Many parts of the contemporary philosophical debate have been built on the radicalization of conclusions derived from the acceptance of a certain set of classical dichotomies. It also discusses how pragmatism and abduction are currently presented to solve the problems arising from these dichotomies. For this reason, the efforts of this article have been directed to analyze the impact of this fact on the philosophy of science and logic. The starting point is that accepting abduction implies, in many ways, accepting (...) the foundations of pragmatism. Also, that the analysis of such problems from pragmatism and the particular use of abduction dissolve the dichotomies and, with it, also modify the philosophical problems related to them. Therefore, I propose to understand abduction as the right conceptual device to review the problems and debates of the twentieth century’s epistemology from a pragmatic perspective. In doing so, the aim is to propose that the current use of abduction in contemporary debates may imply a change of the philosophical perspective. (shrink)

Attempts to explain Peirce’s various classifications of signs have been a preoccupation of many Peirce scholars. Opinions are mixed about the sense, coherence, and fruitfulness of Peirce’s various versions, particularly the latter ones. I argue here that it is not a fruitful enterprise, even if sense could be made of them. Although Peirce makes his motivations for the classification of the sciences fairly explicit, it’s hard to find Peirce’s reasons for sign classification. More importantly, I try to make the case (...) that such classifications are premised on a reductionist framework of semiosis that is contrary to the irreducible triadic character of signs that Peirce otherwise espouses. The reductionism is the result of Peirce’s use of certain models for his sign classifications, in particular, Mendeleev’s periodic table. I suggest that the remedy for the reductionism is to re-emphasize the processual and functional view of semiosis, rather than to focus on particular classes of signs. Corresponding to the three triadic conditions of semiosis, I argue that signs function to inform, represent or refer, and interpret, and that understanding these three function and how they interrelate may prove to be a more fruitful approach to sign analysis than sign classification. (shrink)

Inferences about spatial, temporal, and other relations are ubiquitous. This article presents a novel model-based theory of such reasoning. The theory depends on 5 principles. The structure of mental models is iconic as far as possible. The logical consequences of relations emerge from models constructed from the meanings of the relations and from knowledge. Individuals tend to construct only a single, typical model. They spontaneously develop their own strategies for relational reasoning. Regardless of strategy, the difficulty of an inference depends (...) on the process of integration of the information from separate premises, the number of entities that have to be integrated to form a model, and the depth of the relation. The article describes computer implementations of the theory and presents experimental results corroborating its main principle. (shrink)

While a large body of literature on pejorative language has emerged recently, derogatory communication is a broader phenomenon that need not constitutively involve the use of words. This paper delineates the class of non-verbal pejoratives and sketches an account of the derogatory power of a subset of NVPs, namely those whose effectiveness crucially relies on iconicity. Along the way, I point out some ways in which iconic NVPs differ from wholly arbitrary NVPs and ritualized threat signals in the animal kingdom, (...) such as the wolf’s snarl, which do not threaten or demean targets by virtue of any kind of iconographic depiction. An iconic portrayal such as a racist caricature disparages its target by inviting recipients to entertain an unflattering image of the target. “Blackface” performers in the nineteenth-century, for example, promulgated an unflattering image of African-Americans by means of make-up, costumes, and vocal impersonations. (shrink)

I develop an account of scientific representations building on Charles S. Peirce's rich, and still underexplored, notion of iconicity. Iconic representations occupy a central place in Peirce's philosophy, in his innovative approach to logic and in his practice as a scientist. Starting from a discussion of Peirce's approach to diagrams, I claim that Peirce's own representations are in line with his formulation of iconicity, and that they are more broadly connected to the pragmatist philosophy he developed in parallel with his (...) scientific work. I then defend the contemporary relevance of Peirce's approach to iconic representations, and specifically argue that Peirce offers a useful ‘third way’ between what Mauricio Suárez has recently described as the ‘analytical’ and ‘practical’ inquiries into the concept of representation. As a philosophically minded scientist and an experimentally inclined philosopher, Peirce never divorced the practice of representing from questions about what counts as a representation... (shrink)

The years 1880-1914 were a time of intense experimentation in the visual arts. Representative conventions became variable, and artists deliberately departed from a concept of depiction considered as physical resemblance or photographic similarity. Visual representations progressed toward a conceptualization of figures and objects that transcended perceptual data, and the rendering of pictorial objects turned into an experiment involving complex visualization processes. This paper explores the interplay between artistic and scientific representative practices between 1880 and 1914. I argue that science and (...) technology acted as substantial challenges upon the concept of resemblance in art and that the rhythm of scientific and technological discoveries at the turn of the 20th century paralleled a shift from a notion of similarity to one of homomorphism in the conceptualization of pictorial representation. Homomorphism denotes representations which dispense with a point-to-point correspondence between depicted objects and perceptual data. I developed the concept from a scholarly study of Charles S. Peirce’s pragmatic account of representation, and in particular his theory of iconicity. Peirce defined iconic signs as “partaking in the character of the object” (CP 4.531), that is, as preserving the same relational structure as their object. A theory of iconicity as homomorphism successfully exemplifies representative relations based on structure preservation. Applied to 20th century representative practice, homomorphism offers a plausible explanation for representations in which a considerable conceptual effort is required, independently of a point-to-point correspondence between depicted objects and perceptual data. Using four case studies - the photographer Alfred Stieglitz and the painters André Derain, Max Weber and Pablo Picasso - I argue that representative practice between 1880 and 1914 was strongly informed by experimental scientific practices and that the shift from figurative to conceptual representation in art was triggered by a more significant theoretical shift involving representation as a general philosophical notion. Rather than a normative quest for the necessary and sufficient conditions for representation, I will propose a pragmatic evaluation of the means and strategies through which artists and scientists devise perspicuous and useful representations of the world. My analysis of the correlations between artistic and scientific representations at the turn of the 20th century aims to fulfill a twofold purpose. From a historical viewpoint, it draws significant parallels between the experimental aspects of representative practices in art and science considered as ways of exploring natural phenomena and intervening upon them. From a philosophical viewpoint, my goal is to propose a novel epistemological framework to assess how the shift in the conceptualization of representations affected subsequent styles of knowing and experimental practices in art and science. Ultimately, by combining the relative merits of historical and philosophical accounts of representation, I will argue for the advantages and desirability of a philosophically informed history of representative practice. (shrink)