New Discoveries Should Reopen the Discussion of Signs

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A.T. Arts & Culture 2015

ALTERNATIVE THEORETICS (Arts & Culture)

Article

New Discoveries Should Reopen the Discussion of Signs

Michael Joseph Winkler

Authors' Contact Information: www.WinklerWordArt.com

Published: December, 6, 2015, New Yor

Abstract: Some recent scientific discoveries regarding the signs of language, which impact

my own ongoing proect as a visual!conceptual artist, also dramatically impact the

Saussurian foundation of the prevalent cultural theories which underlie the curatorial

priorities of many maor art institutions.

e!words: Signs" Semiotics" Art" Culture" Saussure" #esture" $inguistics" %rthography"

"ntroduction

&y ongoing proect as a visual!conceptual artist attempts to pose the uestion: is there any

possi(ility that a word's meaning could have unintentionally influenced our cultural ancestor's choices

when they created the signs for words. &ost cultural theorists (elieve the uestion has already (een

answered. )heir view is that it is not possi(le for an innate or intuitive aspect of awareness to

unknowingly influence the structuring of signs during the evolution of language, (ecause the signs of

language are ar(itrary. )heir view was first e*pressed over + years ago (y -erdinand de Saussure, a

founder of modern linguistics. Saussure noted that, e*cept for rare instances of onomatopoeia and

sound sym(olism, the overall sound of a spoken word and the meaning of the word are not related. e

formulated the logical assumption that the connection (etween the sign for a word and its meaning is

fundamentally ar(itrary. Saussure's assumption was later applied to written language (ecause it aligned

with the prevailing conception of how we read words" /ouma )heory stated that we read words (y

recognition of their overall shape or outline. And ust as with spoken words, no connection (etween a

written word's a(stract shape and its meaning had (een found. Saussure's assumption that the signs of

language are fundamentally ar(itrary (ecame a foundation of modern linguistics. Cultural theorists

then further e*panded the idea to include all other signs, even images 0making Saussure's assumption a

foundation of 'Semiotics', the study of all signs1 2+345. )he idea that all signs are ar(itrary aligned with



A.T.. Arts & Culture 2015 #

a popular philosophical theory of the human mind as a (lank slate, a ta(ula rasa with no inherent

structural dynamics. If the mind can learn to connect language3(ased meaning to ar(itrary shapes and

sounds, then it seemed reasona(le to assume that all meaning is connected ar(itrarily to a perceptual

stimulus. )he theory (oils down to the (asic conception that all forms of meaning are comprised of

ar(itrary relational networks arising (etween ar(itrary signs. 6etworks of meaning emerge simply as

the result of the focus of our attention. Some networks are then reinforced (y a cultural conte*t of

e*isting relationships which, although initially assem(led ar(itrarily, are culturally reinforced to

(ecome treated as discrete phenomena. Although many philosophers and cultural theorists continue to

su(scri(e to the idea of the mind as a (lank slate, many scientists point to discoveries which they

(elieve make the idea implausi(le 275. Also, if there is no inherent stimulus, our capacity for (eing

attentive to the field of sensory input would not e*ist. $ater in this article, the relationship (etween

language and consciousness will (e discussed a (it more, (ut the article's focus is the nature of signs.

)he most important point is, all uestions relating to the structure of signs have (ecome irrelevantand all discussion of the inherent nature of signs is now closed. If we accept the idea that all signs are

ar(itrary, there is no fundamental difference (etween the perception of: a material o(ect" the word for

the o(ect" or an image of the o(ect. As a result, the signs from one discipline can (e used in another

discipline without referencing the critical history of the sign's origin. 8lacing te*t on a gallery wall is

treated as an appropriate means of creating work in a visual arts conte*t, and the te*t need not (e

su(ected to a literary critiue. Statements which might (e considered insignificant from a literary arts

point of view are cele(rated as ground (reaking when presented in galleries, (ecause they are new

additions to the cultural and historical dialogue within the conte*t of the visual arts. )he distinction

(etween the inherent nature of signs of different disciplines has dissolved to the e*tent that ane*hi(ition in an art museum can now (e comprised entirely of non3visual content, such as recordings

of spoken words. Academic critiues now focus on the hermeneutics of the social, cultural, and

historical conte*t surrounding the use of the various signs, and the stated intention (ehind their choice,

(ut disregard the construction of the signs. As a conseuence, many museums are relegating 'art for

art's sake' to a less important position (ecause it is most often concerned with the construction of the

signs!images themselves. Social commentary surrounding a work of art has often (ecome more

important than the work. And it is now entirely accepta(le for artists to appropriate work created (y

others, treating it as a sign within the conte*t of their own message 0we accept the idea that these

artists are creating a new work (y repositioning the (orrowed sign in a different cultural or

sociological narrative1. /ut this paper (rings to light recent discoveries which demonstrate that the

Saussurian foundation of these trends is rooted in a false perspective of the nature of linguistic signs.

