The authors apologise that within the article a number of citations were misspelled. The following list of citation have been corrected in the article:

Bennett was misspelled as Bennet

Aliyah B.D was misspelled as A.M.B.D

Glazer was misspelled as Glazier

Ke-Schutte was misspelled as Ke-Schitte.

Additionally, the forename and surname were switched for Xiao Schutte Ke and listed in the citations as Xiao instead of Schutte Ke.

The following articles were also missing from the reference list, these have now been added to the reference list within the article:

Dewar, Aliyah B.D. 2026. “What Page Are You On? Cross-Modal Coordination and the Sensory Dimensions of Social Reading.” Signs and Society, published online, 1–18. https://doi.org/10.1017/sas.2026.10055.

Gao, Zhuoli. 2026. “Transmitting Senses in Street Dance: Body, Freestyle, and Deixis.” Signs and Society, published online, 1–13. https://doi.org/10.1017/sas.2026.10059.

Glazer, Juliet Pascal. 2026. “Timbre Beyond Words: Communication about Sound in a Violin Crafter’s Workshop.” Signs and Society, published online, 1–21. https://doi.org/10.1017/sas.2026.10054.

Ke-Schutte, Jay. 2026. “From Berimbolo to Bolo-Player: Kinesic Enregisterment and Motion Text in the Jitsuverse.” Signs and Society, published online, 1–20. https://doi.org/10.1017/sas.2026.10058.

Schutte Ke, Xiao. 2026. “Scatological Encounter: Scatoglossia, Adjectival Deixis, and Referential Practice across Sino-Tibetan Inter-Cultural Science Collaboration.” Signs and Society, published online, 1–22. https://doi.org/10.1017/sas.2026.10062.

Tayob, Shaheed. 2026. “Disgust and Disdain in Meat Interactions in Mumbai: Halal Practice, Industrial Meat Production, and Urban-Spatial Configuration.” Signs and Society, published online, 1–16. https://doi.org/10.1017/sas.2026.10053.

A number of quotations were also incorrect, while these have not been updated please see the corrections as below:

On page 5: “dialectical mutuality and shared affinities between aesthetic practices and scientific acts. By examining the forms of talk that both describe the perception of scat (‘sensation’) and judge its species of origin (‘ontology’)” should say “the dialectical mutuality of sociality and materiality.”

On Page 6: “Their expertise does not lie in a repertoire of pellet descriptors; rather, a more important skill is at play: helping addressees calibrate their perspectives and align with the speaker’s “vision” and tactility” should say “Their expertise lies not in a repertoire of pellet descriptors, but in their interactional capacity to use adjectives to help addressees calibrate their perspectives, aligning them with the speaker’s own sensory vision and tactility.”

On page 7: “Gao seeks to create an understanding of improvisation in freestyle that is not grounded in pure introspection but in an affective space “where senses are passed along through events – an intersubjective space where ‘forces’ meet.” “should say “Gao seeks to create an understanding of improvisation in freestyle that is not grounded in pure introspection but in an affective space.”

On page 7: “such as “That” and “Relation,” index immaterial and sensorial qualities … [that] need to be approached through their co-occurrence with other signs: speech, co-speech gestures, as well as non-speech modalities, including visual demonstrations of dance movements through which feeling and senses are communicated.” should say: “such as ‘That,’ index sensorial qualities that cannot be recovered simply by looking at isolated linguistic forms that are produced by the speakers or analytically assigned by researchers. They need to be approached through their co-occurrence with other signs through which ‘relations’ are communicated.”

On page 7: “An important part of the “relation” here, of course, is displaying in one’s dance style the indexical relation to music: “dance is an emergent bodily technique continuously calibrated with musical indexicals. ‘Yourself’ emerges through this ‘relation.’” should say “An important part of the “relation” here, of course, is displaying in one’s dance style the indexical relation to music.”