Umberto Eco’s notion of an “open work” embraces a Peircean pragmatism in order to avoid the extremes of both a bounded authorial intent and an unbounded post-structuralism, but this brand of pragmatism does not succeed in providing objective constraints on interpretation due to an unnecessary commitment to a Saussurrean net of meaning signification. Eco’s arguments for this commitment fail upon simple phenomenological reflection, and the whole commitment proves to be unnecessary for Eco’s fruitful insights of the open work. Successful interpretation of an open work requires both intersubjectivity and actual presence.

This article examines the reading protocols of eleventh grade, primary school (USA) students for the purpose of better understanding their development in the interpretation and organization of text. Peirce’s description of thought as a triadic process is utilized to show how a continuous process of differentiation and integration leads to an increasingly sophisticated perception of context, organization and coherence within a text. More proficient student readers are simultaneously better able to distinguish more finely and to integrate more broadly across the text. For all levels of readers, it is in the interplay between differentiation and integration that meaning emerges.

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.

The paper examines the impact of the idea of falsification in Karl Popper’s philosophy of science to rhetorical and political discussion. The structure of language is considered as revealing an inescapable means of falsification. After criticizing the rhetorical tradition that goes way back to Platonic and Aristotelian essentialism, the paper concludes that critical negativity committed to solving social issues should be at the core of rhetorical interaction in any democracy. Falsification and not social unanimity is what empowers democratic practices.

One of a handful of truly pioneering figures in visual semiotics, Jean-Marie Floch elaborated an approach that combined an analysis of the basic perceptual qualities and compositional strategies of the image, with a study of the cultural and historical significance of its representational dimension. A key collaborator of A. J. Greimas, Floch situated his project within the theoretical framework of Paris semiotics, which he helped to develop. He positioned his visual studies of familiar cultural objects in proximity to cultural anthropology and the work of Claude Lévi-Strauss. His five published monographs explore abstract painting, art photography, Russian icons, magazine advertisements, and comic books.

The Middle Eastern trouble continues, in part, from a jumbling of names for the two parties. But social science requires precise delineation as each belligerent streamlines a modus operandi. “Terrorist” commonly means “relating to what presently is causing terror”. Therefore, so to term those insurgents is to concede victory to them, without further struggle. One must map the nicknames for each of the tactical variants. In so doing, we find several dozen overlapping terms, such as identity thief, agent provocateur, and scorpion. Most analogies, however, are anthropomorphized by the characteristics of snakes. Therefore, some existing analogy for the insurgents would better be reimaged by terming them “slitherites”. Our Goal Is to Name the Phases of the Middle Eastern Struggle.

The increasing awareness of the incommensurability between voters’ attitudes about voting and the reality of voting are contributing to the much written-about voter malaise which plagues U.S. elections. Voters who assume their role is to determine the ideal, right, or best candidate confront an election system in our current communication environment that attempts to market candidates to match voters’ ideals, while also providing a surfeit of information that both contradicts the ideal depictions while also making transparent the process by which candidates are packaged. This essay identifies four communication phenomena that contribute to this malaise: campaign transparency; bifurcation of issue and candidate; the abstracted nature of news content; and the glut of information that characterizes our present communication environment.

This monograph first introduces a methodology called “hamartia poetics,” which explores how novels generate their own semantic conceptions of “sin.” A poetics of sin rests on four fundamental assumptions about narrative itself: (1) narratives present a transformation from one condition to another; (2) in narratives, states of being only “exist” as compared with others; (3) narrative makes possible the act of sin; and (4) the act of sin cannot exist without the possibility of combinatory transformation. Second, it applies hamartia poetics to Dickens’s Bleak House, arguing that the novel simultaneously establishes two codes of sin, but that these codes ultimately converge into one.

This paper offers a non-representational alternative to semiotic notions of meaning as the designatum of signs, the content of messages, or what a text is about. It derives from considerations of how things—artifacts and objects of nature—could mean something to somebody. Rather than treating things as signs of themselves and thereby undermining the two-world ontology of semiotics, it explores the cultural roles that artifacts acquire in the lives of their users and when questions of their meanings arise and how they are answered in conversation. The paper presents a dialogical conception of meaning, which relies on Bateson’s recognition of the importance of multiple descriptions, Wittgenstein’s “seeing as”, theories of embodied narratives, and bricolages involving technology.

Written from a post-modern perspective, this article makes use of the concepts of obligation, subject position, line of action, discursive form, sentient agent, exchange, mediating technology, intentionality, improvisational performance, and communicative routines to produce an overarching theory of communication and its processes. The work of the article is to develop the linkages among these concepts and founds this analysis in ethnographic research. It concludes that the process of communication occurs inside a nexus of obligation from relational subject positions within some line of action regularly involving a discursive form. It is enacted by two or more sentient agents performing an exchange often utilizing a mediating technology under the intentionality of an improvisationalperformance of a pre-existing communicative routine.