Recent discoveries $ake it clear that the logical basis of Saussure%s assu$ption is groundless.

9emem(er, Saussure never offered any proof whatsoever that the signs for words were ar(itrary. It

was merely an assumption (ased on the o(servation that the overall sound of a spoken word didn't

seem to have any relationship to its meaning. nfortunately for all those who have (uilt their theories

on Saussure, his o(servation was (ased on an inaccurate conception of linguistic signs. 8sychologistsstudying language have recently uncovered evidence that the overall sound is not the sign for a spoken

word, what we recogni;e as a spoken word is the patterning underlying the seuencing of the vocalic



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gestures 2<3=5. )he same vocalic gesture can (e reflected in widely varying forms of phonetic sound.

Conseuently, it is not the sound, or even the gestures themselves which comprise the sign" it's the

pattern of the seuencing of the gestures. It's similar to &orse Code in that the signifier is not manifest

in the dots and dashes which the telegraph operator hears as long and short tones (ut rather in the

temporal pattern they reconstruct 0the continuous gestural events have only (een artificially dissected

(ased on research criteria33any naturally discreet units of the seuential phenomena remain

unidentified1. owever, Saussure's conception of the sign for a spoken word was clearly incorrect. e

never e*amined the seuencing of vocal tract gestures to look for a connection to signified meaning.

>ust as we can send &orse Code visually using flashes of light, we can also transmit words visually.

)he signs for written words are easier to analy;e than the signs for spoken words, and a similar

discovery has (een made a(out how we read written words. Advances in eye3tracking technology have

led to the discovery that we don't read words (y their overall shape or outline as had (een thought" we

read the seuences of individual letters. /ouma )heory was another incorrect assumption33the newtheory is 8arallel $etter 9ecognition 2+5. ?espite these new discoveries, which tell us that image3

(ased and language3(ased signs are e*perienced very differently, all discussion of the inherent nature

of signs has remained closed (ecause Saussure's assumption has (een treated as fact. )he difference

(etween the two classes of signs is profound. )he sign for a word is one3dimensional while an image3

(ased sign is two3dimensional. )he signs of spoken and alpha(etic language are a linear pattern of

temporal relationships which have no spatial form. )he perception of images is not inherently involved

in the reading of words 0the sym(ol for a letter can (e read (y touch in /raille, or as sounds in &orse

Code1. We only need to recogni;e @< different sym(ols to read over 7, Bnglish words" and

although we need to (e a(le to distinguish one sym(ol from another, the sym(ols can (e of anymutually agreed upon form 0uppercase or lowercase type, script, /raille, &orse Code, or any other

visual, te*tual, or auditory sym(ols we might wish to invent1. )he characters or sym(ols used to

convey the individual alpha(etic components are ar(itrary (ut the sym(ols do not esta(lish alpha(etic

identity. Bach alpha(etic letter3component 0not to (e confused with the purely ar(itrary letter3names or

letter3characters1 has a specific identity which is (ased entirely on its role within the alpha(et, as it

relates to the le*icon of the language 0identity is (ased on relative alpha(etic location1. &ost

importantly, the characteristics which define each alpha(etic component's identity are not ar(itrary

(ecause different components of the alpha(et play different roles within the structure of language.

Some alpha(etic3components consistently affect the meanings of many different words, such as

changing tense, plurali;ing, or creating prefi*es which dramatically alter meaning. Since the alpha(etic

components have particular roles with regard to aspects of meaning, it is undenia(le that some level of

relationship e*ists (etween the assem(lage of meaning and the relative structure of the alpha(et. /ut

an individual alpha(etic component is not the sign for a word 0Bnglish has two instances1, the sign

resides in their seuencing 0spelling133the uestion posed (y my proect is not implausi(le. It is

possi(le that there is an innate or intuitive structure underlying senses of meaning" and to some e*tent,

it influenced the choices of the vocalic!alpha(etic system comprising the signs of language. Since our

cultural ancestors choices of gestural or alpha(etic seuencing were not made according to a plan,

innate senses of the formulation of meaning were free to influence the choices unintentionally.

