The ISA, based on system theory, is the best way to organize knowledge and exchange it. It depends on defining every system through its boundary, main processes within this boundary, and exchange with the environment through this boundary. It relies upon thermodynamics and information theory and is, therefore, applicable to all kinds of systems, which makes it most suitable for cross-disciplinary investigations and innovation. SD is complex and cross-disciplinary by its very nature and, therefore, the ISA is the best way (...) to investigate its different subsystems. Among the most important subsystems of SD are integrated bio-refineries and bio-fuels, both of which are investigated in this article. (shrink)

Since the beginning of history humans have attempted to represent nature and culture through mimesis. This article focuses on the teleologicalaspects of mimesis and offers a different perspective that transcends the notion of sustainability into an eco-humanistic metamorphosis of culture and nature.Drawing from semiotics, phenomenology and architectural design the article challenges the polarization of mimetic representations of nature and culture,which are inclusive and homomorphic phenomena, and offers insight into the mutual mimesis of nature and culture. Two different empirical observationssubstantiate the (...) theoretical perspective: 1) a tradition advanced by the Egyptians’ stylization of visual representations of the mimicry of nature and culture; and 2) acurrent architectural design activity that integrates the mimesis of nature and culture. The article makes the case for a theoretical approach that integratesmimetic principles in creating a sustainable environment and an authentic ecoliving. The article concludes with ethical implications on the way we perceive themutual resemblances in nature and culture, and on our semiotic understanding of the teleological aspects of mimesis. (shrink)

This dialogue between two “semiotic animals” explores the paradox of life and death where death is not perceived as an absolute end or an inevitable aspect of life. The reciprocal and paradoxical relationship between life and death is at the core of the semiotic process. Death is an integral part of this semiotic process, like a door opening out on another transcending world with unpredictable outcomes. Not only does the dialogue reveal an insight into the semioethics of the ritualization of (...) life and death but it also exposes the disingenuous separation between the realms of zoosemiotics and anthroposemiotics. On ontological and epistemological levels, both zoosemiotics and anthroposemiotics are integrated reality that invariably cannot exist without one or the other in mutually transparent co-evolutionary processes purposefully oriented toward meaning making. (shrink)

Conhecer qualquer coisa sobre a realidade é fiar-se em signos, e viver a vida semioticamente é transformar a realidade através do design. De-sign é uma noção cunhada para introduzir a fusão de design e signos. No processo reiterativo de de-sign, não há separações ou limites absolutos entre o pensar e fazer como formas de conceber uma ação possível ou desenvolver ações posteriores. O livre movimento dentro de multiplicidades simultâneas, transcendendo a aparência das coisas e manipulando criativamente uma variedade de polaridades, (...) é inerente ao design thinking e à interpretação semiótica. Envolver-se no processo de de-sign é perseverar por vários paradoxos. Crenças contraditórias e antinomias desconcertantes são intrínsecas ao De-sign; elas não são apenas aceitáveis, como também bem-vindas, se pudermos desenvolver a capacidade de perseverar através deles. Paradoxos não são resultado de um erro em nosso raciocínio, mas de um defeito na nossa capacidade de lidar com uma dissonância cognitiva. Através da máxima do pragmatismo, nossos pensamentos e ações podem ser determinados e podemos avaliar quão apropriadas são suas consequências. É aqui que o pragmatismo, como método de determinar o significado do De-sign, determina a congruência entre a intenção de nossos pensamentos e a adequação de nossas ações. Como o pragmatismo é um método de experimentação que revela a eficácia do pensamento e da ação, o De-sign exige perseverança. Perseverar nos paradoxos do De-sign é estar à vontade com o que é e o que pode ou poderia ser, estar à vontade com a ambiguidade e a incerteza e ter paciência com o processo emergente daquilo-que-ainda-está-tornando-se e, assim compartilhar com a Divindade o ato agapástico da criação. (shrink)

La riche collection d'objets en faïence du musée gréco-romain d'Alexandrie, dont nous préparons la publication complète, comprend plus de mille trois cents pièces découvertes, pour la majeure partie d'entre elles, à Alexandrie ou dans sa région. Nous présentons ici un tableau de la vaisselle ptolémaïque et romaine en insistant plus particulièrement sur les procédés de fabrication et la typologie de ces objets et offrons un état de la question sur la localisation des ateliers et le commerce de cette vaisselle.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 212 Seiten: 219-238.

