Be aware... and you will be mindful of a notable ambiguity in semiotics as well as of those who have masterfully strived to transcend it. This event, commented on by Elize Bisanz (Texas Tech University) and chaired by William Passarini (Institute for Philosophical Studies), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of (...) Arts and Humanities of the University of Coimbra, the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Ionut Untea is currently a fellow-in-residence at the Akademie Schloss Solitude, in Stuttgart, where he is researching on the semioethic and aesthetic coordinates of the “social compact” and intercorporeal relationships. In 2021, he has taught a course entitled “Intercultural Philosophy: Semiotic Approaches and Aesthetic Themes” as a Visiting Professor at Università degli Studi di Bari Aldo Moro. Since 2016, he has been teaching History of Western Philosophy and Semiotics at Southeast University, Nanjing. He previously taught at the University of La Rochelle, and was a postdoctoral fellow of the Foundation for Interreligious and Intercultural Research and Dialogue (FIIRD) at the University of Geneva. He obtained his doctorate in 2013 at Ecole Pratique des Hautes Etudes (EPHE), in Paris. He holds Romanian citizenship, having obtained his first degrees in philosophy and theology at the University of Bucharest. His focus is on the modern and contemporary intersections between semiotic, moral, political and religious thought. He has published recently “Peircean and Confucian Interpretations of Self-Development: Semiotic, Normative and Aesthetic Aspects,” Philosophy East and West 72.1: January 2022: 188–209. His recent work has appeared in academic journals such as The American Journal of Semiotics (2021), Semiotica (2021), Ethical Perspectives (2021, 2019), Philosophical Forum (2019), Journal of Aesthetic Education (2020), Politics and Religion (2019), The Monist (2018). *** Dr. Bisanz's education includes an MA (Philosophy) from the University of Lüneburg in Germany; Graduate Studies in Jacques Derrida's philosophy Seminars at l'École des Hautes Études en Sciences Sociales, Paris; a Ph.D. (History of Communication Sciences) from the Technische University of Berlin; and a post-doc Habilitation Degree (Image Studies), from the University of Lüneburg. Bisanz has published several interdisciplinary books reflecting her educational background; these include a major European edition of Peirce's writings The Logic of Interdisciplinarity: Charles S. Peirce, The Monist Series (Akademie-Verlag, Berlin, 2009), which was realized with the aid of research and publication grants from State and private endowments; Prolegomena to a Science of Reasoning: Phaneroscopy, Semeiotic, Logic, which is a collection of manuscripts by Peirce on reasoning (Peter Lang Publishers, Berlin, 2016); Overcoming the Iconic Turn: Cultural Concepts of Images [in German: Die Überwindung des Ikonischen: Kulturwissenschaftliche Perspektiven der Bildwissenschaft] (transcript Verlag, Hamburg, 2010). Bisanz is a member of the advising board of the Deutsche Gesellschaft für Semiotik and chair of the society's subdivision for Cultural Studies. Since her Fulbright scholarship in 2006 at Texas Tech University, Bisanz has been an active member of the Institute for Studies in Pragmaticism. She has organized several international congresses dedicated to Peirce and interdisciplinary research. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

The volume focuses on the application of Peirce's semeiotic as a methodological tool to establish a common field for interdisciplinary research. Contributors from the fields of biology, architecture, logic, esthetics and neuroscience, among others, work on diverse research problems, unified by the idea of transcending the dyadic limitations of disciplinary restrictions and applying Peirce's triadic method, and the structure and process of sign relations of the particular problem that has to be solved. The result is an invigorating example of methodological (...) plasticity wherein the reader acquires an understanding of scientific observation within the complex universe of semeiosis relations. (shrink)