)he new discoveries indicate that the uestion of the inherent nature of signs should never have

(een treated as resolved. )he signs for words are the manifestation of language, and language is the



A.T.. Arts & Culture 2015 '

very foundation of culture" so no uestion is more significant with regard to gaining insights into the

cultural aspects of human e*perience. Since the signs for words are assem(led intuitively (y the

collective choices of many generations of our linguistic ancestors" the signs themselves are essentially

a colla(orative work of art. As such, the 'spelled3forms' which are the focus of my proect are not

fundamentally my own artistic creation. I am simply a translator who makes an e*isting temporal work

of art visually e*periencea(le. I accomplish this (y using a rigorous process which translates the linear

code of the alpha(etic seuences of spelling into an information3preserving geometric configuration

which can (e viewed as an a(stract image. )he process is uite simple: lines are drawn which

interconnect letter3points according to the spelling of words within a circular configuration of the

alpha(et 0-igure +1. )he alpha(etic points are not spaced eually around the circle. )he consonants are

(igure ). $e*icological Structures @+7, acrylic and pigment print on paper, @@ * @@ inches



A.T.. Arts & Culture 2015 *

(igure #. 0$eft1 Illustration of the fi*ed alpha(etic configuration of letter3points organi;ed

around an eual spacing of the 7 regular vowels. 09ight1 'All W%9?S'33D@7 straight

lines illustrating all the possi(le letter3relationships of the 9oman Alpha(et

3

spaced eually (etween an eual spacing of the five regular vowels 0-igure @1. )he configuration is

(ased on a circle (ecause it is the only geometric shape which does not have inherent spatial variation

along its perimeter 0the same reason a circle is used for a pie chart1. )he spelled3forms created using

the process are often presented as a(stract paintings 0-igure D1. Eiewing the temporal code as a(stract

(igure &. 6ever Shapes )omorrow @+D, Acrylic, +D * D= ft. 0Spelled3-orms of the title's words1

art facilitates intuitive assessment of the sign. Intuitive assessment is the most valid means of

evaluation (ecause the choices comprising the signs of language were formulated innately or intuitive3



A.T.. Arts & Culture 2015 +

ly, rather than rationally. As we read words, the alpha(etic seuences of spelling are (eing recogni;ed

(ut the recognition immediately recalls the associated meaning. %ur rational mind is not aware of the

features of the patterning of the seuence which made its recognition possi(le. When I create a two3

dimensional visual map of the patterning, the structure of the temporal seuence (ecomes apparent

(ecause it can now (e perceived as a visual rather than linguistic sign. &y work is entirely concerned

with rigorously transforming a linguistic sign into a visual sign, so the current cultural theory is in

direct conflict with my proect (ecause it inappropriately treats the written word itself as a visual sign

0or a sign which is not inherently different than a visual sign1. )his paper has focused on the Bnglish

$anguage (ut the spelled3forms of many other 9omani;ed languages have (een e*plored 0-igure 41. If

(igure '. An untitled work commissioned (y ?aimler &ercedes3/en;, @+7, mi*ed3media on canvas,

@ * 7< inches 0spelled3forms of +@ #erman words: 9olle, Fick;ack, Ausgleichs3, #edanke,

kompli;iert, %rganisation, elementar, Ansat;, a*ial, A(stammung, errichten, Eariantenapparat1.



A.T.. Arts & Culture 2015 ,

the choices comprising the signs of language were influenced (y innate or intuitive factors, we would

e*pect to see some similarity (etween different languages. As it happens, a significant num(er of the

world's languages are so similar that it is (elieved they all evolved from the same earlier language,

Indo3Buropean. /ut no hard evidence has ever (een found that an Indo3Buropean $anguage or culture

e*isted 0an attempt at finding genetic evidence was unsuccessful1. Bven languages which appear

radically different show some similarity 0in Chinese Ideograms, the overall image is not the sign, what

is read is a seuence of strokes taken from a (asic alpha(et of calligraphic gestures1.