This article explores how De-sign can be utilized as a navigational trajectory toward the integration of cultural sensitivity and environmental sensibility. It affirms that intentionality makes it possible for human beings to make meaning of their world. Navigating through trajectories for the purpose of seeking desired outcomes is a reiterative de-sign process that is constantly adjusting pragmatically. Because de-sign outcomes are only invariant aspects of the unfolding process of synechism and palingenesia, every de-sign situation is a unique journey toward infinite (...) possibilities of creation. De-signers, as agents of intentional change, become envoys of meaning-making that can integrate cultural sensitivity and environmental sensibility. De-sign intentionality makes our trajectories move toward envisioning a meaningful reality, one that goes beyond the schism between culture and nature, between built environment and natural environment. Trajectories innate to the de-sign process transform us into not only lifelong-learners competent of questioning absolute knowledge but also changing agents capable of moving beyond merely being inquisitive, to being reflective, contemplative knowers, genuinely integrating all aspects of the great biosemiosphere. (shrink)

This dialogue between two “semiotic animals” explores the paradox of life and death where death is not perceived as an absolute end or an inevitable aspect of life. The reciprocal and paradoxical relationship between life and death is at the core of the semiotic process. Death is an integral part of this semiotic process, like a door opening out on another transcending world with unpredictable outcomes. Not only does the dialogue reveal an insight into the semioethics of the ritualization of (...) life and death but it also exposes the disingenuous separation between the realms of zoosemiotics and anthroposemiotics. On ontological and epistemological levels, both zoosemiotics and anthroposemiotics are integrated reality that invariably cannot exist without one or the other in mutually transparent co-evolutionary processes purposefully oriented toward meaning making. (shrink)

Après une première présentation de la vaisselle en faïence du Musée gréco-romain d'Alexandrie (BCH 117 [1993], p. 565-602), nous étudions ici, à travers une sélection d'objets inédits, la petite plastique en faïence de style et de thèmes grecs ou gréco- égyptiens. Cette dernière offre un bon exemple de l'adaptation d'une technique traditionnelle à un nouveau répertoire iconographique et permet, par l'examen des contextes de découverte, d'apporter une contribution aux études sur les pratiques religieuses dans l'Egypte gréco-romaine.

L'article constitue la publication du décor peint des deux tombes de la nécropole de Kom el-Chougafa à Alexandrie. Ces deux tombes, creusées dans les parois d'une salle du second hypogée de Kom el-Chougafa, sont connues depuis le début du siècle, mais leur décor peint, en majeure partie effacé, n'a pu être rendu visible que récemment grâce à l'emploi de la lumière dans le spectre ultraviolet. Chaque tombe est constituée d'une niche qui se compose d'un sarcophage, surmonté de trois parois, et (...) d'un plafond. L'ensemble des parties était recouvert d'un enduit peint. La surface des trois parois est divisée en deux registres : le registre supérieur porte des peintures de style égyptien, tandis que le registre inférieur porte des peintures de style grec. Les scènes égyptiennes représentent, de gauche à droite, l'offrande du faucon (promesse d'immortalité), l'embaumement d'Osiris et la résurrection du dieu. Les scènes grecques, quant à elles, représentent, toujours de gauche à droite, Perséphone cueillant des fleurs avec ses compagnes, l'enlève ment de Perséphone, son retour du monde des morts vers celui des vivants. La correspondance des deux séries de scènes superposées est évidente, comme les têtes de Méduse et de Bès sur la partie/supérieure des pilastres. Différente du « style mixte » — personnages de style grec inclus dans une scène égyptienne — qui caractérise certaines représentations funéraires de l'Alexandrie impériale comme du Fayoum, cette combinaison iconographique est unique. (shrink)

