The blooming desert or ‘El desierto florido’ in Spanish, is a millenarian climate pattern caused by El Niño that warms the surface waters in the eastern tropical Pacific Ocean and creates the conditions for rain in the Altiplano and the Atacama Desert, north of Chile. After some millimeters of abundant rain, a rich biotic community emerges, and in a matter of hours or days, the driest surface on Earth becomes an impressive colorful habitat for more than two hundred different species (...) of eye-catching flowers that host the desert biotic life. Unfortunately, this breathtaking display of colors coexists with less appealing but equally astonishing landscapes. The Atacama Desert harbors the largest accumulation of discarded clothing worldwide and the largest pools of lithium mining which require vast amounts of water for their production. Every year, approximately 56,000 tons of used clothing, predominantly consisting of fast fashion polyester products, water-intensive cotton fabrics, and equally polluting material scraps, are deposited, forming toxic mountains of waste. This article presents an interpretation of these distinct landscapes as interconnected realities of the dump that illustrate the impact of biocultural semiocides, whereby the loss of relationships and meanings with Earth materials is shaped by glocal forces. By making this argument, the article contends that the Atacama region replicates the conditions of the Earth as a global dumping and solastalgia, namely ‘the pain caused by the loss of solace and the sense of desolation connected to one´s home and territory.’. (shrink)

Growing ecological problems have raised the need for conceptual tools dedicated to studying semiotic processes in cultural-ecological systems. Departing from both ecosemiotics and cultural semiotics, the concept of an ecosemiosphere is proposed to denote the entire complex of semiosis in an ecosystem, including the involvement of human cultural semiosis. More specifically, the ecosemiosphere is a semiotic system comprising all species and their umwelts, alongside the diverse semiotic relations (including humans with their culture) that they have in the given ecosystem, and (...) also the material supporting structures that enable the ecosemiosphere to thrive. Drawing parallels with Juri Lotman’s semiosphere concept, the ecosemiosphere is characterized by its heterogeneity, asymmetry, and boundedness. But unlike Lotman’s concept, the ecosemiosphere is not characterized by an overall boundedness, that is, by the presence of external binary boundaries and the shared identity arising from this unity. The involvement of human culture in the ecosemiosphere manifests in interspecies dialogues and semiotic engagements. We need to scrutinize what affordances and semiotic resources culture could offer to nonhuman species and how culture could, by semiotic means, raise the integrity, stability, and resiliency of the ecosystem. The ecosemiosphere is a grounded semiosphere. (shrink)

Environmental signs as physically manifested signs that we and other animals perceive and interpret in the natural environment are seldom focused on in contemporary semiotics. The aim of the present paper is to highlight the diversity of environmental signs and to propose a typology for analysing them. Combining ecosemiotics and the pragmatist semiotics of C. Peirce and C. Morris, the proposed typology draws its criteria from the properties of the object and the representamen of the sign, and of their relationships. (...) The analysis distinguishes eight basic types of environmental signs and provides examples of these from the natural environment. The typology also integrates existing concepts of environmental affordances, ecofields, phonetic syntax, sign fields, ecological codes, meta-signs and others. In addition to basic types of environmental signs, compound environmental signs are discussed with three types of these distinguished: environmental meta-signs; ecological codes; and environmental-cultural hybrid signs. Further study of compound environmental signs could lead to reconceptualising relations between linguistic and pre-linguistic semiosis. (shrink)

Mimicry is common among animals, plants, and other kingdoms of life. Humans in late capitalism, however, have devised an unique method of mimicking the signs that trigger evolutionarily-programmed instincts of their own species in order to manipulate them. Marketing and advertising are the most pervasive and sophisticated forms of known human mimicry, deliberately hijacking our instincts in order to select on the basis of one dimension only: profit. But marketing and advertising also strangely undermine their form of mimicry, deceiving both (...) the intended targets and the signaler simultaneously. Human forms of mimicry have the regular consequence of deceiving the imitator, reducing meta-cognitive awareness of the act and intentions surrounding such deception. Therefore, the deceiver in the end deceives himself as well as intended targets. Drawing on scholarship applying Niko Tinbergen’s ethological discovery of supernormal stimuli in animals to humans, this article analyzes sophisticated mass mimicry in contemporary culture, in both intended and unintended forms. (shrink)

In this article, in an attempt to analyze the crisis caused by the images of imported plastic waste, we consider the relationship between waste and its meaning in the case of geographical dislocation and de- and re-contextualization processes. Our analysis is guided by two recent concepts: The Wasteocene and semiocide. While the Wasteocene clarifies the signifying mechanisms of this period, semiocide allows us to understand which signs, under what conditions, are rendered invisible or disregardable. In coining the concept of semiocide, (...) Ivar Puura emphasized two key features of the phenomenon. Following this distinction, which is based on (un)intentionality, semiocide refers either to a fully conscious, perhaps even hostile, attempt to destroy a semiotic configuration, or to a completely nonconscious, unaware process in which the unawareness itself is the source of the destruction. Although a more cultural approach dominates in Puura’s assertion of the concept, the concept is applicable to human classification, interpretation and transformation of nature (Maran, 2013; Tønnessen et al., 2015). Focusing on the case of Adana as a recent example of a global waste crisis, our aim is to provide a (bio)semiotic framework for assessing how and under what conditions plastic materials become arbiters of environmental and political crises. With heaps of plastic garbage with foreign names on them, the discourse of recycling, restricted media coverage, public indignation, the struggles of environmentalist organizations, and the encounter of different spatio-temporalities, our study aims to convey an impoverished narrative of a city in the south of Türkiye. (shrink)