Although this paper draws upon language research to support its argument, it is unlikely that most

mem(ers of the linguistics community would support it. Saussure is still an acknowledged founder and

key figure in modern linguistics. And linguistics researchers will (e uncomforta(le with my proect's

focus on written language rather than spoken language. )hey generally view spoken language as the

primary version of language, and treat written language as a derivative of spoken language. At its

origin, written Bnglish was unuestiona(ly modeled (ased upon spoken Bnglish, and in modernsociety there is an ongoing cognitive interaction (etween the two versions of the language. owever,

although the signs of the two versions of Bnglish may have once had an e*act correlation, the factors

which played a role in the evolution of their signs are not entirely the same. )his (ecomes o(vious

when you look at the distinction (etween the (asic classes of letters of the 9oman Alpha(et, vowels

and consonants. In spoken Bnglish, the vowels are preferenced over the consonants. )he maority of

vowels must (e present for spoken words to (e intelligi(le. owever, in written Bnglish, it is the

consonants which must (e present for reada(ility while the vowels may often (e omitted. In written

Bnglish, the vowel!consonant distinction is not phonetic" yet, it is o(viously a very important

distinction (etween the alpha(etic components. )he signs of written language are formulated from a

natural alpha(etic system of discreet components which function perfectly even when there is no

familiarity with the spoken version of the language 0no access to spoken Bnglish is reuired to learn

written Bnglish1. And written language is the only version of language with natural alpha(etic

components. )here is no evidence that the underlying principles of natural organi;ation in spoken

language have any inherent relationship to the artificial segmentation into the components of the

International 8honetic Alpha(et 0a pseudo3alpha(et created (y language researchers1. )he conception

of an alpha(et is (ased entirely on the natural evolution of written language. We can't study the natural

organi;ing principles underlying the signs of spoken language (ecause we don't know what they are.

)he mechanisms specific to speech may not (e a key factor in the human capacity for language. All

versions of language seem to have a common dependance on gesture. Several studies have demon3

strated that gesture paves the way for language development 2++3+D5. /efore children learn to use

speech, they have the a(ility to understand language and communicate through deictic and iconic ges3

tures. And as previously discussed, vocalic gesture is the (asis of speech. We even have a documented

instance of simple gestures naturally evolving into a fully syntactical language 06icaraguan Sign $an3

guage emerged naturally (ased on a syntactic e*pansion of simple gestures within a population which

had no access to spoken language1 2+4,+75. #esture is also involved in written language (ecause move3

ment of the eye is fundamental to the act of reading, and the alpha(etic sym(ols which unfold (eforethe eye are comprised of the same patterning as simple gestures. Also, the gestural movement of the

hand is fundamental to the act of writing 0in /raille, the act of reading is also (ased on movement of



A.T.. Arts & Culture 2015 -

the hand1. We tend to think that only spoken language (ecomes hard wired into the (rain during the

process of learning language" however, our rational minds are generally also unaware that we are deci3

phering the comple* codification of strings of letters during the reading process, so clearly the mecha3

nism for decoding written signs also (ecomes hard wired in proficient readers. )he actions of the vocal

tract could (e like the actions of the human hand" a highly evolved physical de*terity which, when

studied, tells us very little a(out the neuro3psychological impulses initiating the actions. )he funda3

mental cognitive prereuisite for language is not speech, it is the collective conception of a shared

sense of meaning which we all agree upon prior to its naming.

We haven't yet identified the neuro3psychological foundation of the structure of our shared sense of

meaning. owever, it is o(viously (ased on a sym(iotic relationship (etween the mechanism of human

perception and the physical environment of meaningful o(ects, (eings, and interactive events which

comprise the world around us. %ur sensory awareness ties the physical manifestation of our own

(odies to the material environment we inha(it, and it is that relationship upon which the capacity for naming a shared conception is fundamentally (ased. All materiality is a manifestation of codified

structure. %ur senses simultaneously summari;e and fractionali;e the din of the sensory fieldGs

particles and waves into recogni;a(le o(ects and (eings. %ur senses accomplish this task (y means of

an innately formulated process of decodification. When our cultural ancestors collectively formulated

the strings of alpha(etic code during the comple* evolution of written Bnglish, they had no conscious

intention of designing the code to reflect senses of meaning. owever, nothing prevented their innate

capacity for the sensory decodification of meaning from influencing their choices as they collectively

developed the code of the alpha(etic signs. %ur letter3characters have evolved to reflect a (asic

voca(ulary of forms which are identical to Bntoptic -orms 0dots, lines, circles, spirals, meanders,

crosses, grids, etc spontaneously produced (y the Central 6ervous System at the optic nerve during:

sensory deprivation, natural and drug induced trance states, or as a result of head inuries33presuma(ly

the Central 6ervous System is checking the sensory network using the (asic patterns of visual

perception to see why the C6S is not receiving sensory information1 2+<,+5. -urthermore, the method

of alpha(etic codification is also applica(le to e*pressing the information which guides the

construction of the human (ody and the mechanics of the neuro3psychological foundation of human

awareness 0the uman #enome is descri(ed using (asic alpha(etic seuences1.

