O presente texto propõe uma leitura de diversas teorias do afeto pelo viés da semiótica. Partindo do preceito de que é impossível não afetar ou não ser afetado, estabelece alguns parâmetros para definir o que é afeto para dar conta das dimensões epistemo e ontológica da semiose. Com base em Espinosa, Deleuze e Guattari, ensaia dizer que há, para além de uma capacidade significante, também uma qualidade “sensacional” da semiose, aproximando a processualidade deste fenômeno às cadeias afetivas que (...) devém de toda afecção. Palavras-chave: Afeto. Semiótica. Teorias da Comunicação. Espinosa. (shrink)

Este artículo de reflexión, que hace parte de la investigación De la polis a la politeia. La política hoy, propone un éxodo semiológico (semiótica a-significante) como resistencia al gobierno de signos de los Mass Media, lo que siguiendo a Paolo Virno se llama industria comunicacional; para sustentar esta propuesta se recurre a la teoría del éxodo que exponen los operaístas como Antonio Negri, Paolo Virno, Michael Hardt y Víctor Moncayo y que propende por la huida y el escape (...) del sistema dominante y no por la búsqueda del poder estatal. (shrink)

The objective of this article is to analyze Lost from the perspective of transmedia storytelling and to propose a taxonomy of transmedia expansion/compression strategies. In the first section, the article presents the basic components of transmedia storytelling from a theoretical point of view that combines narratology and semiotics. After describing the most important components of Lost's transmedia fictional universe in the second section, the article presents a general description and taxonomy of expansion/compression narrative strategies based on traditional rhetorical categories. The (...) article also analyzes “compressed texts” – like recapitulations – and their role inside the expansive strategies. (shrink)

Skateboarding has been a hallmark of adolescent experience in suburban America ever since its beginning in the 1950s. Skateboarding has become an underground subculture, providing the youth population a novel outlet for self-expression and independence. Transworld Skateboarding magazine displays the ideological characteristic of the skateboard movement through their unique populist syntext, distinctive signification system, and extensive textual convergence. However, while expressing adolescent resistance against homogeneity, the magazine also reflects the influence of popular culture on skateboarders. This idiosyncrasy of Transworld Skateboarding (...) magazine reflects popular culture’s constant struggle between the need for hegemonic provision and resistance of mainstream conformity. (shrink)

This essay focuses on the concept of consciousness in C. S. Peirce’s work, revealing how its ways of being are associated with the three Peircean phenomenological categories. In this article, I intend to reflect on the heuristic power of the mind, namely, its ability to bring about new ideas, which, within Peirce’s logic of inquiry, is called by the well-known term of abduction. The abductive logical step promotes a synthesis of signs that constitutes a logical structure capable of proposing a (...) new mediation or representation of a new phenomenon. I make use of a metaphorical passage from Peirce not only to give the title to this essay, but also to highlight the importance of the first category as a sort of synechistic envelopment of an unprecedented logical structure of signs that composes a new synthesis. Two continua intertwine themselves, namely, those of the first and third categories, to account for what appears as a fact of the world in the theater of secondness. The essay also seeks to bring to light the core realism of Peirce’s philosophy, the genetic aspect of this bottomless lake, through its cosmology, where the generalization of forms and the acquisition of habits of reality are the proper ground of his Objective Idealism. One of the heuristic aspect of the lake metaphor is a sort of invitation to extend the concept of synthesis from the realm of logical structures to that one of arts, which in this essay will remain as a suggestion for a further reflection. (shrink)

In Eco’s work between around 1960 and 1992, “openness” in a modern literary text can mean (a) “permitting more than one interpretation,” and (b) “requiring a good deal of decoding work from the reader,” which is close to my own position. These two aspects of openness are demonstrated using Baudelaire’s Les Chats, in regard to which Eco denies that the text may be cristallin in Lévi-Strauss’s sense, while still requiring constructive effort from the reader. It is apparent that this term (...) is equivalent to Riffaterreʼs textual “monumentality.” Eco does not go into detail about the reader’s work in assembling the text’s global propositional structure. It is left to Riffaterre and myself to detail the various stages of this work, involving comparison of images in order to discover their common underlying generative proposition. In contrast to Riffaterre, I have long suggested that the modern poetic text is built on two such propositions. It is at the stage of relations between text and sociolect that Eco contributes much to modern poetics. Openness (b) seems to be a prerequisite for perceptual change in the reader, produced by contrast between textual structure and its sociolectic context. Riffaterre prefers to remain within the text/intertext/interpretant triad, preventing him from describing the text-sociolect relation, where the propositional innovation of the modernist text takes effect. (shrink)