Resumen. El ensayo indica algunas líneas para el posible desarrollo de una «semiótica del píxel». Puesto que es una investigación altamente especulativa debe comenzar con una pregunta escéptica fundamental: ¿Los píxeles son objetos semióticos? ¿Significan con autonomía respecto de la imagen a la que dan forma? Y si ese no es el caso y fuesen constituyentes simples e inertes de las configuraciones digitales, entonces ¿cuál es su estado? Según la ingeniosa definición de Umberto Eco, todo lo que se puede usar para mentir puede convertirse en objeto de investigación semiótica; pero ¿pueden los píxeles realmente «mentir»? ¿O están obligados a producir luz y color de acuerdo con una regla matemática fría, sin posibilidad de introducir aleatoriedad en la comunicación intencional?. En otras palabras: ¿es posible diseñar imperfecciones en la significación y en la comunicación digitales, reproduciendo esa vibración que, resultado de la dialéctica entre homogeneidad y heterogeneidad, es característica de la naturaleza y del arte analógico que la imita?
Palabras clave: Imperfección – Píxeles – Arte digital – Estética.

Towards a Semiotics of Pixels
Summary. The essay suggests some lines for the possible development of a “pixel semiotics”. Since it is a highly speculative investigation, it should start with a series of fundamental skeptical questions: Are pixels semiotic objects at all? Do they mean autonomously with respect to the image to which they give shape? And if that is not the case, and they are simple and inert constituents of digital configurations, what is their state? According to Umberto Eco’s ingenious definition, everything that can be used to lie can become an object of semiotic research; but can pixels really ‘lie’? Or are they obliged to produce light and color according to a cold mathematical rule, without the possibility of introducing randomness into intentional communication? In other words: Is it possible to design imperfections in digital meaning and communication, reproducing that vibration that, as a result of the dialectic between homogeneity and heterogeneity, is characteristic of both nature and the analogical art that imitates it?
Keywords: Imperfection – Pixels – Digital Arts – Aesthetic.

Resumen. Desde el punto de vista semiótico generativo, la noción del sujeto ha comportado una originalidad respecto a otras ciencias humanas al considerarlo como efecto de lenguaje. Mientras la psicología y antropología revisten al sujeto de lo extra-discursivo (el inconsciente, la intención cultural), la semiótica del discurso lo desaira al no aportar al proceso de significación. Este breve artículo busca interpelar estas consideraciones semióticas sobre el lugar del sujeto a través de la obra del recientemente fallecido semiólogo francés Claude Zilberberg [1938-2018]. Es en la obra de este autor que la noción de «acontecimiento» resulta pertinente, no solo porque hace plástico el corset lógico de la semiótica del discurso, sino porque arroja entre las líneas de su teoría una materia insondable pero inmanente que si bien implicada en el centro del proceso de significación y sentido, posee una realidad extra-discursiva de naturaleza intensiva igual de relevante para el quehacer semiótico.
Palabras clave: Intensidad – Semiótica tensiva – Cuerpo – Acontecimiento.

The Place of the Subject in the Semiotic Theory of Claude Zilberberg
Summary. From the generative semiotic point of view, the notion of the subject has implied originality with respect to other human sciences when considering it as an effect of language. While psychology and anthropology grant the subject the extra-discursive (the unconscious, the cultural intention), the semiotics of discourse discourages it for not contributing to the process of signification. This article seeks to interpellate these semiotic considerations about the place of the subject through the work of the recently deceased French semiologist, Claude Zilberberg (1938 - 2018). It is in the work of this author that the notion of "event" is relevant not only because it makes flexible the logical corset of discourse semiotics, but also because he introduces in his theory an unfathomable but immanent matter that although involved in the center of the process of meaning, has an extra-discursive reality of an intensive nature that is equally relevant to semiotic work.
Keywords: Intensity – Tensive Semiotics – Body – Event.

