirce’s pragmatic philosophy, may hold a key to perennial problems regarding meaning. Indeed, Peirce’s thought should be deemed seminal when placed within the cognitive sciences, especially with respect to his concept of the sign. According to Peirce’s pragmatic model, semiosis is a triadic, time-bound, context-sensitive, interpreter-dependent, materially extended dynamic process. Semiosis involves inter-relatedness and inter-action between signs, their objects, acts and events in the world, and the semiotic agents who are in the process of making and taking them.

How to model meaning processes (semiosis) in artificial semiotic systems? Once all computer simulation becomes tantamount to theoretical simulation, involving epistemological metaphors of world versions, the selection and choice of models will dramatically compromise the nature of all work involving simulation. According to the pragmatic Peircean based approach, semiosis is an interpreter-dependent process that cannot be dissociated from the notion of a situated (and actively distributed) communicational agent. Our approach centers on the consideration of relevant properties and aspects of Peirce’s pragmatic concept of semiotics. Upon developing this approach, we have no pretensions of our being able to present an exhaustive analysis of the differences between Peirce and other theoretical positions. Nevertheless, our contribution will serve to demonstrate how theorists contribute toward revealing certain fundamental ‘semiotic constraints’ that will be of interest and importance.

Philosophers and social scientists of diverse orientations have suggested that the pragmatics of semiosis is germane to a dynamic account of meaning as process. Semiosis, the central focus of C. S. Peirce's pragmatic philosophy, may hold a key to perennial problems regarding meaning. Indeed, Peirce's thought should be deemed seminal when placed within the cognitive sciences, especially with respect to his concept of the sign. According to Peirce's pragmatic model, semiosis is a triadic, time-bound, context-sensitive, interpreter-dependent, materially extended dynamic process. Semiosis involves inter-relatedness and inter-action between signs, their objects, acts and events in the world, and the semiotic agents who are in the process of making and taking them.

In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes.

This article presents some results of a research on computational strategies for the visualization of sign classification structures and sign processes. The focus of this research is the various classifications of signs described by Peirce. Two models are presented. One of them concerns specifically the 10-fold classification as described in the 1903 Syllabus (MS 540, EP 2: 289–299), while the other deals with the deep structure of Peirce’s various trichotomic classifications. The first is 10cubes, an interactive 3-D model of Peirce’s 10-fold classification, as described in the Syllabus. The second is 3N3, a computer program that builds equivalent diagrams for any n-trichotomic classification of signs. We are specially interested in how a graphic design methodology, associated with computer graphic resources and techniques, can contribute to the construction of interactive models that serve as tools for the investigation of C. S. Peirce’s theory of signs.

How should one describe the irreducible relationships in photopoetry observed in intermedial literary photobooks? According to most authors, in literary photobooks, the verbal sign system is linked to the photographic image as a bidirectional interaction, creating a coupled system that can be seen as a new sign system. Mutually modulatory influences link verbal text and photography. But the nature of such influences needs to be explained in detail and with accuracy. What kind of relation are we dealing with? Many authors have tried to explain this phenomenon through several epistemic metaphors. The problem is that these metaphors are rarely subjected to any general theory of meaning. Surprisingly, this is not even mentioned as a problem. In this article, we propose a general semiotic model to describe the irreducible photography-poetry relation, derived from C. S. Peirce’s pragmatic theory of signs, and we also present some preliminary results of the analysis of Quarenta Clics em Curitiba, a photobook by Paulo Leminski and Jack Pires. Our purpose here is to introduce and explore this model to describe the photography-poetry relationship in coupled systems. This relationship is decomposed, in the functional roles occupied by poems and photographs, into a sign-object-interpretant relation. The triadic irreducibility that characterizes semiosis (à la Peirce) is the main property applied to photograph-poetry coupling in Quarenta Clics em Curitiba.

A Semiotic Theory of Translation, de Kobus Marais, 2019, é o mais importante livro publicado sobre a relação entre os Estudos da Tradução e a Semiótica pragmatista de C.S.Peirce, desde Semio-translation, de Dinda Gorlée, de 2004. Pode-se afirmar que a obra de Gorlée representou uma etapa inicial de ajustes na agenda dos Estudos de Tradução, inspirada na filosofia de Peirce. É um trabalho preliminar, cujo maior mérito foi estabelecer uma vinculação mais sistêmica entre as “áreas”. O livro de Kobus Marais é a mais audaciosa tentativa de desenvolver este projeto. Ele explora diversas consequências da aplicação de muitas entidades e termos teóricos da filosofia de Peirce, especialmente em sua fase madura. Ao fazer isso, Marais abre uma frente inédita de investigação cuja importância não deve ser subestimada. Ele associa muitos aparatos, que incluem rudimentos de uma filosofia de processo de inspiração pragmatista, com forte propensão pluralista; classificações sígnicas desenvolvidas por Peirce, após 1903, período que se estabeleceu como “teoria madura do signo”, inexplorada nos estudos sobre tradução, e ainda pouco explorada pelo próprio scholarship Peirceano; e uma versão emergentista associada a um tratamento baseado na teoria de sistemas complexos. Sobre este último tópico, especialmente influenciado por Terrence Deacon e Floyd Merrell, Marais extrai muitas implicações, relacionadas a uma definição de tradução como negentropia, em sistemas complexos, e generaliza o fenômeno para casos de emergência de fenômenos sócio-culturais. Dividi esta resenha em asserções. Elas se referem às teses que considero mais importantes do livro de Kobus Marais. Embora outras tantas possam ser formuladas, considero aquelas que podem ter maiores implicações.

