The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...) Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)

The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a (...) tool, collaborator or substitute for creative workers, which can have immediate and long-term impacts on society and culture. Semiotics of culture provides descriptive tools for understanding and evaluating artistic texts and their role in semiotic space, the semiosphere. This article addresses how Lotman’s theory can contribute to the methodology for analyzing AI-generated texts as dynamic models. The theoretical framework developed by Lotman in his research on artistic text, dynamic systems and culture can be applied to the studies of current shifts related to AI-generated arts. This paper looks at the reception of AI-generated videos focused on face representations. In doing so, it analyses the dynamic processes in the creation process of AI-generated videos through their reception in related texts. The findings of this article highlight how Lotman’s theoretical framework can contribute to the methodology to analyze the cultural dynamics evoked by AI-generated artistic texts. (shrink)

_Edusemiotics_ addresses an emerging field of inquiry, educational semiotics, as a philosophy of and for education. Using "sign" as a unit of analysis, educational semiotics amalgamates philosophy, educational theory and semiotics. Edusemiotics draws on the intellectual legacy of such philosophers as John Dewey, Charles Sanders Peirce, Gilles Deleuze and others across Anglo-American and continental traditions. This volume investigates the specifics of semiotic knowledge structures and processes, exploring current dilemmas and debates regarding self-identity, learning, transformative and lifelong education, (...) leadership and policy-making, and interrogating an important premise that still haunts contemporary educational philosophy: Cartesian dualism. In defiance of substance dualism and the fragmentation of knowledge that still inform education, the book offers a unifying paradigm for education as edusemiotics and emphasises ethical education in compliance with the semiotic unity between knowledge and action. Chapters contain accessible discussions in the context of educational philosophy and theory, crossing the borders between logic, art, and science together with a provocative theoretical critique. Recently awarded a PESA book award for its contribution to the philosophy of education, _Edusemiotics_ will appeal to an academic readership in education, philosophy and cultural studies, while also being an inspiring resource for students. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

(by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...

The skin can be described as a niche structured by semiotic artefacts (tattoos) that work as symbolic–indexical devices (dicisigns). New biocompatible technologies responsive to organic and environmental variations change the role of the skin as a semiotic niche. New devices are transforming the skin into a niche of interactive interfaces. In this article we introduce a variety of techno-scientific artefacts, which are readily available, and their main characteristics. We are interested in the recent proliferation of devices based on biotechnologies that (...) can be coupled to the body, especially epithelial (superficial or invasive), and how they change what we know as ‘embodied communication’. (shrink)

A semiotic theory of systems derived from language would have the purpose of classifying all the systems of linguistic expression: philosophy, ideology, myth, poetry, art, as much as the dream, lapsus, and free association in a pluridimensional matrix that will interact with many diversified fields. In each one of these discourses it is necessary to consider a plurality of questions, the essence of which will only be comprehensible by the totality; it will be necessary to ask, in the first place, (...) what will be the purpose of this language, what function does it fulfill and for which reason has it been constructed. The concept of World vision (WV) is introduced and its relation with Generalized Collective Conscience (GCC) and Particularized Collective Conscience. Culture implies a particular WV. Culture creates GCC. The semantic field is a structure that formalizes the units of a certain culture constituting a portion of the vision of the Reality that owns this culture. An ecological case is explained. (shrink)

The topic of the article is important, because nowadays there is a need to study the semiotics of media text translation, the use of innovations in choosing the types of media text translation. The aim of the article is the need to study and substantiate the importance of studying the essence of the concepts of “semiotics”, “media text”. The article gives a theoretical justification for the concept of media text in the field of mass communication, substantiates the (...) class='Hi'>semiotics of learning about signs and sign systems; semiotic characteristics of media texts translation are given. In the field of view of semiotics are various sign systems, features of translation of these signs in media texts, in particular: natural (spoken) and artificial (formal) languages, sentence systems of scientific theories, signaling systems in society and nature, states and many others. Artificial languages can also be considered as sign systems (including the “language” of scientific theory, “languages” of fine arts, cinema, theater, music), various types of visual sign systems (from road signs to painting), as well as any complex control systems considered from the standpoint of cybernetics: machines, devices and their circuits, living organisms, their subsystems (for example, central nervous system), industrial and social associations and society as a whole. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s 'Duino Elegies' suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...) emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

