We live for books. - Umberto Eco

On sober reflection, I find few reasons for publishing my Italian version of an obscure, neo-Gothic French version of a seventeenth century Latin edition of a work written in Latin by a German Monk toward the end of the fourteenth century...First of all, what style should I employ?

A general semiotics studies the whole of the human signifying activity — languages — and languages are what constitutes human beings as such, that is, as semiotic animals. It studies and describes languages through languages. By studying the human signifying activity it influences its course. A general semiotics transforms, for the very fact of its theoretical claim, its own object.

Epistemological thinkers connected with quantum methodology have rightly warned against an ingenuous transposition of physical categories into the fields of ethics and psychology (for example. the identification of indeterminacy with moral freedom). Hence, it would not be justified to understand my formulation as making an analogy between the structures of the work of art and the supposed structures of the world. Indeterminacy, complementarity, noncausality are not modes of being in the physical world, but systems for describing it in a convenient way. The relationship which concerns my exposition is not the supposed nexus between an "ontological" situation and a morphological feature in the work of art, but the relation between an operative procedure for explaining physical processes and an operative procedure for explaining the processes of artistic production and reception. In other words, the relationship between a scientific methodology and a poetics.