Charles S. Peirce (1839-1914), bekannt als Logiker, Philosoph, Mathematiker und Physiker, zählt zu den wichtigsten Denkern der modernen Wissenschaftsgeschichte. In der späten und wichtigsten Phase seines Schaffens (1891-1909) hat er programmatische Aufsätze sowie ausgewählte Vorlesungen explizit als eine Reihe für die Zeitschrift "The Monist" konzipiert, Beiträge, von denen bislang nur Ausschnitte und stark revidierte Fassungen veröffentlicht worden sind. Die erstmalige und vollständige Veröffentlichung der "Monist"-Texte in diesem Band beabsichtigt eine zeitgemäße Annäherung an das höchst heterogene Werk von Peirce. Sie ist (...) der Versuch, Peirces Gedanken der internationalen wissenschaftlichen Öffentlichkeit originalgetreu zu präsentieren. Zentrales Ziel der "Monist"-Reihe bildet die Begründung einer Methode der Semiotik. Die Abhandlungen präsentieren Erklärungen zu Universalgesetzmäßigkeiten wie Gefühle, Wille und Kognition, zu Differenzen zwischen auf Erfahrung basiertem und imaginiertem Wissen, aber auch zur Definition der Aufmerksamkeit als einer symbolischen Tätigkeit. Neben ihrer wissenschaftlichen Relevanz in der philosophischen, bildwissenschaftlichen und kulturwissenschaftlichen Forschung, in der Kognitionswissenschaft und Logik besitzen die von Peirce diskutierten Themen auch eine hohe Aktualität für die zeitgenössischen Naturwissenschaften. (shrink)

The approach to images as cultural documents of collective memory and instruments of social shaping builds a central theoretical component of cultural theories since its establishment as a critical discipline. Prominent thinkers of cultural studies and art history defined images as symbolic representations and as carriers and storages of affective, cultural expression. The anthology covers this broad understanding of images as carriers of archival value, texts, and complex language; it elaborates on the fundamental role of images as a driving force (...) of ideologies and cultural evolution. The book also includes Charles S. Peirce's full manuscript On the Logic of drawing History from Ancient Documents especially from Testimonies, a genuine treatise on applied science as a universal method of incorporating knowledge across disciplines. (shrink)

Walter Benjamin foreshadowed many of the aesthetic theories, currently playing a fundamental role in the production and interpretation of art. By emphasising the role of the expressive character of art, or rather the category of expressivity itself, Benjamin defined art as a language. His aesthetics was characterised by the continuous interaction of two almost reciprocal projects: the theoretical critique of art which is based on an understanding of historical processes, and the understanding of historical processes which is formed by the (...) critical experience of art. We find a fundamental similarity between Benjamin’s dialectical character of the aesthetic sign and Lotman’s double-sidedness of the artwork. In classifying the system of art as a language, both theoreticians space out the structure ofart and determine it as the intersection of the synchronic and the diachronic aesthetic discourse. The paper follows the traces of the transition of modern painting from its representational status to an autonomous signification, that is, from being a symbolic expression to a discourse in the grammatological meaning of écriture. Parallel to this transition which resulted into the process of abstraction in painting, there can be observed a shift in the cultural values of art which had its critical bearing upon the world secured not by connections of likeness, but by virtue of the very independence of its values. The abstract form of the modern painting has been the declaration of the language of art as an exemplary realm. What must be expressed and experienced within this realm was (1) the critical reflection on the human condition, and (2) representing the society in so far as art maintained a moral independence from those conditions. This dialectic between the autonomous and social character of art has left deep impacts on the language of painting, a complexity, which has been made transparent through the various semiotic analytic approaches of the aesthetic sign. The paper discusses the processual character of the modern painting and demonstrates briefly the deficiency in the structural analysis of the painting language, encouraging its synthesis with the dynamical character of cultural products as we find it in the Lotmanian culture theory. (shrink)

There are at least a few plausible grounds for our use of the term Beta in our title, notwithstanding that there is a key departure, in our framework, from classical Beta Existential Graphs. The situation, in brief, is as follows.The reader accustomed to Peirce’s graphical development of quantificational logic may, if desired, continue to think of formulas being written on a “sheet of assertion.” We retain the “cut” notation for negation and continue to represent conjunction simply by juxtaposition of diagrams. (...) However, on the side of departure, we dispense with the sometimes problematic “lines of identity” of classical Beta and instead represent a quantification by a.. (shrink)