In this paper, we describe a semiotic programme that proposes an alternative conceptual framework to understand the moral positionalities that people have in socio-material space. The study amalgamates moral character and signs and signification through a discussion of moral choice and value acts in an existential semiotic framework, as laid out by Eero Tarasti. The programme was triggered by a lived experience in a non-place, yielding the concept of semiotic space awareness – i.e., the value acts that work as signs (...) of moral character in people’s socio-material space. It is the moral positioning of a subject in the socio-material and semiotic space in relation to other subjects. People’s positionalities primarily take place in the socio-material space, and the dimensions we discuss focus on how value acts are produced and interpreted in space and place. Our aim is to take the approach used in, e.g., proxemics to a universal metalevel in terms of its key, undivided semiotic ingredients irrespective of cultural variation. We then extrapolate by discussing how these value acts trigger potential tensions and conflicts that can be approached using semiotics as a foundation for analysis. More specifically, the moral character that people portray in their value acts is theorized and applied as an explanatory tool to understand the semiosis and its repercussions in Dasein. We also introduce affordance as an additional dimension in the interplay and modalizations between moral character and moral choice to understand value acts and semiotic space awareness in subjects’ Dasein and Umwelt. (shrink)

This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space’ between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation’. It summarises the first attempts to think of translation as an almost ‘holistic’ paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin’s master (...) narrative, the utopia of ‘pure language’, encourages continuous resistance to the totalitarianism of the idea of the ‘original’, to aesthetics and to dominant discourses. It subsequently defines the idea of ‘progress’, which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro’s poetic cycle, O Guardador de Rebanhos. (shrink)