I don't want to give the impression that the goal of my proect is to foster scientific research.Although my process is nearly identical to the process used to construct the initial model of the dou(le

heli*, I am not a scientist. &y process meets the standards of a scientific method of model3making: all

variations in form result entirely from spelling (ecause the process is fi*ed or constant 0it does not

change from word to word1, so the geometric patterning revealed (y the spelled3forms is an

isomorphic or information3preserving transformation of the structure of the code underlying the

spelling of words. owever, although the spelled3forms are a rigorous depiction of the patterning of

our cultural ancestors choices when they constructed the signs for the words, the reason these

particular choices felt the most appropriate remains unknown. )he spelled3forms reflect a meaning3

centered activity of collective consciousness spanning centuries 0it was an ongoing and continually

evolving activity until spelling was standardi;ed1" (ut (eyond that, there is little that can (e said a(out

the spelled3forms with any certainty. If the spelled3forms appear to (e meaningfully structured in



A.T.. Arts & Culture 2015

relation to the words which generate them, it is not proof that some aspect of the mechanism of

meaning influenced their design. )he odds of coincidence are reduced when a meaningful seuence of

variations is o(served 0such as in -igure 71, (ut the possi(ility of coincidence still e*ists. )he point of

my argument is that the possi(ility that some aspect of the mechanism of meaning played a role in our

(igure *. detail from )he /ook of Spells @+4, offset printed limited edition artist's (ook.

cultural ancestor's choices cannot (e ruled out either. As an artist, I see the am(iguity created (y these

two different possi(ilities as a source of conceptual (eauty. I'm not interested in resolving the uestion.

And it is important to make it clear that the cultural theorists who (elieve the uestion posed (y my

proect has (een resolved are wrong. -igure < illustrates how the movement of the spelling seuencefrom alpha(etic3point to alpha(etic3point can convey meaning. It is possi(le that this phenomena is

simply a profound coincidence. /ut it is also possi(le that it arises from a gestural foundation at the or3



A.T.. Arts & Culture 2015 )/

(igure +. detail from $I#6S @, limited edition artist's (ook H print series.

3igin of language. %ther e*planations may also (e plausi(le. )he uestion posed (y my proect opens

the door to the fundamental uestion of the nature of meaning in the conte*t of human e*perience. A

uestion which, in my view, is (etter addressed in the realm of art than the realm of science. We can

never step out of our own perception of meaningful awareness to e*amine it from a scientific

perspective. It is said that e*periencing a work of art is different at every viewing and for every viewer,and the same can (e said for any meaningful e*perience. )he goal of my proect is to facilitate the

viewer's e*amination of their own senses of meaningful awareness in the conte*t of their own

relationship to the use of the words and their own direct e*perience of the visual phenomena.

)he personal perspective of a meaningful e*perience is the only perspective which is authentic.

$anguage tricks us into (elieving we share identical senses of meaning, (ut the e*perience of a word is

like the e*perience of a work of art 0great writers use language which engages our own perspective of

meaningful e*perience, rather than trying to tell us what they e*perience1. A literary assessment must

always play a role in the critical assessment of a work of art which relies on language to convey its

meaning. Whether or not a te*t is presented in a gallery or on the pages of a (ook, the very act of

reading recalls the critical conte*t of literature (ecause the written word is a literary rather than a

visual sign. Interdisciplinary art should first (e critiued from the perspective of all the disciplines

involved, then it should (e critiued (ased on how well the disciplines are synthesi;ed to convey a

unified message 0otherwise the work is simply a multidisciplinary assem(lage of signs rather than

(eing genuinely interdisciplinary1. )he last level of critiue should focus on the hermeneutics of the

social, cultural, and historical conte*t surrounding the artist's intentions and use of the various signs.

0onclusion

Whether or not my proect is of any interest, the uestion of the inherent nature of signs needs to (e

reopened. Although a theory of culture need not (e (ased on scientific discoveries, it must have some



A.T.. Arts & Culture 2015 ))

kind of logical foundation which does not directly contradict what we have discovered a(out the

mechanisms of human e*perience. Also, current trends need to (e re3evaluated now that their

Saussurian foundation is known to (e an unsupported assumption (ased on a false conception of the

signs of language.

