This paper argues that there is a conflict between two theses held by John McDowell, namely i) the claim that we are under a standing obligation to revise our beliefs if reflection demands it; and ii) the view that veridical experience is a mode of direct access to the world. Since puts no bounds on what would constitute reasonable doubt, it invites skeptical concerns which overthrow. Conversely, since says that there are some experiences which we are entitled to trust, it (...) undermines the prescriptive scope of. Drawing on C. S. Peirce's distinction between genuine and contrived doubt, I maintain that critical revisions of beliefs should be triggered only by unwanted disruptions of habits, thereby restoring unity between McDowell's two theses. (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)

Any description of the emergence and evolution of different types of meaning processes (semiosis, sensu C.S.Peirce) in living systems must be supported by a theoretical framework which makes it possible to understand the nature and dynamics of such processes. Here we propose that the emergence of semiosis of different kinds can be understood as resulting from fundamental interactions in a triadically-organized hierarchical process. To grasp these interactions, we develop a model grounded on Stanley Salthe's hierarchical structuralism. This model can be (...) applied to establish, in a general sense, a set of theoretical constraints for explaining the instantiation of different kinds of meaning processes (iconic, indexical, symbolic) in semiotic systems. We use it to model a semiotic process in the immune system, namely, B-cell activation, in order to offer insights into the heuristic role it can play in the development of explanations for specific semiotic processes. (shrink)

How to model meaning processes (semiosis) in artificial semiotic systems? Once all computer simulation becomes tantamount to theoretical simulation, involving epistemological metaphors of world versions, the selection and choice of models will dramatically compromise the nature of all work involving simulation. According to the pragmatic Peircean based approach, semiosis is an interpreter-dependent process that cannot be dissociated from the notion of a situated (and actively distributed) communicational agent. Our approach centers on the consideration of relevant properties and aspects of Peirce’s (...) pragmatic concept of semiotics. Upon developing this approach, we have no pretensions of our being able to present an exhaustive analysis of the differences between Peirce and other theoretical positions. Nevertheless, our contribution will serve to demonstrate how theorists contribute toward revealing certain fundamental ‘semiotic constraints’ that will be of interest and importance. (shrink)

: This paper discusses the American scientist and philosopher Charles S. Peirce's (1839–1914) classification of the sciences from the contemporary perspective of interdisciplinary studies. Three theses are defended: (1) Studies on interdisciplinarity pertain to the intermediate class of Peirce's classification of all science, the sciences of review (retrospective science), ranking below the sciences of discovery (heuretic sciences) and above practical science (the arts). (2) Scientific research methods adopted by interdisciplinary inquiries are cross-categorial. Making them converge to an increasing extent with (...) the sciences of discovery, especially the methodeutic of normative logic, is one of the future challenges for studies on interdisciplinarity. (3) The overall structure of Peirce's classification, were it to be applied in today's situation, would not, in any major respect, be radically different from what it was designed to reflect a hundred years ago, in spite of the virtually exponential creation and production of new domains and the massive increase in investment in research and scientific publication. Accordingly, charges that the sciences of discovery are becoming ever more fragmented are not new. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external pictures (...) and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

Charles Peirce's diagrammatic logic — the Existential Graphs — is presented as a tool for illuminating how we know necessity, in answer to Benacerraf's famous challenge that most ‘semantics for mathematics’ do not ‘fit an acceptable epistemology’. It is suggested that necessary reasoning is in essence a recognition that a certain structure has the particular structure that it has. This means that, contra Hume and his contemporary heirs, necessity is observable. One just needs to pay attention, not merely to individual (...) things but to how those things are related in larger structures, certain aspects of which relations force certain other aspects to be a certain way. (shrink)

Following the guiding thread of Peirce’s use of diagrammatic syntax in his system of existential graphs , which depends crucially on the role of the Sheet of Assertion, we introduce the notion of Sheet of Indication as the basis for a general diagrammatic semantics applicable to a wide range of diagrams. We then show how Peirce’s EG-alpha graphs may be understood as instances of SIs and how logically coherent models of the graphs are represented in the SI semantics.