John Deely uses the way of signs not only to establish the contact and dependencies between human thought and action and the surrounding physical universe, but also to account for a social construction of reality as part of human experience beyond mere “thinking thing”. Experiencing evolutionary love is a reciprocal exchange of desire, which is the primary strength of Eros, where eroticism and semiotics intertwine. When Deely states that all animals signify, but only human animals are capable of developing semiotics, (...) he opens a whole way of understanding for us to move beyond the definition of human being as a rational animal into a “semiotic animal” that is also capable of love. (shrink)

This is an advocacy essay that documents the undignified and inhumane conditions of social inequality to which the members of "Al-Akhdam" minority group are subjected in the Republic of Yemen. By focusing on the interaction between culture and collective violence, it examines the exclusionary socio-cultural and economic practices by which Al-Akhdam are denied basic human rights. In so doing, the article locates the root cause of such practices in ethnic prejudices; the Al-Akhdam are persecuted on account of their being of (...) African-descent in a country with an Arab-majority. Finally, the article advocates the protection of the collective human rights of the Al-Akhdam minority and proposes cogent measures for restoring social justice through the implementation of specific actions, including international condemnation of their persecution; official recognition of the violence meted to them; national international recognition and promotion of their rights; cessation of Yemeni government-supported policy of Al-Akhdam forced labor; formal extension of constitutionally-guaranteed economic and social rights and the establishment of a program designed to integrate them into the mainstream of Yemeni society. This list of concrete steps represents a practical advocacy plan for fostering changes in the conditions of Al-Akhdam in Yemen through numerous venues, including the Yemeni government, the United Nations, and local and international human rights NGOs. It is hoped that this documentation will significantly elevate international awareness of, and instigate responses to, the ethno-cultural violence being perpetrated against Al-Akhdam in Yemen. (shrink)

El artículo es el análisis de algunos estudios realizados sobre el gaucho en los que se emiten juicios de valor acerca de la pertinencia o impertinencia de utilizar fuentes literarias o pictóricas para ayudarnos a comprender la historia argentina. Más aún, para indagar si pueden resultar útiles al estudiar los pasados subalternos que han quedado desplazados del relato nacional. Además de la discusión de posiciones teóricas, se presentan dos ejemplos a través de los cuales se intenta justificar la utilidad de (...) usar dichas fuentes para enriquecer los estudios históricos. Finalmente, se inicia un debate historiográfico acerca de la posibilidad o imposibilidad de hallar espacios de enunciación o huellas de las voces silenciadas de los sectores subalternos. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of (...) users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

The de minimis principle states that some risks are so trivial that they can be ignored or treated categorically differently from non-trivial risks. Lundgren and Stefánsson criticize the de minimis principle, arguing that it either has to be applied locally or globally and that problems arise whichever application is chosen. Aven and Seif respond to Lundgren and Stefánsson’s argument and defend the de minimis principle as a “meaningful and useful perspective for handling risk in practice.” The response highlights some (...) aspects of the argument in Lundgren and Stefánsson that needs clarification, which is what we do in this note. (shrink)

Textbook Islam, nation building, and the question of violence / Gregory Starrett and Eleanor Abdella Doumato -- Egypt : promoting tolerance, defending against Islamism / James A. Toronto and Muhammad S. Eissa -- Iran : a Shi'ite curriculum to serve the Islamic state / Golnar Mehran -- Jordan : prescription for obedience and conformity / Betty Anderson -- Kuwait : striving to align Islam with Western values / Taghreed Alqudsi-Ghabra -- Oman : cultivating good citizens and religious virtue / Mandana (...) E. Limbert -- The Palestinian national authority : the politics of writing and interpreting curricula. Genesis of a new curriculum / Nathan Brown ; A conflict of historical narratives / Seif Da'Na -- Saudi Arabia : from "Wahhabi" roots to contemporary revisionism / Eleanor Abdella Doumato -- Syria : secularism, Arabism, and Sunni orthodoxy / Joshua Landis -- Turkey : sanctifying a secular state / Ozlem Altan -- Textbook meanings and the power of interpretation / Gregory Starrett -- Conclusion : tailor-made Islam / Eleanor Abdella Doumato and Gregory Starrett. (shrink)