0onflicts of "nterest

)he author declares no conflict of interest

References and Notes

+. /arthes, 9. The !"shio# $%stem ")rans. Ward, & H oward, 9" niversity of Chicago 8ress:

SA, +=D

@. /arthes, 9. %tholo'ies( trans. $avers, A." 8aladin: $ondon, +=@

D. /audrillard, >. !or " Criti)ue o* the Politic"l +co#om% o* the $i'#( )rans. $evin, C." )elos: SA,

+=+

4. /audrillard, >. The $%stems o* b-ects( )rans. /enedict, >." Eerso: $ondon, +==<

6ote 9e: +34. /arthes draws his conception of signs from de Saussure's theory (ut he applies it

outside the realm of linguistics to a social and cultural conte*t. /arthes approach is further

e*tended (y /audrillard 0de Saussure, /arthes, and /audrillard are the key figures in

contemporary cultural theory1.

7. &arkus, #. The irth o* the i#d( /asic /ooks: 6ew Jork, S, @4.

<. #alantucci, #., -owler C., )urvey &. )he &otor )heory of Speech 8erception 9eviewed. Ps%cho# ull /e. @<, 1 3, pp. D<+3D.

. $i(erman, A., Shankweiler, ?., Studdert3Kennedy, &. 8erception of the Speech Code. Ps%ch /e.

+=<1 4, pp. 4D+34<+.

. Bccardt, ). )he Case for Articulatory #estures336ot Sounds33as the 8hysical Bm(odiment of

Speech. Ad"#ces i# !u#ctio#"l i#'uistics: Columbi" $chool e%o#d its ri'i#s( ?avis, >.,

#orup, 9., Bds." >ohn /enamins: Amsterdam, 6$, @<" pp. @D3D.

=. &ildner, E. The Co'#itie Neuroscie#ce o* 7um"# Commu#ic"tio#( 8sychology 8ress: 6ew Jork,

S, @.

+. 9ayner, K. Bye &ovements in 9eading and Information 8rocessing: @ years of 9esearch. Ps%ch /e. +==, 12 3, pp. D@34@@.

++. Iverson, >. &., H #oldin3&eadow, S. 0@71 #esture paves the way for language development.

/ese"rch /e8ort : Ps%cholo'ic"l $cie#ce, @7, +<071, pp. D<LD+.

+@. 6amy, $. $., H Wa*man, S. 9. Words and gestures: InfantsG interpretation of different forms of

sym(olic reference. Child Deelo8me#t , +==, <=0@1, pp. @=7LD.

+D. %;caliskan, S., H #oldin3&eadow, S. #esture is at the cutting edge of early language

development. Co'#itio#, @7, =<, pp. ++L++D.

+4. Kegl, >." $anguage Bmergence in a $anguage39eady /rain: Acuisition Issues in "#'u"'e

Ac)uisitio# i# $i'#ed "#'u"'es( &organ, #. and Woll, /." Cam(ridge niversity 8ress: @@,

pp. @L@74.



A.T.. Arts & Culture 2015 )#

+7. /ierma, 6. At 9andom on $anguage: 6icaraguan deaf children create language of their own. The

Chic"'o Tribu#e, +4 %ct. @4 0also accessi(le at: chicagotri(une.com1.

+<. /ressloff, 8. C., Cowan, >. ?., #olu(itsky, &., )homas, 8. >., H Wiener, &. C. #eometric visual

hallucinations, Buclidean symmetry and the functional architecture of striate corte*.

Philoso8hic"l Tr"#s"ctio#s o* the /o%"l $ociet% : iolo'ic"l $cie#ces, @+, D7<, pp. @==LDD.

+. -roesel, )., Woodward, A., Ikegami, ). )uring insta(ilities in (iology, culture, and consciousnessM

%n the enactive origins of sym(olic material culture. Ad"8tie eh"ior , @+D, @+0D1, pp. +==L

@+4.

N @+7 (y &ichael >oseph Winkler 8u(lished (y: AlternativeTheoretics.org alternativetheoreticsOgmail.com

9This "rticle m"% be "ccessed & dow#lo"ded *ree o#li#e "t: $cribd.com " hi'h )u"lit% 5 me'

8ri#t"ble PD! c"# be dow#lo"ded *rom Alter#"tieTheoretics.or' "t

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