Following Thomas A. Sebeok, any process that uses signs is part of modeling. More precisely, within a context of action, modeling brings salience to aspects of what there is – it enacts what used to be called supersession. The resulting novelties are valued both within a wide system and by its living parts – aspects of a world supersede and thus invite action/attention. In humans, an ‘enlanguaged’ world grants emplacement that channels us to use aspects to form impressions. In what follows, these invite repeating, resonance, and, given value, future-making (all connected with the human action of Jingshen). They bring recursiveness to what is the signature of languaging, the recursiveness of human action. The classic exemplar of modeling is Jacob von Uexküll’s tick. For an individual arachnid, it is not so much signs (it “perceives”) as simplex tricks that allow coordinative activity and semiotic description. For the naturalist, prey is detected by what-is-modeled by or for the arachnid (i.e., as if interpreting signs). The animal inhabits a slow-evolving world or Umwelt. By contrast, a languaging individual does orient to signs (for the person). While humans too use simplex tricks and coordinative activity, they also bring forth wordings. Although amenable to semiotic description, there is no reason to think that the observer and actor use the same orientational means to orient the same events. Nonetheless, engaging with how an observer sees signs (wording types, and lexicogrammatical, prosodic, or gestural concomitants) can reshape co-acting as parties come to co-perceive social worlds as ‘enlanguaged’ realities. These have epistemic power: they alter subsequent action, the actors' and observer's use of practices, and, with a history of languaging, how human individuals calibrate homeostatic worlds. These are partly personal, partly shared places where human beings use ecological activity to orient to others, to sign-based action – and importantly, to selves (as persons). Humans thus become makers of (partly shared) worlds as valued novelties draw themselves into the becoming of being.

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