The sky has long been read, and the climate crisis has renewed the need to read it. Today, changes in the atmosphere cannot be grasped simply by looking up at the sky; we encounter them through processes of observation, recording, classification, and interpretation. Yet the processes through which such readings are produced often recede behind their results. This study addresses this problem through the concept of environmental legibility, which refers to the process by which atmospheric change becomes perceptible and readable. Drawing on Derrida’s grammatology and on Ingold’s and Böhme’s accounts of atmospheric perception, the study distinguishes two dimensions of inscription. Material-atmospheric inscription refers to physical changes that register as perceptible or measurable differences. Discursive-technical inscription refers to the human and technical practices through which such differences are recorded, classified, and calculated. The legibility of the sky emerges through the interplay of these two dimensions. This interplay is examined through Susan Schuppli’s Can the Sun Lie? (2014) and Trevor Paglen’s CLOUD series (2019). Schuppli foregrounds how atmospheric difference becomes evidence, while Paglen makes visible how visual differences are selected as algorithmic features. Together, the two works show how the sky becomes legible and how the conditions of its reading recede behind the result.

Modern semiotics pays particular attention to the concept of enunciation, particularly markers of subjectivity and polyphonic discourse. The view of enunciation as an act or process has become a central concern of the Paris Semiotic School in recent decades, with the introduction of the categories of "instances of enunciation" (Coquet 1984). The connection between the phenomenon of polyphony and the enunciation in literary texts was noted by Mikhail Bakhtin (1963) and Oswald Ducrot (1984). However, the problem of expressing polyphonic utterances in theatrical contexts remains understudied. Theatrical semiotics represents a special area of the sign world. In theater, "everything is semiotics," from makeup to the stage and the ritualized theatrical atmosphere (Lotman 1989). We propose analyzing theatrical enunciation through the lens of the concept of truth, using the example of the Vakhtangov Theatre's production of Princess Turandot.

This study proposes an anthroposemiotic theory of prehistoric writing, moving beyond the traditional view that script emerged purely from administrative needs in early Mesopotamian civilizations. Instead, it intends to demonstrate that writing’s deepest roots may lie within the graphic and ritual practices of the Upper Palaeolithic. Approaching early humanity as Homo symbolicus, this study explores how cave art, geometric signs, and monumental architecture may have functioned as exosomatic memory and sacred mediation. Drawing on archi-écriture and spatial syntax, the research shows that prehistoric marks organized spatial relations and structured symbolic ecosystems long before their formalization into phonetic scripts. Ultimately, writing’s genesis can be situated within a broader cognitive evolution, where symbolic exteriorization transformed natural surfaces into durable spaces of meaning.

Social robots were initially designed within frameworks of assistance, accompaniment, and relational support, particularly in contexts of ageing, care, and social isolation. Yet their diffusion has been accompanied by recurring concerns regarding loss of control, dehumanization of social relations, emotional dependency, human replacement, and the artificialization of care practices. Drawing on an analysis of media discourses devoted to social robots, this article proposes to shift the conventional question of technological acceptability toward an anthropology of contemporary relational imaginaries. The central hypothesis advanced here is that controversies surrounding social robots do not merely reveal resistance to technological innovation; rather, they make visible a deeper crisis affecting social bonds, care infrastructures, and forms of human presence. Media representations thus emerge as privileged sites of symbolic production where the boundaries between human and non-human, assistance and substitution, relationship and simulation are continuously negotiated. The article argues that the acceptability of social robots cannot be reduced to functional evaluation alone but must instead be understood as a cultural and anthropological construction of technical alterity and human–machine relations.

Generative AI confronts semiotics with a new kind of sign-producing machine that actively reshapes the production and interpretation of visual content. Addressing the lack of humanities-based transdisciplinary research on this transformation, this study aims to establish a methodological foundation for the semiotic analysis of multimodal AI. By combining visual, social, quantitative, and multimodal semiotics, the paper proposes an integrated micro–meso–macro framework for evaluating AI-generated images. The analysis moves from the micro-level examination of plastic features and text-to-image translation, through the meso-level of enunciation, narrativity, and causality, to the macro-level of social stereotypes, ideology, creativity, rhetoric, truth, and inference. This is supported by a case study on lonely death and a semiotic explanation of latent space.

This article examines the Manila shawl (mantón de Manila) as a semiotic object in motion, whose trajectory—from Chinese silk to contemporary Spanish fashion—offers insights into processes of cultural hybridization, early globalization, and identity re-signification. Through a historical and semiotic analysis, it highlights how the material transformations of the shawl (embroidery, colors, fringes, uses) correspond to shifts in its symbolic value: from colonial exoticism to national myth, from festive accessory to costumbrista emblem, and from traditional garment to a key resource within the cultural and fashion industries. The study also includes contemporary examples (Juana Martín, Palomo Spain, Rosalía, Queen Letizia), showing how the shawl articulates tradition and modernity, authenticity and market, nationalism and cosmopolitanism. In conclusion, the Manila shawl is not only a hybrid object but also a sign in constant re-signification, a cultural “super-iconeme” that condenses collective imaginaries while maintaining its relevance in the 21st century.