The initiators of information theory had deliberately tried to expunge ‘meaning’ from aspects of their theory. Bateson’s ecology of mind was consistent with physical definitions of information as feedback and constraint yet tied these cybernetic mechanisms into context of messages, meta-messages, and their meaning. Thus Bateson’s cybernetic epistemology was of a most unusual type: a theory of informational constraint with no located mind, a theory of agency in which conscious purpose was no longer the guiding executor of mental activity. At the same time Bateson rejected many premises of phenomenology: self-hood or body-hood could not be arbitrarily cut off from the reflexive and recursive system of communication in which human beings were always involved. Embodiment, the interactions that evoke the ‘fabric’ (Merleau-Ponty) of life, involve communicative interactions both as persons within a system of social relations and also as living organisms within a system of ecological relations.

My thinking in this essay, written in 1977, reflects the 1968 Wenner-Gren Conference on Conscious Purpose and Human Adaptation, organized by Gregory, about which I wrote Our Own Metaphor, as well as later conversations, but I had not yet worked with Gregory on Mind and Nature. Here, I explore Gregory’s idiosyncratic definitions of evocative terms like “love”, “mind”, and “wisdom” in terms of a cybernetically-based epistemology. The style and context are reflective of his Father-Daughter “metalogues”, composed to explore concepts he was not yet ready to define fully, one of which is quoted as an introduction. Most of the sub-headings have been added.

By performing an abduction of Bateson and Peirce, we come to understand the logic of the sacred as a semiotic and phenomenological communicative phenomenon. First, I compare and contrast their ideas concerning ontology, epistemology, and logic. Next, I articulate how both theorists construct their epistemologies within a triadic frame of relations that successfully accounts for a communicative logic that activates the integration of body and Mind. Finally, I bring Bateson’s triadic relations of aesthetics,consciousness (mental process), and the sacred in line with Peirce’s existential semiotic categories of Firstness, Secondness, and Thirdness. We discover the sacred is constituted within a communicative logic that is abductive. As such, I argue that Bateson’s epistemology of the sacred becomes more accessible as a postmodern philosophy when viewed as a condition of phenomenological semiosis.

Gregory Bateson’s work on play led him to conclude that paradox is the ground of propositions and denotation. Working through the concepts of analog and digital communication, logical typing problems, and various dimensions of “framing” and meta-discourse, I broadly illustrate how what Bateson came to call “the paradoxes of abstraction” inevitably arise within denotative utterances. In addressing the root paradoxes of framing and denotation which Bateson’s work on play identified and sought to elucidate, this manuscript outlines and advances some of Bateson’s main contributions to communication theory.

Jakobson’s well-known model of communication includes implicit time and space message-to-code and contact-to-context relations. The symbolic displacement of humans from nature and the possible discovery of human nature occur in the embodied reversibility of these relations. Bateson’s view of the meta function in communication supports this postmodern turn, as does Peirce’s phenomenological conception of semiosis. In this abductive context, Bateson’s ideas are used to augment Peirce specifically onembodiment in semiosis. Communicology is nominated the “new science” and semiotic phenomenology the “new paradigm” envisioned by Bateson.

Gregory Bateson identified an array of difficulties in human relationships including double binds, confusion between complimentary and symmetrical relations, and the ‘sliding triad’. This essay presents a solution to these and other difficulties in the form of a ‘yoga’ of relationships in which participants take turns playing three different roles keyed to the three phenomenological categories of Charles Sanders Peirce.

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.

The idea that a sign has meaning only in context invites serious inquiry into the meaning of meaning, context, and meaning-in-context. In this paper, and following Bateson’s ecological approach to the mind, I suggest that meaning is a form of coordination between interacting agents, and that this form of coordination is orchestrated through context markers, the variability of the sign, and symmetric transformation of the agents. This suggestion is examined by using signaling processes across various animal species and by drawing specific attention to current conceptions of context and mind.

In this essay, I argue for the continuous influence of Gregory Bateson’s Communicology on the field of family therapy. My argument is based on a re-examination of Bateson’s Palo Alto research period. More specifically, I suggest that family therapy saw its genesis in Bateson’s work on the double bind paradox, which has become the matrix for the family’s communication system approach. In this essay I closely examine the paradox’s structure from two perspectives: systemic and semiotic. I show how several main elements of the problem posed by Bateson translated into various approaches to family therapy thus constituting it as a self-sustaining paradigm.