A world beside itself : Jakob von Uexküll, Charles S. Peirce, and the genesis of a biosemiotic hypothesis

This thesis explores the conceptual origins of a biosemiotic understanding of the human as a consequence of the vital role of signs in the evolution of life. According to this challenge to definitions of man as the sole bearer of knowledge, human society and culture are not only characterised by the use and production of signs, human life and thought are the products of ongoing processes of semiosis. Along with Thomas Sebeok’s argument concerning animal architecture, examples from Modernist and Contemporary art are presented to introduce a new perspective on the natural and cultural significance of acts of inhabitation. By tracing its historical development in the nineteenth and twentieth century via the concept of the environment, this perspective on both human and non-human life is shown to contest those methods of modern science that are rooted in anthropocentrism The precedents of this perspective are then elaborated through an explication of the work of two of the forefathers of biosemiotics: the biologist Jakob von Uexküll and the philosopher Charles S. Peirce. Uexküll’s theory of the Umwelt demonstrated that in order to make sense of its surroundings each living organism must be situated within an integral world of signs. Peirce’s philosophical account of semiotics explained the evolution of signs in terms of processes of habit formation and the abductive power of thought. Together Uexküll and Peirce provide an impetus for reconsidering the metaphorical implications of aesthetics in terms of the semiotic inheritance of ecological systems. While having critically interrogated their differences especially with respect to their derivation from Kantian philosophy and German Idealism, in conclusion, the ideas of Peirce and Uexküll on the reciprocity of life and signs are shown to mutually contribute to a more advanced comprehension of human subjectivity

A world beside itself : Jakob von Uexküll, Charles S. Peirce, and the genesis of a biosemiotic hypothesis

This thesis explores the conceptual origins of a biosemiotic understanding of the human as a consequence of the vital role of signs in the evolution of life. According to this challenge to definitions of man as the sole bearer of knowledge, human society and culture are not only characterised by the use and production of signs, human life and thought are the products of ongoing processes of semiosis. Along with Thomas Sebeok’s argument concerning animal architecture, examples from Modernist and Contemporary art are presented to introduce a new perspective on the natural and cultural significance of acts of inhabitation. By tracing its historical development in the nineteenth and twentieth century via the concept of the environment, this perspective on both human and non-human life is shown to contest those methods of modern science that are rooted in anthropocentrism The precedents of this perspective are then elaborated through an explication of the work of two of the forefathers of biosemiotics: the biologist Jakob von Uexküll and the philosopher Charles S. Peirce. Uexküll’s theory of the Umwelt demonstrated that in order to make sense of its surroundings each living organism must be situated within an integral world of signs. Peirce’s philosophical account of semiotics explained the evolution of signs in terms of processes of habit formation and the abductive power of thought. Together Uexküll and Peirce provide an impetus for reconsidering the metaphorical implications of aesthetics in terms of the semiotic inheritance of ecological systems. While having critically interrogated their differences especially with respect to their derivation from Kantian philosophy and German Idealism, in conclusion, the ideas of Peirce and Uexküll on the reciprocity of life and signs are shown to mutually contribute to a more advanced comprehension of human subjectivity

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Reading the writing-machine: inscription, loss and the ethnographic imagination of A.C. Haddon

The fin-de-siecle incarnation of a specifically ethno-graphic anthropology is arguably marked out by one trait more than any others: its burning epistemological, aesthetic and ethical impulse to inscribe - to write, to draw, to photograph, to phonograph, to film - to deploy, in other words, an array of -graphic technologies to represent its 'ethnic' object. Such technologies overlap and interweave in complex ways, rise and fall in relative popularity and produce archival traces that call for multiple readings and rewritings. Focusing on a case study of the intermedial writings of zoologist-turned-anthropologist, Alfred Cort Haddon (1855-1940), this thesis is an attempt to thrust deep within the roots of such an impulse. It traces these roots to a pivotal historical and philosophical moment (the late nineteenth century) within which the nascent discipline of anthropology, armed with an array of such' -graphic' technologies, conjured forth a spectral object: at once vanishing and vanished, disappearing and disappeared. Death was both to-come and already there, and this spoke to a desire for an Indigenous plenitude that was both threatened and lost. However, in the emerging play between these two plenitudes, both were replaced with a (technologically mediated) spectre. Subject to the brute force of an all- powerful 'external' world-system (capitalist, colonialist and Christian), but without the means of even documenting the history of its own destruction, much less challenge it, such populations were posed as being hopelessly cast adrift: forever dead and dying, and in need, therefore, of representational 'salvation'. How, then, do these two sets of processes (inscription and loss) interact with one another, and what is their role within the vast archival writing 'machines' of colonialism? Exploring the interstitial space between medium specificity (photography- cinematography-phonography) and intermediality, this thesis is an attempt to resonate such questions, to set them in motion, to make them sound

Peirce's mathematical-logical approach to discrete collections and the premonition of continuity

According to Peirce one of the most important philosophical problems is continuity. Consequently, he set forth an innovative and peculiar approach in order to elucidate at once its mathematical and metaphysical challenges through proper non-classical logical reasoning. I will restrain my argument to the definition of the different types of discrete collections according to Peirce, with a special regard to the phenomenon called premonition of continuity (Peirce, 1976, Vol. 3, p. 87, c. 1897). © 2012 Copyright Taylor and Francis Group, LLC

Non-western rendition of ambient rhetoric of Khajuraho monuments.

This dissertation develops an ambient rhetoric: a living practice that is more disclosive than communicative, more entangled than intersectional, and more subtle than explicit and evidential. Rather than exploring the symbology, iconography, texture, and artistic integrity of Khajuraho monuments, I claim that Khajuraho monuments aim at convincing visitors with their persuadability and affectability inherent in their material bases, architectural panels, fractal design, allegorical cast, aura of attunement, and the environment in which the monument complex is nestled. Khajuraho groups of monuments in Central India, matchless in their monumentality, dynamic in their adjustment to the shifting socio-politico-cultural landscape in the world, fantastic in their amenability to entanglement, and susceptible to their intra-action with cutting-edge digital tools and technology, have proved to be a vibrant hub for those who—constrained by the deficit model of rhetoric as a logic of supplementation and also by the exploitative and extractive model of rhetoric that valorises human-centric rhetorical approach to persuasive assemblage—venture into exploring the holistic version of the rhetoric predicated on the principle of a third term. The monument complex’s persuadability rests not just on its symbology but on its enduring sandstone that lays the material basis for the construction of its majestic architecture, splendid sculpture, stunning superstructure, gorgeous ground plan, fractal design, strategic placement of the artifacts, the upward projection of the superstructure exposed to the four elements, the lapidary locale of the monuments nestled in an environment that escapes any intelligent guess as to when, how, and why it participates in revealing the monument complex’s rhetoricity