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Čitatelju je Eco otvorio vrata još u predsemiotičkoj fazi (Opera aperta, 1962), a potom ga je i naslovom (Lector in fabula, 1979) smjestio u samo središte „priče“ o semiotici književnosti. Preuzevši Peirceov pojam neograničene semioze kao ključ za semiotičku otvorenost teksta, što posljedično otvara potencijalno neograničen broj interpretativnih pokušaja u ekspanziji značenja, Eco je gotovo skrupulozno za- brinut za pogrešna tumačenja semioze. Njegovo ustrajno zagovaranje suradničkoga odnosa čitatelja i teksta sve snažnije poprima oblik apologetskoga zalaganja za prava teksta i nužde ocrtavanja minimalnih granica tumačenja (The Limits of Interpretation, 1990). Potencijalno neograničena semioza, poučavao je Eco, ne vodi apsolutnoj slobodi čitatelja, ne znači da interpretacija nema kriterije i da sve interpretacije imaju happy end. Bio je to glas koji se nije čuo. Eksponencijalni rast čitateljskih „prava“ i „sloboda“ bio je nezaustavljiv u poststrukturalizmu. Zašto su dekonstrukcija i rodni studiji, kao primjeri isključujućih perspektiva (radikalne otvorenosti teksta prepuštenog neograničenoj semiozi / radikalne zatvorenosti teksta koji ima samo ono značenje koje je unaprijed zadano), prekršaji suradničkoga odnosa prema tekstu i možemo li u Ecovoj interpretativnoj semiotici pronaći epistemološka i metodološka uporišta za zaštitu ili ekološku održivost teksta pitanja su koja otvara ova studija., Eco opened the door to the reader already in the pre-semiotic phase (Opera aperta, 1962), and then through the title (Lector in fabula, 1979) he positioned the reader in the very center of the “story” about the semiotics of literature. In taking over Peirce’s concept of unlimited semiosis as the key to the semiotic openness of the text that offers a potentially unlimited number of interpretive attempts in the expansion of meaning,Eco is almost scrupulously concerned about misinterpretations of semiosis. His persistent advocacy of a collaborative relationship between the reader and the text is increasingly taking the form of an apologetic advocacy for the rights of the text and the necessity of delineating the minimum limits of interpretation (The Limits of Interpretation,1990). As Eco taught, the potentially limitless semiosis does not lead to the absolute reader freedom, it does not mean that interpretation has no criteria and that all interpretations have a happy ending. It was a silent voice. The exponential growth of readers’ “rights” and “freedoms” was unstoppable in poststructuralism. This study poses the questions as to why deconstruction and gender studies, as examples of exclusive perspectives (radical openness of the text left to limitless semiosis / radical closedness of the text that has only a predetermined meaning), are violations of the collaborative attitude toward the text and whether we can find in Eco’s interpretive semiotics the epistemological and methodological foundations for the protection or environmental sustainability of the text.

U radu se, polazeći od teza semiotike prostora, pobliže ispituje opreka između spontanog i oktroiranog imenovanja mjesta (Skračić 2011). Analizom s pomoću greimasovska modela semiotičkog četverokuta izdvajaju se četiri temeljna tipa imenovanja: oktroirano, spontano, zonalno i pobliže funkcionalno. Ispituju se njihova obilježja, međusobne relacije, funkcije i konteksti upotrebe u jeziku., Following the theoretical framework of semiotics of space this paper examines in more detail the semantic opposition between spontaneous and imposed naming of places (Skračić 2011). Use of the Greimasian model of the semiotic square analysis enables to distinguish four basic types of naming: imposed, spontaneous, zonal, and functional. Their characteristics, mutual relations, functions and contexts of use in language are examined and explained further in text.

