Searle’s social ontology concerns the question of how it is that we are to reconcile different aspects of reality but takes for granted a particular kind of naturalism based on his unexplicated “basic facts” of nature. The consequence of this approach is that Searle’s ontology deals specifically with social reality and its institutions, and never directly with the basic facts upon which his position rests. Paradoxically, this naturalistic assumption alienates his theory from its connection with the basic facts because the nature of this connection is taken for granted and not explicitly shown how nature is connectable to the social world. I hope to show that Searle’s project is redeemed by biosemiotic theory that makes an explicit connection between the beginnings of sociality, which is where Searle’s work starts off, and the biological and physical nature of things, which is what Searle’s work takes for granted but what biosemiotics explicates.

Bakhtin’s concept of addressivity affords an investigation of why my students and I were frustrated by the seeming lack of a connection between our participation in a self-tutorial in preparation for a digital literacy initiative, on the one hand, and the benefits of the acquisition of digital literacy, on the other hand. More than one structure of addressivity emerged from the tutorial, such that my students and I found the one that provided clues to the benefits of digital literacy utterly irrelevant to the completion of the self-tutorial and future tutorials. Structures of addressivity identified herein demonstrate that the individuals involved in the self-tutorial are not poised to benefit from interdiscursive ties beyond the self-tutorial and future tutorials. Such benefits are relegated to organizations. This article thus locates what has been identified as neoliberal agency within the addressivity structures that underpin a digital literacy initiative.

Following Bourdieu, the process of commoditization has been understood to be the most socially significant process that art undergoes. That understanding presupposes the power of economic value, the order of value that all other values must resist or be overtaken by. This article analyzes the Santa Fe Indian Market as a tournament of values, where various orders of value compete for legitimacy and authority. While opposed aesthetic and economic orders frame evaluations at Indian Market, they serve primarily as background. At Indian Market, evaluations that use an administrative order of value are the site of intense contest and have great social significance both to this art world and to broader social, political, and economic concerns. A social theory of art relevant to many different art forms and traditions must take into account multiple orders of value and provide a method for analyzing their potential significance to participants.

Anthropological archaeology has long had an interest in understanding the semiotic properties of material objects, since it is through such objects that most archaeological analysis takes place. In recent decades, a new emphasis on materiality has focused attention on the links between material objects and social relationships in the past. In this article I argue that, just as in modern societies, the indexical meaning of material objects, and their role in social relations, were shaped by metapragmatic discourses in the past. Thus, in order to understand the role of material objects within ancient societies, it is necessary to analyze these discourses by means of historical records, their archaeological context, and analogical examples. I give an example of this method by analyzing Classic Maya inscriptions and the ways that the discourses recorded in them characterize material objects such as temples, cult objects, and tribute payments.

This article investigates the rhetoric of the photographic object in the context of the 3.11 disasters in Japan, where this particular object became essential for both commemorating the loss and communicating to future generations about the danger of a large-scale disaster. Through ethnography of the two different subcultures of photographic laboratory, the article documents various sign processes of the disaster-related photograph and argues that in the context of a sudden disaster, both the duty to remember the past and the hope for alternative trajectories for the future are grounded in the same regimented meaning of a particular object which nonetheless can be used to express different subjectivities. As a free-floating object, the photograph is by its nature antisemiotic in that it resists interpretation unless its visual persuasion is domesticated by “ethnometapragmatics,” that is, the highly coded cultural talk about the sociocultural, political, and historical significance of the image or a set of images.

This article analyzes the phenomenology and semiotics of religious processions. On the one hand, these rituals succeed in congregating several individual agencies, thus helping them to obliterate the frontier between the sacred environment of the place of worship and the profane environment of the space surrounding it. Consequently, in religious processions, subjects experience an enlargement of the environment of the sacred that encourages them to believe in its omnipresence, in the reassuring idea that their entire existence takes place (literally and metaphorically) under the protection of transcendence. On the other hand, “accidents” caused by the persistence of individual agencies within the collective one constantly “threaten” the symbolic efficacy of religious processions: the tentative expansion of the sacred environment into the profane results in a symmetrical expansion of the latter into the former.