The paper studies semiotic values in advertisements appearing in German Catholic periodicals in Silesia in the second half of the nineteenth and early twentieth centuries. The study is grounded in the Tartu School of Semiotics and shows shifts and hierarchies in the semiotic valuations of particular commodities. Collected advertisements were classified into four main groups: (1) books, (2) church art, (3) church and devotional accessories, (4) everyday life commodities. We motivate the claim that the group (2) of the advertisements (...) in the Catholic press we analyzed was the driver for the introduction of the remaining two categories of ads, hence the study of this group is pivotal for our analysis. The parameters of center, periphery, and “border,” as between the sacred and the profane are also taken into account, within the structural interrelation of Sr (religious system) (cf. Zaliźniak et al. 1975 [1962]) and Sc (commercial code). Assuming the usefulness of explanatory mechanisms, in conclusion a heuristic interpretation is provided in terms of the relations of semiotic primes. (shrink)

The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form (...) of this rationality is semiological, which can be classified under the encyclopaedic rubric of structuralism, and which has its main source of inspiration in general linguistics and its continuation in philosophical anti-humanism. The second perspective has its origins in Peirce’s logicist theory of the sign and his pragmatist metaphysics, and opens up thinking about the sign, the human, and the non-human to a non-language-centric view of the world. Despite their demonstrable theoretical and methodological incompatibility, the present text treats them as incompatible but largely complementary perspectives. It is in their mutual exposition that one can see the moments in which the view of modern human as a semiological and semiotic animal takes shape. The text brings this fundamental and founding theoretical schism into focus by examining two images from post/modern art: Ted Chiang’s “The Great Silence” and Jorge Luis Borges’ “Averroës’s Search.”. (shrink)

Semiotics embraces linguistics, philosophy, and literary studies, as well as linking to anthropology, art, psychology, and biology. This new Routledge collection helps to make sense of the subject’s huge interdisciplinary corpus of scholarly literature and brings together the best and most influential materials from ‘the first phase’, neo-classics from the institutionalization of semiotics in the 1960s, and contemporary works illustrating the ongoing development of semiotics and its widening applications. Volume I collects pre-modern material showing the genesis of (...) semiotics from Locke to Peirce, along with a range of work from the last thirty years. Volume II includes key work from recent developments in cognitive linguistics and cognitive semantics, while Volume III focuses on ‘Text and Image’. Finally, Volume IV gathers the best offerings from other disciplines, and from emerging fields such as ‘biosemiotics’. Fully indexed, and with a comprehensive introduction, newly written by the editor, that places the collected material in its historical and intellectual context, this is an essential work destined to be valued by scholars, students, and researchers as a vital one-stop reference resource. (shrink)

This article investigates the significance of Bateson’s concept of metapattern and the intrinsic correlation of his distinctions between the conscious, the aesthetic, and the sacred as they apply to theatre and the visual arts. It entails a series of phenomenologicalreflections on ornament and visual patterns as they relate to explorations of character (as habit) and environment (as habitat). As well, I explore the implications of the traces we leave as individuals (i.e., as expressive embodiments of culture), traces that mark the (...) patterns of our individuality and our communion with others. I conclude that these eloquent visible marks we inscribe in space and time do not simply seek a type of immortality, but rather also embrace our humanity and the small but poetic role we play in the cycle of the semiotic cosmos. (shrink)

Based on the observations of Brazilian theorists of Communication, this article purports to give an overview of the contemporary experience in terms of communicational phenomena and their relationship with art, technology, science and language from the broad standpoint of a Charles S. Peirce-based view of semiotic.

This paper presents an integrated framework applied towards the design and evaluation of a virtual museum of Byzantine art that combines the theorized fields of semiotics, virtual heritage (VH), and Byzantine art. A devised semiotic model, the case study semiosphere, synthesizes important principles from the theoretical background justifying the overall design and evaluation methodology. The approach presented has theoretical extensions to the understanding of the role technology plays in promoting a consummatory aesthetic experience for Byzantine art in virtual environments, (...) complementing the experience received from traditional Byzantine art media. Part A of the work presents the development of the semiotic foundation of the study prior to presenting the applied potential of the approach in design and evaluation of VH for Byzantine art, which appears in Part B. The final task of the proposed approach aims to support a meaningful interpretation, assisting in the promotion of the significance (value) of the virtual museum to potential interpreters/visitors. (shrink)

