Семиосфера: Теория, структура и влияние на культуру и окружающую среду.

The semiosphere is an idea in biosemiotic theory proposing that, contrary to ideas of nature determining sense and experience, the phenomenal world is a creative and logical structure of processes of semiosis where signs operate together to produce sense and experience. The study of the semiosphere has often overlapped into research made by symbolic interactionists and field theorists. The subject's narrative boundary understanding of its environment—the lifeworld as proposed by Edmund Husserl, or umwelt as proposed by Jakob Johann von Uexküll—is derived through abstract processes of making a phenomenal world of symptoms, signals, icons, indexes, symbols and names—as proposed by Charles Sanders Peirce—from the semiosphere's code for interacting with and creating meaning from other umwelt. An analogical concept is Deleuze and Guattari's societal extraction of surplus value of code, where subjects sporadically extract signs—which are externalized as acts and traits—from the code that makes up their environment.

The emergent soundscape is a facet (geometry) of the semiosphere, or plane (geometry) of the Umwelt.

A semiosphere includes "physical, energetic and material phenomena" that get turned into neural signals and which contribute to processes of neuroplasticity. Common representations of the semiosphere are as universes, arts museum halls, or mind palaces. Semiotics studies aesthetics and architecture, among many other fields. Influenced by Office for Metropolitan Architecture, acting as a type of post modern flâneuse, the 'pataphysical poet Lisa Robertson has researched the aboutness of a city's semiosphere by parodying "reductionist scientific analysis". Another notable figure is Erín Moure.

Soft architecture's observational focal point is the observer's sense organs. The self world can have an atmosphere that has a mood. Meaning can come from atmosphere. The origin point of a semiosphere etherealizes itself in the atmosphere of its environment; the umwelt uses monosemy to derive polysemy from the process of encoding and encoding. An implication of the semiosphere is also the emergence of something that is more than the sum of its parts; at its largest, it becomes a global village, or second degree semiosphere.

The concept of the room in stand up performance is a specific artistic rendering of the sociology of space within a specific social space and has historically been used in casual social interactions and niche places such as pleasure gardens and traversable art installations.

John Hartley, Indrek Ibrus and Maarja Ojamaa built on the original concepts of biosphere (Vladimir Vernadsky) and semiosphere (Juri Lotman) and linked these to the studies of cultural globalisation, datafication, platformisation, mediatisation and the evolution of digital culture. They demonstrated how the semiosphere could be seen as a causal force shaping not only global communications and political fluctuations, but also the biosphere and geosphere and such also the evolving Anthropocene.

The term semiosphere is a neologism coined by Juri Lotman in response to Vladimir Vernadsky's concepts of biosphere and noosphere and Mikhail Bakhtin's concept of logosphere; Lotman proposed that the concept of the semiosphere can account for all relations between humans. The study of the cultural semiotics was furthered by the concept of the semiosphere. Lotman had difficulties abstracting semiosphere from biosphere. Lotman characterizes semiospheres as feminine and inert, needing to be penetrated with information. The concept is treated more fully in the collection of Lotman's writings published in English under the title "Universe of the Mind: A Semiotic Theory of Culture" (1990).

Kalevi Kull argues that this suggestion is not consistent with the nature of semiosis which can only be a product of the behaviour of the organisms in the environment. It is the organisms that create the signs which become the constituent parts of the semiosphere. This is not an adaptation to the existing environment, but the continuous creation of a new environment. Kull believes that it is only possible to accept Hoffmeyer's view as an analogy to the concept of an ecological niche as it is traditionally used in biology, so that the community develops according to the semiotic understanding of the processes which are responsible for the building of Umwelt.

Kull, Kalevi. "On Semiosis, Umwelt, and Semiosphere". Semiotica vol. 120(3/4), pp. 299–310. (1998)
Lotman, Yuri M. "Universe of the mind: a semiotic theory of culture" (Translated by A. Shukman) (1990)London & New York: I. B. Tauris & Co Ltd.
Lotman, Yuri M. "O semiosfere". Sign Systems Studies (Trudy po znakovym sistemam) vol. 17, pp. 5–23. (1984)
Lotman, Juri On the semiosphere. (Translated by Wilma Clark) Sign Systems Studies, 33.1 (2005)
Tataru, Ludmila, and José Angel García Landa (eds.). Семиосфера нарратологии: диалог языков и культур / Semiosphere of Narratology: A Dialogue of Languages and Cultures. Balashov: Nikolaiev. (2013)