One of the leading concerns animating current philosophy of mind is that, no matter how good a scientific account is, it will leave out what its like to be conscious. The challenge has thus been to study or at least explain away that qualitative dimension. Pursuant with that aim, I investigate how philosophy of signs in the Peircean tradition can positively reshape ongoing debates. Specifically, I think the account of iconic or similarity-based reference we find in semiotic theory offers a (...) more promising variant of the phenomenal concept strategy. Philosophers who endorse this strategy think that the difficulties we have fitting conscious qualia into a scientific picture may owe to the peculiar nature of indexical concepts. They point to the fact that, when we try to convey the feel of our experiences, we employ context-dependent gestures and/or utterances that are indexed to perspectives unique to each person. However, according to the theory I defend, there are three ways signs can refer, namely by convention, causal contact, and similarity. Since similarity is not reducible to proximity, I argue that a theory of reference that turns on shared quality can bypass some of the implausible consequences that plague indexical accounts. In the first chapter, I describe the apparatus needed to make sense of this claim. In the second chapter, I present my account of iconic reference. In the third chapter, I justify my reliance on a distinction that is less than real yet more than nominal. In the fourth chapter, I sketch a trinitarian metaphysics well-suited to house the foregoing account of qualia. (shrink)

This thesis is concerned with establishing a bridge between matters of aesthetics and epistemology, by investigating the mechanisms through which artworks allow agents to derive knowledge through the former’s manipulation. It is proposed that, in order to understand the epistemic potential of artworks, we need to approach them as diagrams, in the sense developed by Charles Peirce. The background upon which the arguments are developed are mainly those of American Pragmatism – with a special emphasis on primary literature from Charles (...) Sanders Peirce about semiotics and inquiry, and John Dewey about aesthetics. It is introduced that the manipulation upon artworks can be an example of an inquiry process, due to artworks’ diagrammatic symbol-type-token structure, which embody the logical relations of abduction, deduction and induction. Through Peirce’s definition of inquiry, and Dewey’s definition of an aesthetic experience, it is possible to defend that artworks deliberate create states of doubt and chance as to stimulate and guide inquiry as a way to achieve an aesthetic experience, corroborating to the claim that inquiry processes and aesthetic experience share the same ontological basis: it is in the nature of aesthetic experience to confront agents and contexts with state of chance and doubt, to be further guided through inference into a state of regularity and belief. In order to develop and test the argument, I present the development of Arthur Danto’s influential theory of aesthetics based on Andy Warhol’s Brillo Boxes, by focusing on a review of Danto’s main writings about it. The central point that Danto developed in this theory is that what gives something the status of an artwork are not the immediately perceivable sensorial features of an artifact, but something else. I claim it to be a “diagrammatic structure” that can be potentially manipulated through an inquiry process. I conclude by establishing a possible development of my argument in relation to modelling processes: as diagrams, artworks can be understood as models, opening room for the emergence of new hypothesis and conjectures about the relationship between aesthetics and epistemology. (shrink)

In the vein of a renewed interest in diagrammatic reasoning, this paper challenges an opposition between logic diagrams and formal languages that has traditionally been the common view in philosophy of logic and linguistics. We examine, from a philosophical point of view, what we call five dogmas of logic diagrams. These are as follows: (1) diagrams are non-linguistic; (2) diagrams are visual representations; (3) diagrams are iconic, and not symbolic; (4) diagrams are non-linear; (5) diagrams are heterogenous, and not homogenous. (...) Using historical examples, we argue that none of these dogmas is an adequate criterion to distinguish logic diagrams from formal languages. Instead, we advocate that there is a common core between linguistic and diagrammatic representation and reasoning. (shrink)