After a concise survey of the state of the art on the semiotics of the mask and on studies in humanities and social sciences about medical face masks, the essay provides anecdotic evidence about differences in the semiotics of medical face masks in Europe and in the ‘Far East’, especially Japan, China, and Korea; it proposes a semiotic grid for decoding the phenomenology and meaning of the medical face mask; it concludes with some general observations on the change of the meaning of the face during the current pandemic.

The pandemic spreading of the COVID-19 virus has led to the global need to introduce, often by law, the medical face mask, which can undoubtedly be considered as "the object of 2020." In a few months, most human faces around the world in the public space, but also often in the private space, have been covered with various kinds of protective masks. Very soon, these objects have become the centre of several discursive productions, going from medical reports to media coverage, from artistic representations to ironic memes. The medical face mask was not totally new in the west, where it was already present in special circumstances, like dentists' studios or emergency rooms, and was quite familiar in the east, especially in Japan, China, and Korea. Yet such massive introduction changed the meaning of the medical face mask in every context. Old habits were reconfigured or clashed with the new ones, giving rise to a novel syntax, semantics, and pragmatics of the human face in conjunction with this device and in the context of the global pandemic. The present paper offers an introduction to a semiotic mapping of such radical cultural change and its likely consequences.

The article investigates the socio-cultural meaning of the face in relation to its natural and biological features, focusing on the particular domain ofmating habits. After surveying the role of the ‘face’ in the sexual behaviors of several non-human animals, and especially of primates, the article ponders on the crucial role that the face plays in the seductive discourse which precedes and accompany mating in all human cultures and also in many primates’ behaviors. It, then, deals with the transformation that these seductive patterns of signification and communication undergo in the passage from face-to-face intercourse to digital dating. Here, the gap between the necessarily realistic representation of one’s bodily face and the idealized version of it allowed by digital picture editing widens, to the point that new epistemic parameters start to circulate throughout the digital semiosphere.