Opšti cilj ovog istraživanja je stvaranje jednog novog, objedinjenog modela semiotike/aksiologije razlučivanja-tumačenja-rasuđivanja praćenog njegovom usresdsređenijom primenom na vizuelne predmete, pojave i medije – koji se uobičajeno smatraju vrednostima ili nosiocima vrednosti – i na prakse koje ili proizvode vrednosti ili kodiraju/šifriraju vrednosti. Dakle, ovo istraživanje, ovo posmatranje se neće baviti svim i svakim pojedinačnim vizuelnim predmetom, te jezičkim izrazom korišćenim u različitim oblastima ljudskog zanimanja za vrednosti, već će pre predložiti opštu strategiju, načelni metod razmišljanju o uslovima i razlozima za stvaranje različitih vrednosti, kao i upotrebe mnogih izraza i reči, istorijskih i novosazdanih, to jest predložiti metod organizacije i klasifikacije pri razlikovanju, tumačenju, razmišljanju, doživljavanju i procenjivanju čulnih pojava, a posebno vizuelnih pojava – vizuelnog. Proizvedena teorija će pored kratkog pregleda istorije semiotičkih razmatranja predstaviti novo tumačenje i tehničke izraze semiotike/aksiologije, teorije rasuđivanja znakova/simbola, objasniti ih i odrediti, a zatim predložiti i prikazati njihovu primenu u tumačenju i procenjivanju četiri strane (estetske, funkcionalne, moralno-etične, saznajne) čulnih pojava, sa posebnim usredsređenjem na vizuelnu oblast ljudske čulnosti i na vizuelnost pojava, kao i na postupke, sredstva i medije pri konstruisanju veštačkih pojava, kao i na znakovno/simbolno kodiranje i dekodiranje u praksama vizuelnih umetnosti, dizajna, te komunikacijskog dizajna predstavljenim istorijskim primerima. Poseban cilj istraživanja je da pokaže i prikaže dinamiku semiotičkog razlučivanjatumačenja- rasuđivanja fenomena koji nužno pretpostavlja, nerazdvojiv je i graničen antropocentrično generisanim dualitetima, primarnim polaritetima, kao što su: subjekt / objekt, stvarno / nestvarno, istinito / lažno, primereno / neprimereno, prijatno / neprijatno, funkcionalno / disfunkcionalno, itd., to jest strukturalno postavljanim vrednosnim polarnostima otelotvorenim u tehnofaktima tokom pet istorijskih faza: zapadne renesanse, pre-industrijskog, industrijskog, informacijskog i post-informacijskog razdoblja, te da prikaže kako istorijski, kulturološko generisani i semantički definisani polariteti hronološki teže “izjednačavanju”, (r)evolucijama, prevratima i hijerarhijskim obrtima, te istovremeno reprodukciji, održavanju sintaksičkog kontinuiteta i strukturalnog integriteta dualnosti, to jest očuvanju strukturalno primarne polarnosti matematičkog tipa + / – , a analiziranjem istorijskih pojava, događaja, primera i prekretnica koje su doprinele semantičkim promenama polarnosti, a u smisaonom okviru kreativnosti, inovativnosti, istorijskog povećavanja proizvodne, reproduktivne, multiplikativne efikasnosti, te raspodele vrednosti.

Valery Pendrakovsky’s feature film "Suicide" (USSR, 1990), based on the play by Nikolai Erdman (1928), is an example of a specific semiosis. The nature of this semiosis is determined by the transformation of the literary text into the language of film narration; its source is a dramatic work, and its transformation is based on the updating typical for the aesthetics of culture of the "perestroika" period. This strategy is analyzed in the article not simply as inserting signs referring to contemporary reality into the source text, but as a conscious choice to introduce Erdman’s play into actual public discourse. Художественный фильм Валерия Пендраковского "Самоубийца" (СССР, 1990) по одноименной пьесе Николая Эрдмана (1928) представляет собой пример специфического семиозиса. Характер этого семиозиса предопределен трансформацией литературного произведения на язык киноповествования, где, во-первых, исходным текстом выступает драматургическое произведение, а во-вторых, его трансформации сопутствует характерная для культуры перестроечного времени стратегия актуализации трансформируемого текста. Эта стратегия рассматривается в статье не просто как введение в трансформированный текст знаков, относящихся к современной режиссеру реальности, а как сознательное введение исходного текста в текущий публицистический дискурс.

Autorica polazi od teze da su istraživanja semiotike medija nužna u razotkrivanju političke indoktrinacije i medijske manipulacije. Upozorava na značajnosti pojmova signifié i signifiant nužnih pri shvaćanju funkcioniranja transformacije od znaka k simbolu u medijima. Zagovara tezu kako je od velikog značaja shvaćanje procesa semioze prilikom razlučivanja uzročnoposljedičnih veza simboličkih poruka. Primjerima iz medijskih sadržaja razlikuje političku indoktrinaciju od medijske indoktrinacije, te argumentira kada su mediji sredstva političke propagande. Tretira indoktrinaciju kao formu manipulacije. Konstatira da je odgojna uloga medija zadana u razotkrivanju (znakovno) kritičke refleksije multimedijske komunikacije te da je semiotika medija važan aspekt u analizama medijske pedagogije.