ZusammenfassungKnochen waren im 19. und frühen 20. Jahrhundert ein unverzichtbarer, größtenteils importabhängiger Rohstoff der chemischen Industrie, die daraus Düngemittel, Tierfutter, Leim, Gelatine, Seife und andere Produkte herstellte. Das Thema Knochenverwertung wurde im Schulunterricht der NS-Zeit genutzt, um Jugendlichen die Relevanz des Vierjahresplans und der deutschen Autarkiepolitik zu verdeutlichen und sie zu motivieren, sich im Rahmen der Altstoffsammlungen an der heimischen Erfassung dieses Rohmaterials zu beteiligen. Diverse NS-Instanzen hatten ein differenziertes Spektrum von Lehrmitteln erarbeitet, um die Behandlung dieses Themas in der (...) Schule zu unterstützen. Der Artikel untersucht, welche Botschaften diese damals hochmodernen Unterrichtsmedien vermittelten und zeigt, wie auch weniger ideologieanfällig scheinende Fächer, etwa der Chemieunterricht, politisch instrumentalisiert wurden. (shrink)

Für den interkulturellen Dialog zwischen den europäischen Ländern und ihren muslimischen Nachbarn spielen die Künste eine zentrale Rolle. Jede Kunst hat eine ihr eigene Sprache entwickelt, die den Menschen hilft, in Beziehung zueinander zu treten und sich auszutauschen. Die Künste geben den Kulturen die Möglichkeit sich auszudrücken und tragen zur Entstehung kultureller Identität bei. Sie formen die Wahrnehmungen, Erinnerungen, Vorstellungen und damit das individuelle und kollektive Imaginäre. In ihnen erfahren die Menschen die Alterität anderer Kulturen und ihrer selbst und werden (...) dadurch gebildet. Die Künste sind nicht nur den Angehörigen ihrer Kultur, sondern allen Menschen zugänglich. Sie vermitteln heterologische Erfahrungen und haben daher für die Verständigung zwischen den verschiedenen Kulturen eine große Bedeutung. Zu den Autoren gehören Kulturwissenschaftler und Philosophen aus europäischen und muslimischen Ländern: Radwa Ashour, Hans Belting, Benmeziane Bencherki, Roland Bernecker, Christina von Braun, Paolo Fabbri, Lydia Goehr, Gertrud Koch, Klaus Krüger, Mustapha Larissa, Reyés Mate, Hamdi Mehrez, Marie-José Mondzain, Angelika Neuwirth, Ludgar Schwarte, Antoine Seif, Philippe Tancelin, Jacques Poulain, Fathi Triki, Rachida Triki, Hassan Wahibi,Christoph Wulf, Mohamed Zouzi-Chebbi. (shrink)

Knochen waren im 19. und frühen 20. Jahrhundert ein unverzichtbarer, größtenteils importabhängiger Rohstoff der chemischen Industrie, die daraus Düngemittel, Tierfutter, Leim, Gelatine, Seife und andere Produkte herstellte. Das Thema Knochenverwertung wurde im Schulunterricht der NS-Zeit genutzt, um Jugendlichen die Relevanz des Vierjahresplans und der deutschen Autarkiepolitik zu verdeutlichen und sie zu motivieren, sich im Rahmen der Altstoffsammlungen an der heimischen Erfassung dieses Rohmaterials zu beteiligen. Diverse NS-Instanzen hatten ein differenziertes Spektrum von Lehrmitteln erarbeitet, um die Behandlung dieses Themas in der (...) Schule zu unterstützen. Der Artikel untersucht, welche Botschaften diese damals hochmodernen Unterrichtsmedien vermittelten und zeigt, wie auch weniger ideologieanfällig scheinende Fächer, etwa der Chemieunterricht, politisch instrumentalisiert wurden. (shrink)