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The following article will examine the formative years of the Tartu-Moscow school of cultural semiotics: its main influences and how semiotics jibed with the local cultural endeavours, both in the centres of the Soviet Union and in the Tartu-Moscow school’s peripherally situated stronghold in Estonia. The article’s central concern is the connection of early Soviet cultural semiotics to the aspirations of renewal in the visual arts in the first half of the 1960s.