Our study proposes an analysis of Romanian political language in the second half of XIX century, in terms of specific discursive mechanisms, of semantic mutations that are recorded in the political vocabulary of the time, of the discrepancies that characterize verbal sign in the space of political communication. Since the press of this time plays a crucial role in the formation and distribution of the Romanian political language, we support our observations on the analysis of political articles published by Mihai Eminescu in the journalistic work of the time. Being the sign of one of the most precipitate era in the national history, Eminescu’s journalism is relevant to the avatars of the Romanian political language, which was still in its infancy at the time. Rezumat În studiul dat, ne propunem o analiză a limbajului politic românesc din cea de-a doua jumătate a secolului al XIX-lea, din prisma mecanismelor discursive specifice, a mutaţiilor semantic, pe care le înregistrează vocabularul politic al vremii, a discrepanţelor ce caracterizează semnul verbal în spaţiul comunicării politice. Dat fiind că presa acestei vremi joacă un rol esenţial în procesul de constituire şi de difuzare a limbajului politic românesc, ne sprijinim observaţiile pe analiza articolelor politice, publicate de Mihai Eminescu în publicistica timpului. Semn al uneia dintre cele mai precipitate perioade din istoria naţională, jurnalistica eminesciană este relevantă pentru avatarurile limbajului politic românesc, aflat încă la început de drum în epocă.

Rad se bavi problematikom odnosa između primarnog i sekundarnog znakovnog sustava i stvaranja crkvene semiosfere kao semiotičkog prostora u koji je neki jezik uronjen i u interakciji s kojim funkcionira. U radu analiziramo crkvenu terminologiju kao primarni znakovni sustav u kojem su vidljivi romanski utjecaji i crkvene običaje, kao sekundarni sustav, većinom slavenskog kulturnog nasljeđa, koji su do polovice ili do kraja 20. stoljeća činili aktivan dio betinske crkvene semiosfere. Terensko istraživanje provedeno je u Betini, 2009. i 2010. godine kroz polustrukturirane razgovore s ispitanicima životne dobi između 60 i 85 godina. Kako bi se utvrdili jezični utjecaji i podrijetlo prikupljenih termina, jezična građa je etimološki analizirana, a zatim, kako bi se utvrdilo pripadaju li aktivnom ili pasivnom vokabularu Betine, nekim se leksičkim varijantama pristupilo metodom varijacijske lingvistike. Osnovnu teorijsku pozadinu rada čine postavke Moskovke i Tartuske semiotičke škole koja podrazumijeva uzajamnost jezika i kulture, a u analizi znakova primijenjeni su Peircov i Morrisov trijadni model. Cilj rada je utvrditi uzajamnost jezičnih i kulturnih promjena i u kolikoj mjeri kulturne promjene utječu na promjene primarnog znakovnog sustava i obrnuto. Istraživanje je pokazalo da uslijed promjene društvenog konteksta dolazi do kvantitativnih (termini izlaze iz uporabe) i kvalitativnih (termini mijenjaju značenje) promjena u primarnom znakovnom sustavu, te da se kompleksnost sekundarnog znakovnog sustava (crkvenih običaja) pojednostavnjuje., This paper discusses the relations between the primary and the secondary semiotic system and the creation of the church semiosphere as a semiotic space within which a determined language functions. The analysis was conducted on a selected corpus of 80 lexical variants that name different elements, objects or customs used in the church semiosphere of Betina. The study analyses the church terminology as the primary semiotic system, mostly of Romance or Latin origin (61%), and the church customs, as the secondary system, mostly of Slavic origin (32%). Both of the systems used to co-exist actively as text in Betina’s church semiosphere until the middle or the end of the last century. The study, conducted in 2009 and 2010, involved semi-structured interviews with older speakers (age between 60-85). In order to determine language and cultural influences, the corpus has been etymologically analyzed, and, to determine whether the variants belong to passive or to active vocabulary of Betina, it was examined with the methods of variationist linguistics. The theoretical background of this study is the thesis of the Moscow and Tartu semiotic school that implies a reciprocity between language and culture. The starting point of this research is Lotman’s assumption that, without the semiosphere — that is, the semiotic space of the culture in question — language not only does not function but does not exist. Accordingly, the current article deals with linguistic and semiological signs. To illustrate these points and to show our interest in the cognitive effect on the interpreter, the variants and their referents are represented through Peirce’s and Morris’s semiotic triangle. The semiotic triangle begins with an understanding of the sign as the primary element of any semiotic system. Strictly speaking, semiosis, and not the sign, is the proper object of semiotic study. The aim of this work is to determine and illustrate a reciprocal influence between language and culture. It has confirmed that one of the reasons of the language change is alteration and transformation of the semiosphere (of the social and cultural context) and that the change of language causes the transformation and change in the semiotic space of the culture in question.

