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  • 1.
    Aguiar, Daniella
    et al.
    Federal University of Uberlândia, Brazil.
    Atã, Pedro
    Federal University of Juiz de Fora, Brazil.
    Queiroz, Joao
    Federal University of Juiz de Fora, Brazil.
    Intersemiotic translation and transformational creativity2015In: Punctum. International Journal of Semiotics, ISSN 2459-2943, Vol. 1, no 2, p. 11-21Article in journal (Refereed)
    Abstract [en]

    In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework to describe a cognitive creative phenomenon with a philosophically robust theory of meaning results in a cognitive semiotic account of IT.

  • 2.
    Aguiar, Daniella
    et al.
    Universidade Federal de Juiz de Fora, Brazil.
    Atã, Pedro
    Universidade Federal de Juiz de Fora, Brazil.
    Queiroz, João
    Universidade Federal de Juiz de Fora, Brazil.
    Creativity as niche construction and some examples in theatrical dance2017In: Annals of the X Brazilian International Meeting on Cognitive Science - EBICC 2015 / [ed] J. E. Kogler; O. F. Pessoa Jr.; J. A. de Moraes, Sociedade Brasileira de Ciencia Cognitiva - SBCC , 2017Conference paper (Refereed)
    Abstract [en]

    Creativity can be regarded as a property of semiotic resource exploration and niche construction. More specifically, and according to this perspective, creativity is distributed, in cognitive niches, as opportunities for niche-construction. Artistic cognitive niches represent established ways to exploit available artistic semiotic resources. When such opportunities are explored so that new relations between cognition and artistic semiotic resources are established (i.e., the artistic cognitive niche is constructed), then creativity is observed. This process of niche construction involves the transformation of problem spaces ("a branching-tree of achievable situations") through the exploration of cognitive artifacts (in dance, for example, softwares, techniques, equipments such as dance shoes, stage, dance and music notations). Our approach is supported by specific examples in history. In each of these examples, the introduction of artifacts changed not only how to make dance, but also the very concept of dance, opening opportunities for the exploration of new niches.

  • 3.
    Atã, Pedro
    et al.
    Federal University of Juiz de Fora, Brazil.
    Bitarello, Breno
    Mackenzie University, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Iconic semiosis and representational efficiency in the London Underground Diagram2014In: Cognitive Semiotics, ISSN 1662-1425, Vol. 7, no 2, p. 177-190Article in journal (Refereed)
    Abstract [en]

    The icon is the type of sign connected to efficient representational features, and its manipulation reveals more information about its object. The London Underground Diagram (LUD) is an iconic artifact and a well-known example of representational efficiency, having been copied by urban transportation systems worldwide. This paper investigates the efficiency of the LUD in the light of different conceptions of iconicity. We stress that a specialized representation is an icon of the formal structure of the problem for which it has been specialized. By embedding such rules of action and behavior, the icon acts as a semiotic artifact distributing cognitive effort and participating in niche construction.

  • 4.
    Atã, Pedro
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queiroz, Joao
    Federal University of Juiz de Fora, Brazil.
    Multilevel poetry translation as a problem-solving task2016In: Cognitive Semiotics, ISSN 1662-1425, Vol. 9, no 2, p. 139-147Article in journal (Refereed)
    Abstract [en]

    Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of 'multilevel poetry translation' to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an 'experimental lab' which submits language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos' Portuguese translation of John Donne's poem 'The Expiration.'

  • 5.
    Atã, Pedro
    et al.
    Federal University Juiz de Fora, Brazil.
    Queiroz, João
    Federal University Juiz de Fora, Brazil.
    Habit in Semiosis: Two Different Perspectives Based on Hierarchical Multi-level System Modeling and Niche Construction Theory2016In: Consensus on Peirce's Concept of Habit: Before and Beyond Consciousness / [ed] Donna E. West, Myrdene Anderson, Springer, 2016, p. 109-119Chapter in book (Refereed)
    Abstract [en]

    Habit in semiosis can be modeled both as a macro-level in a hierarchical multi-level system where it functions as boundary conditions for emergence of semiosis, and as a cognitive niche produced by an ecologically-inherited environment of cognitive artifacts. According to the first perspective, semiosis is modeled in terms of a multilayered system, with micro functional entities at the lower-level and with higher-level processes being mereologically composed of these lower-level entities. According to the second perspective, habits are embedded in ecologically-inherited environments of signs that co-evolve with cognition. Both descriptions offer a novel approximation of Peirce’s semiotics and theoretical findings in other areas (hierarchy theory, evolutionary biology), suggesting new frameworks to approach the concept of habit integrated with its role in semiosis.