In our performanceEntangled Speech, we connect the integration of microbial agency into a new complex ‘common good’ with the shared values of language. Drawing on a posthuman commons we aim for a hybrid language that not only processes formal symbols but also interacts with the microbes in the speaker’s mouth. We argue that the metaphors historically used to frame the relationship between microbiomes and speech cannot account for the co-creative material relationship between human speech and posthuman microbial, environmental and biotechnological (...) needs. In our performances, first we harvest sensitized microbes from a speaker’s mouth who had repeated those phonemes, which lead to a deviation of pH of saliva. This makes the microbes sensitive for the further processing: via a spectrogram, phonemes repetitively spoken by the audience drive pumps, which add pheromones to the microbes, the pheromones, which then are faded out. In the microbes, for some replication cycles, an ecological adaptation to the individual phonemes persists, which – in our definition – affirms some phonemes as ecological and others to be deleted, thereby changing the alphabetical order of the input word. Although parts of the process are digitally animated, the major parts develop in real time. We propose ‘microbial speech’ as a category beyond semantic meaning, with ecological qualities such as a transcorporeal mattering between words and the body. We aim at a language becoming a biological state in order to protect its own ecology. We propose a more entangled mode of microbes existing in common with language, affirming posthumanist transversal relations of all living and non-living matter. (shrink)

Since 2007, Tomás Saraceno has been developing a project that aims to break out of the anthropocentric understanding of communication and coexistence with other animal organisms. In this article, I point out the importance of using modern visualization technologies to analyze and investigate the structure of communication frameworks and their modalities in the animal world, specifically using the example of spiders. The visualization of what is normally invisible to the eye and inaudible to the ear rearticulates the realm of the (...) visible and the audible, which Saraceno then uses for art-critical purposes, with the aim of forming a new type of posthuman attunement to the environment and other animal species. The condition for outlining and articulating Saraceno’s artistic vision is the use of the latest technologies of visualization, which operate on the principle of digital and algorithmic code. They synthesize different planes of affectivity and transform, modulate, and combine the different modes of signs into a single technical-organic complex: they offer new ways of seeing and feeling the world. Thus, hybrid ecology in Saraceno’s case does not imply a return to primordial ways of life, but on the contrary, it forms a semiosphere attuned to a specific plane of consistency that enfolds distinct modes of signs and develops them into an expression of hitherto unsuspected variants of life. (shrink)

In the early twentieth century Arnold Schoenberg introduced into music an atonal style of polyphonic composition. The artistic success of his and his colleagues' oeuvre insured the wide diffusion of his technique of the twelve tone series. In the period immediately following World War II, the serial technique exercised a dominant influence over advanced musical practice. However, in the decades that followed, composers and theorists alike began to entertain doubts about the relation between the derivation of a composition from a (...) series and its audible musical structure. A reconsideration of the theory of atonal polyphony must rest on rigorous analyses both of the structure of the musical materials, and of the semiotic relation between score and performance, which is constitutive of musical works in the western common practice tradition. ;The aim of this dissertation is to advance the project of founding a reconsideration of the theory of atonal polyphony by constructing the concrete entities needed to provide a phenomenalistic semantic framework for the semiotics of contrapuntal theory. The starting point is Nelson Goodman's logical constructionalism, and, in particular, his theory of signs of Languages of Art, and his phenomenalist system of The Structure of Appearance. Chapter One is a contribution to phenomenalist theory. It introduces a systematic notion of the maximal phenomenal continuity that explicates the concept of the sense content, as it occurs in natural language philosophical discourse. Chapter Two begins with a discussion of the idealizations that are appropriate to a semantics of contrapuntal theory. This discussion results in a systematic notion of the primitive concrete entity of contrapuntal theory, the note, which is shown to be a species of sense content, as defined in Chapter One. By aggregating notes, the construction subsumes under the systematic notion of the sub-polyphony both whole compound polyphonic occurrences and their musically significant melodic and harmonic sub-divisions. The resulting explication of the concrete notions of contrapuntal theory both connects phenomenalist theory with a familiar realm of human experience, and provides a basis for a systematic examination and revision of contrapuntal theory. (shrink)