Diploma thesis Semiotic analysis of Martin Scorsese's films focusing on Raging bull and The Wolf of Wall Street aims to capture unique and original signs in both films mentioned. Through semiotic analysis it examines key elements of film language - structure, means of expression in film and composition. The thesis also focuses on capturing director's characteristic filmmaking techniques and how these techniques and elements affect the viewer. At the same time it examines in detail various aspects of the director's films and film processing in both of them. It is also focusing on description of unique and specific items of Scorsese's work and analyze them in the context of the two works. The final part explains the cause of the original concept of author's films and his great success and popularity not only among film fans.

Rozdział wstępny zawiera omówienie pojęcia wizerunek medialny i uzasadnienie mnogości perspektyw badawczych w odniesieniu do wizerunkowości. Jednym z najważniejszych motywów wzrostu zainteresowania wizerunkowością jest medializacja sfery publicznej, a więc i celowe, strategiczne kreowanie i używanie wizerunków w komunikacji publicznej. Obserwuje się także przenoszenie akcentu badawczego z językowego do wizualnego wymiaru wizerunkowości. Nie umniejsza to roli retoryki jako teoretycznie ugruntowanej perspektywy badawczej w krytycznej analizie wizerunków medialnych, które w niniejszym tomie są postrzegane jako konstrukty retoryczne. Analiza retoryczna wizerunkowości jest celem badawczym zaprezentowanych w tomie dziesięciu opracowań. Obejmuje on zarówno studia nad efektywnością kreowania wizerunków, jak analizy dekonstruujące wizerunkowość., This introductory chapter defines the concept of media image and reviews a range of analytic perspectives that can be taken to study it. One of the main motives why media images are being studied is the growing mediatization of the public sphere, which results in purposeful and strategic creation and use of images in public communication. One can observe a shift from studying the verbal aspects to the visual dimensions of image-construction. This does not detract from the usefulness of rhetoric as a theoretically grounded analytic perspective for a critical analysis of media images, which, in this collection, are considered to be rhetorical constructs. The rhetorical analysis of image-construction processes and their outcomes is the aim of the ten presented contributions. Some of them focus on mapping the effectiveness of image creation, others on deconstructing the mediated imagery.

In this Master's thesis, I attempt to capture the disparate semiosis of two musical genres - a traditional opera, Rusalka, which has a unique position in Czech national music, and a musical of the same name. On the basis of theoretical findings from semiotics as a science, from the approaches of F. de Saussure, C. S. Peirce and R. Barthes, and by means of semiotic analysis, the thesis unravels semantic elements that are specific for theatrical art. Attention is directed at the symbol as a major tool for semiosis and the classification of symbols on the basis of Peirce's three ontological categories. The analysis focuses on decoding the semiotic systems used in the two genres (the libretto, the music, the characters, the story, and the technical and symbolic means that are employed). The analysis also deals with the question of intertextuality and the ideological background of the text, and attempts in this way to compare the differences and/or the similarities of diverse semiotic codes of the same class, and to capture their originality and specificity. At the same time, the thesis is focused on the dominant semiotic code of the two genres. This is, on the one hand, determined by the systemic distinctions between opera and musical theatre, while, on the other hand, it is primarily predetermined by...

Diploma thesis deals with semiotics of advertising media campaigns of sport clubs AC Sparta Praha and HC Sparta Praha in the season 2013/2014. Both of the clubs celebrated an anniversary this season: AC Sparta Praha celebrated 120 years since its foundation, HC Sparta Praha celebrated 110 years. That was a reason why media campaigns were intensive and referred to the glorious history of the clubs. The Diploma thesis research is focused on meanings encoded into the campaigns and attempts to find out which verbal and non-verbal signs create the term "Sparta". The Author tries to find out if there is the same semiotic base for both clubs which operate with the same name and elementary signs. Diploma thesis defines contemporary "myth of Sparta" in Czech sport area. Theoretical part occupies with contemporary status of sport in the society, analytical part deals with the media campaigns of both clubs from semiotic perspective.