  • 6.
    Atã, Pedro
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Semiosis is cognitive niche construction2019In: Semiotica, ISSN 0037-1998, E-ISSN 1613-3692, Vol. 2019, no 228, p. 3-16Article in journal (Refereed)
    Abstract [en]

    Here we describe Peircean post-1903 semiosis as a processualist conception of meaning, and relate it to contemporary active externalism in Philosophy of Cognitive Science, especially through the notion of cognitive niche construction. In particular, we shall consider the possibility of integrating (a) the understanding of “semiosis as process” within Peirce’s mature semiotics with (b) an elaboration of the concept of cognitive niche from the point of view of niche construction theory and process biology research.

  • 7.
    Atã, Pedro
    et al.
    Federal University of Juiz de Fora, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Semiotic Niche Construction in Musical Meaning2017In: Recherches Sémiotiques / Semiotic Inquiry, ISSN 0229-8651, E-ISSN 1923-9920, Vol. 37, no 1-2, p. 75-87Article in journal (Refereed)
    Abstract [en]

    According to Peirce’s pragmatic semiotics, meaning (semiosis) is not an infused concept, but a power to engender interpretants. Semiosis is a triadic, context-sensitive (situated), interpreter-dependent (dialogic), materially extended (embodied and distributed) dynamic process. Although meaning is context-sensitive and materially extended, its locus is not well-captured by the notion of an environment. Inspired by biological concepts, we suggest the locus of meaning to be a niche. Here, we develop a semiotic account of musical meaning that emphasizes the location of musical signs in semiotic niches.

  • 8.
    Atã, Pedro
    et al.
    Federal University of Juiz de Fora, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    The London Underground Diagram as an example of cognitive niche construction2015In: Proceedings of the 37th Annual Meeting of the Cognitive Science Society: Pasadena, California, July 22 - 25, 2015 / [ed] Noelle, D. C., Dale, R., Warlaumont, A. S., Yoshimi, J., Matlock, T., Jennings, C. D., & Maglio, P. P, Austin, 2015, p. 114-117Conference paper (Refereed)
    Abstract [en]

    The London Underground Diagram (LUD) is a cognitive artifact and a well-known example of representational efficiency, having been copied by urban transportation systems worldwide. Here we describe the design of the LUD as an example of cognitive niche construction happening through iconic meaning of a problem space. We argue that the LUD's meaning is grounded on the offer of opportunities for action through diagrammaticity. Our examination suggest that iconicity is at the core the cognitive niche construction.

  • 9.
    Bitarello, Breno
    et al.
    State University of Rio de Janeiro, Brazil.
    Atã, Pedro
    Federal University of Juiz de Fora, Brazil.
    Queiroz, João
    Federal University of Juiz de Fora, Brazil.
    Notes about the London Underground Map as an Iconic Artifact2012In: Diagrammatic Representation and Inference: 7th International Conference, Diagrams 2012, Canterbury, UK, July 2-6, 2012. Proceedings / [ed] Philip Cox, Beryl Plimmer, Peter Rodgers, Berlin, Heidelberg: Springer, 2012, p. 349-351Conference paper (Refereed)
    Abstract [en]

    The icon is defined as a sign whose manipulation reveals, by direct observation of its intrinsic property, some information on its object. The London Underground Map is an example of an artifact used to represent part-part/part-whole relations of the largest underground systems of the world. It provides a powerful semiotic niche built for extraction and manipulation of relations. This paper explores the design of the London Underground Map through the notion of iconic artifact.

  • 10.
    Queiroz, Joao
    et al.
    Federal University of Juiz de Fora, Brazil.
    Atã, Pedro
    Federal University of Juiz de Fora, Brazil.
    Iconicity in Peircean situated cognitive Semiotics2014In: Charles Sanders Peirce in His Own Words: 100 Years of Semiotics, Communication and Cognition / [ed] Torkild Thellefsen, Bent Sorensen, Walter de Gruyter, 2014, p. 283-290Chapter in book (Refereed)
  • 11.
    Queiroz, João
    et al.
    Universidade Federal de Juiz de Fora, Brazil.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Externalismo, iconicidade e cognição distribuída em C.S.Peirce2018In: OuvirOUver, ISSN 1983-1005, Vol. 14, no 1, p. 44-54Article in journal (Refereed)
    Abstract [en]

    For C.S. Peirce, mind is semiosis (sign-action) in a dialogical form, and cognition is the development of available semiotic material artifacts in which it is embodied as a power to produce interpretants (sign-effects). It takes the form of development of semiotic artifacts, such as writing tools, instruments of observation, notational systems, languages, and so forth. Our objective in this paper is to explore the connection between a semiotic theory of mind and the conception of extended mind through the notion of iconicity, taking advantage of an empirical example of investigation in distributed problem solving (Tower of Hanoi).