Resumen. En los últimos decenios, entre las ciencias encargadas del estudio del cerebro y las ciencias humanísticas, se ha tendido un fructífero puente que permite un diálogo constructivo para entender, principalmente, al ser humano dentro de su vasta complejidad: su mundo biológico y su mundo cultural. Casi desde el principio de la vida en la Tierra, todos los seres vivos han presentado procesos de aprendizaje a raíz del contacto cotidiano con el exterior. Esto nos permite decir que el ser humano es heredero, en gran medida, de algunos de esos procesos cognitivos. El presente trabajo, muestra una visión panorámica del acercamiento entre las ciencias mencionadas y de ciertos resultados de ese mismo contacto.
Palabras clave: Transdisciplinariedad – Ontología – Evolución – Semiosis.

For a Semioantropobiological Conception of Culture
Summary. In the last decades, it has been laid a fruitful bridge between sciences that study the brain and humanistic sciences. That approach allows a constructive dialogue to understand, mainly, human beings within their vast complexity: their biological world and their cultural world. Almost from the beginning of life on Earth, all living beings have presented learning processes as a result of daily contact with the outside world. This allows us to say that the human being is heir, to a large extent, of some of those cognitive processes. The present paper shows a panoramic vision of the dialogue between the mentioned sciences and of certain results of that same contact.
Keywords: Transdisciplinarity – Ontology – Evolution – Semiosis.

Resumen.Può un libro incarnarsi? Divenire «memoria vegetale»? Essere frammento vivente dell’intelletto collettivo culturale? «Tutti si voltarono a guardare Franti. E quell’infame sorrise»: così si inaugura (insieme a una citazione di Joyce sul music-hall) la prima raccolta di pastiches e parodie di Eco, Diario minimo, ricordando il furfantello Franti del romanzo Cuore di Edmondo De Amicis: un libro che formò almeno mezzo secolo di italiani e che Eco riprende nel suo terzultimo romanzo, La misteriosa fiamma della regina Loana (in parte autobiografico), per sottolineare come un mero oggetto cartaceo fosse riuscito a educare al sacrificio, al patriottismo e alla guerra intere generazioni. Tanto nelle sue opere narrative quanto in quelle di riflessione teorica, Eco mette a nudo e decostruisce i congegni della «macchina narrativa», e lo fa ―com’è notorio― con uno sguardo omnicomprensivo, semiotico: i romanzi, i fumetti, i programmi televisivi, le canzoni diventano il campo di sperimentazione linguistico-testuale per addentrarsi nella cultura contemporanea e gettar luce su di essa. Di questo sguardo omnicomprensivo si è scelto qui di dedicare particolare attenzione all’interesse di Eco per la musica: un interesse che ―da Thema (Omaggio a Joyce) a Pippo non lo sa― è stato oggetto di analisi nella parabola letteraria dello scrittore italiano e un «pretesto» per sviluppare i temi a lui cari: la memoria, l’ironia e il riso, l’estetica del quotidiano nella cultura pop.
Palabras clave: Semiotica – Cultura popolare italiana – Musica – Narrativa echiana.

Experimental Literature and Italian Popular Culture in the Works of Umberto Eco
Summary. Can a book become incarnate? Become “vegetal memory”? A living fragment of the collective cultural intellect? “Everyone turned around to look at Franti, and that infamous boy was smiling”. This is how (together with Joyce’s quotation on music-hall) Eco’s first collection of pastiches and parodies, Diario Minimo (Misreadings), is introduced, recalling the little scoundrel Franti in Edmondo De Amicis’s novel, Cuore (The Heart of a Boy): a book that formed at least half a century of Italians and that Eco calls to mind in one of his last (partly autobiographical) novels, The Mysterious Flame Of Queen Loana, to underline how a mere paper object had managed to educate whole generations on sacrifice, patriotism and war. Both in his narrative works and those of theoretical reflection, Eco exposes and deconstructs the devices of the “narrative machine”, and does so ―as it is very well known―with an all-embracing, semiotic look. Novels, comics, television programs, and songs become his fields for linguistic-textual experimentation to penetrate and throw light on contemporary culture. With regard to this comprehensive look, this work pays particular attention to Eco’s interest in music, an interest that―from Thema (Omaggio a Joyce) to Pippo non lo sa―has been an object of analysis in the literary parable of the Italian writer and a “pretext” for developing those themes so dear to him: memory, irony and laughter, the aesthetics of everyday life in pop culture.
Keywords: Semiotics – Italian Popular Culture – Music – Eco’s Narrative Works.