The present thesis focuses on semiotic aspects of note-taking in consecutive interpreting, in particular with respect to the process of semiosis and factors influencing the interpreters' conception of their notes. Chapter 1 mentions the basic features of note-taking in order to trace its semiotic characteristics in the following parts of the thesis. In Chapter 2, the notes as a specific semiotic system are briefly discussed within the framework of the second Peircean trichotomy of signs (cases of iconicity, indexicality and symbolicity are demonstrated) and in terms of their function, productivity and spatial settings. After these general considerations, Chapter 3 introduces the main theoretical approaches to the technique of note-taking (principally those of the Geneva and Heidelberg schools) including the issues of the languages involved in interpreting or the nature of signs. As the accent is on the process of semiosis (apprehension of signs by interpreters, generating signs according to the meaning of the speech and searching for the motivation for the interpreters' concrete choices of signs and their form), the chapter lists some basic signs and methods well- tested by practitioners. The signs are also analysed in terms of their origin and possibilities of expansion (composition, derivation...

Diploma thesis "The function of the language semiosis in the Quentin Tarantino's films" deals with interception and description of the uniqueness of linguistic expressions in the films of one of the most important film directors and screenwriters - Quentin Tarantino. Through semiotic analysis it examines significant elements in movies and screenplays and describes the characteristic method of used expressions. It focuses mainly on characteristics signs and symbols as the main tool of semiosis, and their function in the film language. Diploma thesis focuses also on description of used semantic expressions, explanation of their occurrence in the author's pieces, and trying to capture the originality of the artist's expression. The final part examines Tarantino's role in the cinematography and tries to explain the causes of the great media success.

S aspekta prostorne dimenzije u Šegedinovim prozama iz zbirki Pričanje (1991.) i Biti… (1997.) artikulira se fenomen ruralnoga i urbanoga. Članak se bavi problematikom reprezentacije urbanoga prostora na primjerima iz navedenoga dijela opusa Petra Šegedina koji se odnose na Zagreb i druge gradove kao mjesta njegovih dekadentnih književnih likova. U središtu analitičke pozornosti bit će lik šetača / skitnice, kojega u svojim djelima Petar Šegedin oblikuje kao psihički rastrojenoga, usamljenoga, refleksivnoga, introspektivnoga, modernoga flâneura, sklonoga samoanalizi i racionalizaciji viđenoga i doživljenoga, a flaniranjem, šetnjom, hodanjem, prolaženjem gradskim ulicama, četvrtima, trgovima i parkovima aktivira svoje mentalne procese te doseže smisao svoje egzistencije. Osim osmišljavanja egzistencije, Šegedinov koncept flâneura ima važnu ulogu u uspostavljanju priče i pripovijedanja, koji daju smisao subjektu i svijetu (npr. Kad šetnja priča), a tu ulogu eksplicira autoreferencijalnim postupkom. Flaniranje kao besciljno, nerutinsko, nenužno, slobodno kretanje i prolaženje gradom kod Šegedinovih šetača nadmašuje puko prostorno određenje kretanja od jedne do druge prostorne točke te podrazumijeva proces koji poprima psihološku dimenziju evidentnu, uz osjećaj usamljenosti, u percepciji okolnoga svijeta, mentalnu dimenziju očitu u kognitivnim procesima, potom filozofsku dimenziju vidljivu u egzistencijalnoj upitanosti flâneura te najposlije i semiotičku dimenziju u pridavanju značenja i stvaranja priče te u stalnoj potrazi za novim značenjima i pričama.

Rad prati semiozu, odnosno ulančavanje značenja provodnih motiva u romanu Palme Katalinić Anja voli Petra (1986.). Provodni motivi djeluju poput prebacivača iz stvarnoga narativnoga sloja u bajkoviti i njihova je vrijednost dvostruka: estetska (metaforička) u poetizaciji literarnoga izraza i izvanknjiževne zbilje i etička u ljekovitu ublažavanju egzistencijalnih problema u kojima uz odrasle trpe i djeca. Njihovo je mjesto u romanu granično jer stoje između dvaju svjetova: stvarnoga i bajkovitoga, ruralnoga i urbanoga, muškoga i ženskoga. Tipično dječji naslov romana krije slojevitu priču o ljubavi i prijateljstvu, ali i o rastancima, napuštenosti, usamljenosti i traganju za osobnim identitetom. U ljekovitoj dimenziji literarnosti jače je bajkovito načelo pripovijedanja, kao i žensko načelo nad muškim, što potvrđuje i sâm naslov romana.

Semiotic Engineering is one of semiotic approaches to human-computer interaction problematics. Its theory is based on a simple notion of interface beeing a designers deputy through which the designer comunicates with users of this interface. Telling them, how to work with a program, he or she designed for them. Apart from teoretical foundation, semiotic engineering dispose also with research methods that can be used to evaluate a way an interface communicates with its users. This way it can compare with other non-semitic theories in this branch of research and thanks to its orientation to communication, it is even able to bring new points o wiev. Its theory and methods are used in this thesis as a basis for creation of a set of rules for user interface designers, that shoul serve them as guidelines for their thinking about interface. It turns out that semiotic theory is capable of bringing concerete results for praxis in the area of interaction design and it is not bound only to the academic enviroment.

This bachelor thesis "The Semiosis of sexist commercials and the public discourse (the contest The Sexist Little Pig)" deals with the contemporary form of Czech sexist advertisements and reactions that such advertisements generate. The majority of sexist advertisements work, to the objection of various feminist movements, with simplified and distorted images of women. Their critisism is mostly aimed at those advertisements that depict women in a stereotyped way. According to them, those advertisements may cause or evoke a sense of shame or humiliation, insult human dignity or even provoke violence against women. The independent socio-ecological movement NESEHNUTÍ is one of those who grapple with sexist advertising and the problems associated with it. It has already organized two rounds of the annual competition "The Sexist Little Pig" for the most sexist advertising in the Czech Republic. This thesis aims to explore selected advertisements that have been submitted to the competition by the Czech public and detects concrete sexist distortions in them that exploit both women and men. The thesis is divided into two parts. The first part deals with theoretical resources, such as theories of gender, sexism and stereotyping, as well as with the regulation of advertising in the Czech Republic. The second...

Izgleda da su mnoge značajke ljudskih društava strukturirane tako da povećavaju reprodukcijski uspjeh (Petrinovich). Da bismo razumjeli narav predodžbi, morali bismo znati što je život. Sebeok oštro razlikuje život kao arenu semioza od ne-života, ali isto tako ljudske semioze od ne-ljudskih (Kull). U specifičnoj sferi antroposemioze biće kao ljudsko biće nije samo živo biće, nego i povijesno-društveno biće. U društvenoj reprodukciji istodobnost komunikacije i bića nadiđena je utoliko što je riječ o semiotičkom biću, sposobnom da odnose vrednuje (Ponzio). Kultura je stvorena umom zajednice i svaki je um opet proizvod genetski strukturiranog ljudskog mozga. Kulturne su razlike rezultat razilaženja prije svega u povijesti i okolini, i nisu genetskog porijekla (Wilson). Cjelokupnu a|evinu živih stvari ne povezuje logika. Kad krenete kružnim putem uzročnosti logika vas vodi u paradoks. Oscilacije su kibernetski ekvivalent logike. Glavni je značaj nove paradigme prekret od predmeta ka odnosima. Odnosi, a ne dijelovi, tvore biološki oblik. To je i način kako ljudi misle. Jedini način na koji možemo misliti (Bateson/Capra)., It seems that many of the aspects of human societies are structured to enhance reproductive success (Petrinovich). In order to understand the nature of images, we need to know what life is. Sebeok sharply distinguishes life as an arena of semioses from non-life, as well as human semioses from non-human semiosis (Kull). In the specific sphere of anthroposemiosis, the being as human being is not only a living being, but a historical-social being. In social reproduction, the coincidence of communication and being is superseded in so far as it is a question of the semiotic being, the one who is capable of valuating the relations (Ponzio). Culture is created by the communal mind and each mind in turn is the product of the genetically structured human brain. The cultural differences are primarily result of divergence in history and environment, and are not genetic in origin (Wilson). The whole fabric of living things is not put together by logic. When you get circular trains of causation, the use of logic will make you walk into paradoxes. The cybernetic equivalent of logic is oscillations. The central aspect of the emerging new paradigm is the shift from objects to relationships. Biological form is put together of relations and not of parts. This is also how people think. It is the only way in which we can think (Bateson/Capra).