  • 12.
    Queiroz, João
    et al.
    Federal University of Juiz de Fora, Brazil;University of the Free State, South Africa.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Intersemiotic Translation as an Abductive Cognitive Artifact2019In: Complexity Thinking in Translation Studies: Methodological Considerations / [ed] Kobus Marais, Reine Meylaerts, New York: Routledge, 2019, p. 19-32Chapter in book (Refereed)
    Abstract [en]

    Intersemiotic translation (IT) can be described as a cognitive artifact, designed to distribute artistic creativity. Cognitive artifacts are part of material and cultural niches of human cognition. They have different forms and can be used in many different activities. Their varied morphology includes “material and mental” structures (Norman 1993), “designed for and opportunistic” entities (Hutchins 1999), and “transparent and opaque” processes (Clark 2004). For several authors, cognition is full of cognitive artifacts; even more radically, cognition is a network of artifacts. For many artists, intersemiotic translation is one of these tools. But what is its ontological nature? And how does intersemiotic translation work? As an augmented intelligence technique, intersemiotic translation works as a generative model, providing new, unexpected, surprising data in the target system and affording competing results that allow the system to generate candidate instances. To describe this process, we introduce a model of intersemiotic translation based on Peirce’s mature semeiotic. At the end of the chapter, we speculate about the role that abductive inference can have in the process of generating new ideas in an artistic domain. What we have done here must be considered a preliminary tentative model of intersemiotic translation as a cognitive artifact to externalize creativity.

  • 13.
    Queiroz, João
    et al.
    Federal University of Juiz de Fora, Brazil.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Intersemiotic Translation, Cognitive Artefact, and Creativity2019In: Adaptation, ISSN 1755-0637, E-ISSN 1755-0645, p. 1-17Article in journal (Refereed)
    Abstract [en]

    Intersemiotic translation (IT) can be described as a cognitive artefact designed as a predictive, generative, and metasemiotic tool that distributes artistic creativity. Cognitive artefacts have a huge variety of forms and are manipulated in many different ways and domains. As a projective augmented intelligence technique, IT works as a predictive tool, anticipating new, and surprising patterns of semiotic events and processes, keeping under control the emergence of new patterns. At the same time, it works as a generative model, providing new, unexpected, surprising data in the target-system,​​ and affording competing results​ ​which allow the system to generate candidate instances. As a metasemiotic tool, IT creates a metalevel semiotic process, a sign-action which stands for the action of a sign. It creates an ‘experimental laboratory’ for performing semiotic experiments. IT submits semiotic systems to unusual conditions and provides a scenario for observing the emergence of new and surprising semiotic behaviour as a result. We explore these ideas taking advantage of two examples of ITs to theatrical dance: (1) from one-point visual perspective to classical ballet and (2) from John Cage’s protocols of music indeterminacy to Merce Cunningham’s choreographic composition.

  • 14.
    Queiroz, João
    et al.
    Federal University of Juiz de Fora, Brazil.
    Atã, Pedro
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    On a Peircean Semiotic Turn of Semiotranslation2018In: Punctum. International Journal of Semiotics, ISSN 2459-2943, Vol. 4, no 1, p. 210-217Article, book review (Refereed)
    Abstract [en]

    The influence exerted by Peirce’s semeiotic on Translation Studies ‘has been close to nil’. Nothing has yet happened that looks like a ‘semiotic turn in translation studies’. This is surprising. Peirce’s pragmatic model of meaning as the ‘action of signs’ (semiosis) has had a deep impact on philosophy, psychology, theoretical biology, linguistics, and cognitive sciences, besides all branches of semiotics. Why is such an influence not observed in a field of studies so strongly impregnated by semiotic notions, like translation studies? How could such an influence be exerted? Douglas Robinson’s book is about these questions. His book is not a review or analysis of the reasons why a ‘semiotic turn in translation studies’ has never happened. In fact, it is mainly about Dinda Gorlée’s works. Gorlée has forged the most systematic inter-theoretical relationship between Peirce’s semeiotic and Translation Studies. Her papers and books tentatively build an initial step of a Peircean transformation in Translation Studies’ research agenda. In our opinion, if this project has not succeeded yet, Robinson’s book will not accomplish it either. Why? Because it does not explore the implications resulting from a rigorous mapping between fundamental premises, problems, methods and models delineating the research domains. Even so, Douglas Robinson’s book is an important and necessary work to understand the difficulties involved in this project. His main ideas regarding the possibility of an inter-theoretical relationship are found in chapters 1 and 4 (other chapters are presented as case studies and empirical descriptions.) In these chapters, we find (non-systematically) many of Peirce’s ideas on semiosis, phenomenological categories, abductive inference, etc. It is a good supposition that the exploration of these ideas should produce a remarkable set of unprecedented consequences (otherwise it is a useless academic cost).

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