Continuing from Part A (2016), in which we discuss the semiotic foundation for designing a virtual museum of Byzantine art, Part B presents an applied methodology for the representation of cultural artifacts through virtual technologies and semiotic techniques. We discuss how our semiotic model, case study semiosphere, contributes to design and evaluation research of such unique art-form representation and why the approach contributes as a whole to the field of Virtual Heritage (VH). Theorizing further the design implications integrating the overall (...) approach including the evaluation experiment of three VH applications with the participation of young users and its semiotic analysis, we formulate design guidelines that can be applied also to other types of cultural heritage and art. (shrink)

This paper proposes an ecological approach to the perception and interpretation of signs. The theory draws upon the ecological approach of James Gibson . It is proposed that cultural and natural perception can both be explained in terms of the direct pick-up of structured information and the Gibsonian concept of affordances without having to invoke a sharp distinction between direct and indirect perception. The application of the theory is exemplified through attention to language and to the visual and audio arts.

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set (...) of anchors for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

Three lines of semiotic thought were developed by Greek culture: that of Medicine, that of the Arts of discourse (Logic, Dialectic and Rhetoric), and finally,that of Language, strictly speaking. Even though these three branches evolved in quite parallel terms, they only slightly influenced one another, which hindered the existence of a general Semiotics. However, this fact does not play down the reflection on Semiosis carried out by the Greeks.

In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In (...) the second part, we offer some positive and on-going implementations designed to remedy the shortcomings observed. What is suggested is the proof of concept that human researchers need the assistance of computing methodologies. However, computers can only do their job once an adequate phenomenology of human experience is fed into the process. (shrink)

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, (...) we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. (shrink)

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. (shrink)

Juan Luna was a major force of painting tradition in the Philippines particularly in the late 19th Century. Like his colorful paintings, his life was also interestingly complicated which scholars and historians were fond of studying about. His paintings are known to be packed with symbolism. In this study, I tried to interpret the painter's works and the intricacies of his life as a nationalist and as a private person. By employing semiotic-hermeneutic interpretation, an exposition of various symbols embedded in (...) his works and what they signify was made. As gleaned in the works interpreted, messages and contents were conveyed and made powerful through his visual metaphors. Apparently, Luna concealed his nationalistic ideas and his innermost feelings in his work. (shrink)

A work of art can be defined as a section of space that has been assigned a particular status. It is not our intention to define this status—philosophical aesthetics has been addressing this issue for centuries. Rather, we aim to pinpoint the mechanisms in virtue of which this section of space is isolated and bestowed with the status in question. Such a move requires the action of a certain instance—hence the emphasis we put on the interactive character of the process. (...) We shall pay particular attention to the type of sign called ‘index,’ which plays a pivotal role in this affair. (shrink)

The contribution describes the differences between modernism and postmodernism as historical periods of the twentieth century and establishes comparable differences between structuralism and post-structuralism as semiotic approaches. Like modernism, structuralism rejects traditional modes of thought, attempts to reconstruct academic disciplines on the basis of a few fundamental principles and strives to work with reconstructed terminologies and axioms. Like post-modernism, post-structuralism is characterized by the necessity of finding ways to continue research based on the fragmentary results left by structuralist projects. In (...) the beginning of the twentieth century, structuralism itself had responded to materialism, atomism, historicism, and naturalism by introducing its own methodology built around the dichotomies of signified and signifier, paradigm and syntagm, synchrony and diachrony, langue and parole. Rather than rejecting this apparatus, post-structuralism explicated the paradoxes behind these dichotomies and tried to overcome them by under-mining the first concept of each pair. This change of perspective foregrounded the material, processual, and intertextual character of signs as well as the sense-producing function of interpretation. Rejecting rigidly fixed methods as well as general theories, and waiving the distinction between object-signs and meta-signs in favor of their joint reflection, post-structuralist semiotics became an alternative to conventional practices of academic sign analysis and now approaches the status of an art. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection (...) between monetary and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

As a general concept, aesthetic education and art education are connected; to a certain extent, the two can be taken as one or two sides of the same coin. However, the specific questions involved are how they are connected and how to connect them in teaching practice. To answer these questions, I define aesthetic education as more general and theoretical and define art education as less general and more practical, that is, teaching students to read art works. Exploring the answers (...) to the first question, this essay offers an examination of an important aesthetic concept in Chinese art theory, inscape, and relates it to the teaching of how to read Chinese landscape painting. On the one hand, this aesthetic concept... (shrink)

Music is said to be the most autonomous and least representative of all the arts.

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.