We explore Peirce’s pragmatic conception of sign action, as a distributed and emergent view of cognition and exemplify with the emergence of classical ballet. In our approach, semiosis is a temporally distributed process in which a regular tendency towards certain future outcomes emerges out of a history of sign actions. Semiosis self-organizes in time, in a process that continuously entails the production of more signs. Emergence is a ubiquitous condition in this process: the translation of signs into signs cannot be inferred from the properties of the components of a semiotic triad alone, but has to take into account a complex interaction between a micro-semiotic and macro-semiotic level of description. This interaction can be understood as an interplay of potentialities and tendencies, or upward constitutive determinative relations and downward selective determinative relations. According to this view, emergence is a central defining condition of processes of meaning. Ballet is a sign in action. The emergence of classical ballet is a self-regulatory process, in which a system of different kinds of cognitive artifacts (musical, bodily/motor, spatial/architectonic) and agents obtained a stable semiotic relation throughout many phases of development between the 16th and the 19th Century. One case is the development of the verticality of dance in classical ballet as a semiotic relation connecting proscenium arch stages, dancing bodies, and audiences. This development is micro-semiotically determined by the spatial constraints of the proscenium arch stage, and macro-semiotically determined by a historical construction of the dancing body as a sign within a network of semiotic chains, such as the intersemiotic regulation of body of the dancer by principles coming from painting. This is not only the emergence of actual meaning, but also the emergence of an open-ended field of potential and general meanings, an autonomous tendency of development. To say that ballet, as sign action, emerges, is to say that cognitive artifacts such as dancer’s bodies, stages and audience’s point of view, musical compositions, costumes, all sorts of supporting institutions, etc, constitute a niche for sign action, interacting according to tendencies of development that didn’t exist before.

Silent Book and Sí por Cuba are paradigmatic examples of photobooks. Those two works are analyzed in this article based on intermedial studies and on C. S. Peirce’s semiotic. As a result, we observe properties and material components of the book working as iconic processes of the photos and of the relationship between them. It constrains interpretive semiotic behavior and reveals certain characteristics of those photographic images. In addition to identifying and presenting examples of it, we demonstrate how the pairing of two or more photos enables semiosis in which the referenced object is developed by the relations between photographs.

In this paper, we intend to discuss if and in what sense semiosis (meaning process, cf. C. S. Peirce) can be regarded as an "emergent" process in semiotic systems. It is not our problem here to answer when or how semiosis emerged in nature. As a prerequisite for the very formulation of these problems, we are rather interested in discussing the conditions which should be fulfilled for semiosis to be characterized as an emergent process. The first step in this work is to summarize a systematic analysis of the variety of emergence theories and concepts, elaborated by Achim Stephan. Along the summary of this analysis, we pose fundamental questions that have to be answered in order to ascribe a precise meaning to the term "emergence" in the context of an understanding of semiosis. After discussing a model for explaining emergence based on Salthe's hierarchical structuralism, which considers three levels at a time in a semiotic system, we present some tentative answers to those questions.

Palast der Republik, by the photographer Christoph Rokitta, is an independent photobook published in 2013 in Berlin. In the photobook different semiotic resources are coupled in order to iconically model the demolition of the homonymous building in Berlin. In opposition to the trivial notion of icon as sign that stands for its object in a relation of similarity, we analyze the photobook as an icon whose main feature is the possibility of discovering information about its object through its manipulation. This specific feature is called operational criterion for iconicity, and it stresses the inherent quality of icons of revealing information available through their manipulation and observation. Our aim is to describe and analyze the relations between semiotic resources in this photobook by exploring the operational criterion of iconicity, and models as epistemic artifacts. We are interested in how couplings between semiotic resources in the photobook can iconically model a spatio-temporal process.

In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework to describe a cognitive creative phenomenon with a philosophically robust theory of meaning results in a cognitive semiotic account of IT.

VIA is a mobile art project (video-dance and computational music) semiotically translated to photographic media by means of formal constraints derived from selected properties of Rio de Janeiro’s predefined downtown routes. Under the constraints of street buildings and the morphology of the routes, questions regarding the influence of the bodily movements of the urban space led to the creation of a dance typology. This typology is related to pedestrians in the area and to the structure of the buildings spans where the performance happened. The dance movements captured in the videos were restricted and regulated by the physical environment and its main features. Here, an intersemiotic translation of a mobile art project to a photographic essay is presented and described. It strongly relates, and tentatively explores, both an artistic research praxis and a theoretical discussion. The essay explores an analogous semiotic effect from the VIA project on the photographic essay as a result of this investigation.

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT.