Volume 2021, Issue 243

This account will demonstrate that the element of surprise is a fundamental device in establishing double consciousness regimes; it further shows how such dialogic paradigms foster abductive inferences by filtering out irrelevant percepts/antecedents. The account sets up Peirce’s Pheme to be the primary device which shocks interpreters’ sensibilities (CP 8.266, 1903) – starting them on a course to question conflicting principles between ego and non-ego (CP 5.53, 1903: CP 8.266). The natural disposition of surprise to instantaneously deliver insight into which antecedents are relevant to vital, anomalous consequences demonstrates its indispensability in generating logical and semiotic advances. For Peirce, vividness, as an element of surprise in Secondness, is largely responsible for the nuts and bolts of how surprise facilitates logic; its means to activate searches for plausible antecedents makes vividness the prime candidate. The success of vividness at turning the mind of interpreters to new ways of explaining the consequence largely hinges upon the external properties of the unexpected consequence – not merely objects’ instantaneity, but their striking characteristics, as well. Even though vividness is external (MS 645, 1909; cf. Atkins 2018: 198), it produces internal responses, in the form of a war against feelings (CP 8.330, 1904). In this way, double consciousness paradigms are initiated, which, in turn, call for hypothesis generation.

The paper argues that contemporary consciousness studies can profit from Charles S. Peirce’s philosophy of consciousness. It confronts mainstream tendencies in contemporary consciousness studies, including those which consider consciousness as an unsolvable mystery, with Peirce’s phenomenological approach to consciousness. Peirce’s answers to the following contemporary issues are presented: phenomenological consciousness and the qualia, consciousness as self-controlled agency of humans, self-control and self-reflection, consciousness and language, self-consciousness and introspection, consciousness and the other, consciousness of nonhuman animals, and the question of a quasi-consciousness of the physical universe. A detailed account of Peirce’s three modes of consciousness is presented: (1) primisense, qualisense or feeling-consciousness, (2) altersense (consciousness of the other), and (3) medisense, the consciousness of cognition, thought, and reasoning. In contrast to consciousness studies that establish a rather sharp dividing line between conscious and unconscious states of mind, Peirce adopts the principle of synechism, the theory of continuity. For him, consciousness is a matter of degree. An important difference between Peirce’s concept of qualia and current theories of qualia in human consciousness is discussed. The paper shows how consciousness, according to Peirce, emerges from unconscious qualia and vanishes into equally unconscious habits. It concludes with a study of the roles of qualia, habit, and self-control in Peirce’s theory of signs, in particular in qualisigns and symbols, and the question of signs as quasi-conscious agents in semiosis.

In a brief overview this article discusses that, in the multifaceted field of cognitive sciences, the problem of consciousness and mind is far from being resolved. The article then argues that this problem is worked out in careful detail in Peirce’s work. Intelligence, hence mind, for Peirce, is distinct from consciousness. Without being dissociable, they are, in fact, distinct but complementary. Hence, Peirce’s ideas should be recovered not only for the sake of their relevance, but also because cognitivists have a lot to learn from Peirce.

This essay focuses on the concept of consciousness in C. S. Peirce’s work, revealing how its ways of being are associated with the three Peircean phenomenological categories. In this article, I intend to reflect on the heuristic power of the mind, namely, its ability to bring about new ideas, which, within Peirce’s logic of inquiry, is called by the well-known term of abduction. The abductive logical step promotes a synthesis of signs that constitutes a logical structure capable of proposing a new mediation or representation of a new phenomenon. I make use of a metaphorical passage from Peirce (CP 7.547, undated) not only to give the title to this essay, but also to highlight the importance of the first category as a sort of synechistic envelopment of an unprecedented logical structure of signs that composes a new synthesis. Two continua intertwine themselves, namely, those of the first and third categories, to account for what appears as a fact of the world in the theater of secondness. The essay also seeks to bring to light the core realism of Peirce’s philosophy, the genetic aspect of this bottomless lake, through its cosmology, where the generalization of forms and the acquisition of habits of reality are the proper ground of his Objective Idealism. One of the heuristic aspect of the lake metaphor is a sort of invitation to extend the concept of synthesis from the realm of logical structures to that one of arts, which in this essay will remain as a suggestion for a further reflection.

Peirce’s philosophy, to a great extent, continues to be neglected as a potentially valuable resource for theologians and scholars of religion. This essay represents an attempt to rectify that state of affairs, albeit focused narrowly on how some of Peirce’s ideas might help to illuminate the role that attention plays in transforming consciousness and shaping certain meditative practices. Such practices display a logic consistent with the one that Peirce described in the process of developing his semiotic theory and his theory of inquiry. While his writings on logic are voluminous, Peirce produced only a very few scattered remarks about the “logic of meditation,” broadly conceived. One purpose of this essay is to collect and to examine carefully those remarks. Another is to evaluate their significance for contemporary philosophers of religion who are invested in the task of trying to understand the nature and purpose of meditation, not as a single type of exercise, but in its various forms and manifestations.

This article uses tagmemic theory as a semiotic framework to analyze symbolic logic. It attends particularly to the issue of context for meaning and the role of personal observer/participants. It focuses on formal languages, which employ no ordinary words and from one point of view have “no meaning.” Attention to the context and the theorists who deploy these languages shows that formal languages have meanings at a higher level, colored by the purposes of the analysts. In fact, there is an indefinitely ascending hierarchy of theories of theories, each of which analyzes and evaluates the theories at a lower level. By analogy with Kurt Gödel’s incompleteness theory, no level of the hierarchy can capture within formalism everything in a sufficiently complex system. The personal analysts always have to make judgments about how a formalized system is analogous to the world outside the system. Arguments in analytic philosophy can be useful in clarification, but neither clarification of terms nor clarification of the structure of arguments can eliminate the need for personal judgment.

This essay adopts a semiotic perspective focused on practices of communication, movement, and translation to examine the global impact of A. J. Greimas (1917–1992) and his oeuvre. The linguist and semiotician’s lecture trips abroad, the number and provenance of international students in his Paris seminar, and the chronology and linguistic geography of translations of his work help describe, gauge, and explain the dissemination and development of his ideas throughout the world. His project has engendered distinctive appropriations and at times productive institutional structures in a number of cultural and linguistic contexts, notably Romance, Anglo-American, Germanic, Russian, Lithuanian, and Chinese. The broader historical relations between France and other lands, and the extent of each society’s use of the French language have conditioned, fostered, or impeded responses to his proposals. The conclusion’s discussion of the relative importance of personal contacts, socio-historical context, and the sociolinguistic and pedagogical status of French for his international reception aims to contribute to general methodological debates in the history of science and ideas and in transnational history. Résumé Cette étude adopte une perspective sémiotique centrée sur des pratiques de communication, de déplacement et de traduction pour examiner l’impact international d’A. J. Greimas (1917–1992) et de son œuvre. Les missions scientifiques menées par le linguiste et sémioticien à l’étranger, le nombre et la provenance des étudiants étrangers inscrits dans son séminaire à Paris et la chronologie et la géographie linguistique des traductions de ses travaux aident à tracer, à évaluer et à expliquer la dissémination et le développement mondial de ses idées. Son projet a inspiré des appropriations distinctives et parfois des structures institutionnelles dans nombre de contextes culturels et linguistiques, notamment roman, anglo-américain, germanique, russe, lituanien et chinois. L’histoire des relations entre la France et d’autres états de même que le statut de la langue française dans chaque société influencent, favorisent ou empêchent les réponses à ses propositions. Dans la conclusion, la discussion de l’importance relative jouée par le contact personnel, le contexte sociohistorique et le statut sociolinguistique et didactique du français pour sa réception internationale vise à contribuer aux débats méthodologiques dans le domaine de l’histoire de la science et des idées et de l’histoire transnationale.

Résumé Le présent article décortique, avec une approche sémiotique, l’index que l’on retrouve à la fin d’un livre ( back-of-the-book index en anglais). L’objectif est double : faire ressortir les processus de signification en jeu dans l’index et reconnaître la création sémiotique réalisée par l’analyste documentaire. L’index est un assemblage de signes, soit les vedettes, les localisateurs ainsi que diverses caractéristiques de la représentation spatiale ; leur signifiant (mots, nombres) renvoie à leur signifié respectif (concept, localisation). L’index dans sa totalité représente un texte sémiotique, d’un genre spécifique, et dont l’interprétation repose non seulement sur les expressions linguistiques elles-mêmes, mais aussi sur la structure des entrées et sur les liens tissés avec les passages de l’ouvrage indexé. L’index peut paraître une structure objective, proposant une version épurée et stable du contenu d’un document. Or, l’analyse sémiotique proposée ici révélera d’une part la structure malléable de l’index et d’autre part l’interprétation flexible et la subjectivité injectées dans sa construction. Après une description plus approfondie du contexte et de la problématique, nous décrivons d’abord l’aspect formel de l’index, soit les signes impliqués et la manière dont ils sont agencés. Nous abordons ensuite l’aspect interprétatif de l’index, notamment les facteurs qui influencent son interprétation. Ceci nous amène à décrire en détail la structure logique de l’index. Cet exercice un peu scolaire d’un outil qui peut sembler familier permettra de mettre en lumière des jeux de signification normalement passés sous silence.

Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.

Both mainstream and art comics often use various flourishes surrounding characters’ heads. These so-called “pictorial runes” (also called “emanata”) help convey the emotional states of the characters. In this paper, using (manipulated) panels from Western and Indian comic albums as well as neutral emoticons and basic shapes in different colors, we focus on the following two issues: (a) whether runes increase the awareness in comics readers about the emotional state of the character; and (b) whether a correspondence can be found between the types of runes (twirls, spirals, droplets, and spikes) and specific emotions. Our results show that runes help communicate emotion. Although no one-to-one correspondence was found between the tested runes and specific emotions, it was found that droplets and spikes indicate generic emotions, spirals indicate negative emotions, and twirls indicate confusion and dizziness.

Being enmeshed in a digital environment, we daily produce internet-mediated texts – encompassing several different semiotic codes – accessible on a global scale. Posts on different networks usually contain hashtags, which can be understood as affordances or behavior opportunities. These affordances allow specific actions both from the part of the writer and the reader. They can also be “behavior triggers,” which invite certain behavior online (e.g., to like, share, comment) or offline (e.g., to buy items of a specific brand). Digital fashion communication experts should take into consideration these affordances to pursue their goals in the activities related to marketing, promoting, creating engagement and communicating either about a brand or a brand item. While there is general research on reasons to hashtag and on the functions they perform, there is a gap in what hashtags “mean” and “do” in the fashion domain. The objectives of this paper are threefold: 1) to give an overview of the history of hashtags; 2) to present the affordances of hashtags, while creating a general table of affordances from the addresser’s perspective, based on the literature overview; 3) to perform a qualitative analysis of hashtags on Gucci official Twitter and Instagram accounts during a given time span and on other Gucci-related hashtags posted by common users. The choice of the brand is due to Gucci’s focus on active digital communication practices. Results can be valuable for both researchers and industry professionals involved in digital fashion communication.

Theoretically, this study is framed within the semiotic tradition of communication theory, which theorizes communication as the intersubjective mediation by signs. Methodologically, this study is guided by Peirce’s semiotic ideas, especially his writing about the commens and commind , or the sign and the object, and the power of a community (constitutive of the self as researcher and the self as one with participants) as the final interpretant performing the process of sensemaking. Results showed how the survivors of a natural calamity symbolically interacted with such calamity, and how this led to a reformation of the way they view themselves and the world. The survivors’ symbolic images captured in narratives, in sketches and drawings, and in poetry helped them to reframe their sense of self and their worldview by believing in common sense and intuition, and by valuing the power of courage, initiative, preparedness, hope, and resilience. An unfortunate irony emerged in their symbolic interaction with the disaster such that their sinning and self-inflicted blame made them think they were worthy of punishment. Nonetheless, this unfortunate irony will change if the survivors continue to reflect on their civic roles, interrogate their environmental and political contexts, and expand their awareness and social consciousness. As these unfold, the survivors will be able to accomplish empowerment, emancipation, and an independent mind.

Digital cultural archives and databases are promising an era of heritage democratization and an enhancement of the role of arts in everyday cultures. It is hoped that mass digitization initiatives in many corners of the world can facilitate the secure preservation of human cultural heritage, with easy access and diverse ways for creative reuse. Understanding the dialogic processes within these increasingly vast databases necessitates a dynamic conceptualization of data they contain. The paper argues that this can be found in Juri Lotman’s cultural semiotic notion of text and text’s functions in culture. It elaborates on the three key characteristics of text – expression, boundary, and structure – as manifested within the digital semiosphere. At the same time, the textual dialogues within digital archives are increasingly conditioned by metadata, which is hereby conceptualized as metalanguage inducing a modeling effect on archived texts and defining their possible sphere of dynamics. To balance the explanations of creative operations of digital archives, the paper also demonstrates their auto-communicative mechanisms for facilitating cultural continuities and stability.