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  1. Science as Systems Learning: Some Reflections on the Cognitive and Communicational Aspects of Science.Hugo F. Alrøe - 2000 - Cybernetics and Human Knowing 7 (4):57-78.
    This paper undertakes a theoretical investigation of the 'learning' aspect of science as opposed to the 'knowledge' aspect. The practical background of the paper is in agricultural systems research – an area of science that can be characterised as 'systemic' because it is involved in the development of its own subject area, agriculture. And the practical purpose of the theoretical investigation is to contribute to a more adequate understanding of science in such areas, which can form a basis for developing (...)
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  • On the Biological Concept of Subjective Significance: A Link Between the Semiotics of Nature and the Semiotics of Culture.Zdisław Wąsik - 2001 - Σημιοτκή-Sign Systems Studies 1:83-106.
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  • The Fundamental Problem of the Science of Information.Jaime F. Cárdenas-García & Timothy Ireland - forthcoming - Biosemiotics:1-32.
    The concept of information has been extensively studied and written about, yet no consensus on a unified definition of information has to date been reached. This paper seeks to establish the basis for a unified definition of information. We claim a biosemiotics perspective, based on Gregory Bateson’s definition of information, provides a footing on which to build because the frame this provides has applicability to both the sciences and humanities.A key issue in reaching a unified definition of information is the (...)
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  • The Cybersemiotic Model of Communication: An Evolutionary Model of the Threshold Between Semiosis and Informational Exchange.Søren Brier - 2006 - Semiotica 2006 (158):255-296.
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  • A Biosemiotic and Ecological Approach to Music Cognition: Event Perception Between Auditory Listening and Cognitive Economy.Mark Reybrouck - 2005 - Axiomathes 15 (2):229-266.
    This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...)
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  • Co-Generic Logic as a Theoretical Framework for the Analysis of Communication in Living Systems.Yair Neuman - 2003 - Semiotica 2003 (144).
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  • Signs and Phylogeny: A Semiotic Approach to Systematics.Lars Vogt - 2004 - Semiotica 2004 (149).
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  • The Hidden Ontology: Real-World Evolutionary Systems Concept as Key to Information Science.Wolfgang Hofkirchner - 2001 - Emergence: Complexity and Organization 3 (3):22-41.
  • A Biosemiotic and Ecological Approach to Music Cognition: Event Perception Between Auditory Listening and Cognitive Economy. [REVIEW]Mark Reybrouck - 2005 - Axiomathes. An International Journal in Ontology and Cognitive Systems. 15 (2):229-266.
    This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...)
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  • Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach.Mark Reybrouck - 2012 - Biosemiotics 5 (3):391-409.
    This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from the (...)
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