Wendy Wheeler

This article argues that organisms, defined by a semi-permeable membrane or skin separating organism from environment, are (must be) semiotically alert responders to environments (both Innenwelt and Umwelt). As organisms and environments complexify over time, so, necessarily, does semiotic responsiveness, or ‘semiotic freedom’. In complex environments, semiotic responsiveness necessitates increasing plasticity of discernment, or discrimination. Such judgements, in other words, involve interpretations. The latter, in effect, consist of translations of a range of sign relations which, like metaphor, are based on transfers (carryings over) of meanings or expressions from one semiotic ‘site’ to another. The article argues that what humans describe as ‘metaphor’ (and believe is something which only pertains to human speech and mind and, in essence, is ‘not real’) is, in fact, fundamental to all semiotic and biosemiotic sign processes in all living things. The article first argues that metaphor and mind are immanent in all life, and are evolutionary, and, thus, that animals certainly do have minds. Following Heidegger and then Agamben, the article continues by asking about the place of animal mind in humans, and concludes that, as a kind of ‘night science’, ‘humananimal’ mind is central to the semiotics of Peircean abduction

Drawing on biosemiotic theory and the Peircean idea of ‘abduction’, I shall propose the idea of a layered structure of bio / semiotic evolution, in which humanknowledge is systemic and recursive — and thus emergent both from what is forgotten and from earlier evolutionary strata. I will argue that abductions are those processes by which we move creatively between often unacknowledged types of knowledge which are rooted in our natural and cultural evolutionary past (e.g., unconscious, preconscious, or tacit knowledge; knowledge that is experienced affectively) and the more familiar types of knowledge associated with self-conscious deductive and inductive reasoning. I shall suggest that these processes of ‘hooking back’ into the past in order to make new sense in the light of subsequent experience, are characteristic of all human inventiveness in both the arts and the sciences, and are facilitated by what Peirce called ‘The Play of Musement’.My reasons for attempting this task are that I hope to offer a semiotic and biosemiotic corrective to the widespread and culturally dominant idea that the progress ofhuman knowledge and cultural evolution depends on self rational efficiency, conceived of in terms of self-conscious deduction and induction alone — a conception which runs the risk of excluding from the account what is actually the most creative part of human knowing. Second, I will suggest that a properly semiotically informed understanding of human creativity — i.e., one which understands the Peircean semiotic as triadic and which draws on the post-Peircean theory that the semiotic drive in nature and in culture derives from the need to model the world as accurately as possible — should provide a very stern warning against the dangers of confusing the map with the territory. For creative artists and scientists (and life-livers, in general) progress, I shall suggest, inasmuch as they ignore the utilitarian dogma in practice. A biosemiotic understanding of human reasoning as an evolutionary semiotic process should thus contribute to a removal of the impediments of modernity which lie in the failure to properly grasp both what language (and semiosis in general) is, as well as the historical and prehistorical evolution that makes such semiosis possible.

This essay discusses the semiotic scaffolding of modern science, the roots of which lie in the Protestant Reformation and the latter’s repudiation of the “semiotics of nature” upon which medieval theology depended. Taking the fourteenth-century battles between realism and nominalism as the semiotic scaffolding of the Reformation which was subsequently built on nominalist principles, and the Reformation as what made possible the development of early modern science, this essay argues that nominalism, Protestantism, and early modern science were all infected by the gnostic influences which had always accompanied Christianity from the start. Indicating that forms of creative discovery, in the arts, humanities and sciences, are closer to poetic forms than they are to the Baconian model which informed modern science, the essay goes on to link the latter gnostic-influenced metaphysics, motivated by a Reformation anxiety about sin and error, to the development of the modern “megamachine” as described by Lewis Mumford in The Myth of the Machine volumes 1 and 2. Finally the essay suggests that semiotically revivified life sciences might be capable of resolving some of the systemic and ecological problems which Mumford identifies

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.

Semiotics, in the guise of the limited Saussurean semiology, has been widely used in the humanities and in cultural studies for the past 20 to 30 years at least. With the advent, nearly 20 years ago, of the environmental humanities, including the new field of humanities animal studies, the weaknesses of this mode of analysis became increasingly clear. This essay forms part of a larger attempt to develop a Peirce-informed biosemiotic theory capable of affording conceptual tools for the broad-based study of human and nonhuman natural and cultural developmental ecologies. It is particularly concerned to develop a biosemiotic, and hence non-reductive, account of aesthetic experience in which function consists in the growth of knowledge. Based on the role of chance, and thus creativity, in natural and cultural evolutionary systems, this essay uses poetry and poetic theory in order to argue that chance is a habit-upsetting happenstance whereby something which has the potential to become a sign , or to become a bearer of meaning, actually does become a sign to some living thing