"I do not call the solitary studies of a single man a science. It is only when a group of men, more or less in intercommunication, are aiding and stimulating one another by their understanding of a particular group of studies as outsiders cannot understand them, that call their life a science”. (MS 1334: 12–13, 1905). This beautiful quotation from Charles S. Peirce comes from his “Lecture I to the Adirondack Summer School 1905” and was catalogued as MS 1334 (Robin (...) 1967). In 1986 Kenneth L. Ketner chose fifteen pages (7–22) of the Notebook I of these lectures to represent Peirce’s conception of science in the volume Classical American Philosophy (Stuhr 1987: 46–48). “The Nature of Science” was the appropriate title assigned to that selection, which up to then had been almost unknown to the majority of Peirce scholars. Sara Barrena translated the piece into Spanish in 1996 (Barrena 1996: 1435–1440) and we chose the quotation above as the motto for our then incipient group of Peirce scholars in the Spanish- speaking world because it so finely expressed the aim of our undertaking. Against the traditional image of the philosopher as a solitary thinker near the stove, we wanted, following Peirce, to encourage cooperation and communication between our researchers not only as something useful, but as something essential for the real development of science. (shrink)

In this paper Peirce's notion of sign is studied to try to characterize the artistic sign as representation. Then, some considerations about the work of art as a sign are developed involving three elements: experience, expression and interpretation. Finally it is concluded that beauty requires for Peirce a peculiar balance, the imaginative conjunction of the sensible and the reasonable in an artistic sign; it requires moreover the expression of something that transcends the sensible; it requires, as a sign, an interpretation (...) which is not exact and which implies growth. It requires, finally, love, because an artist will only reach beauty guided by agape updating and harmonizing possibilities through abduction, that is, creating new signs that give form to what does not have it; the artist only reaches beauty when he loves what he does and when he can express himself freely. -/- En este artículo se estudia, en primer lugar, la noción de signo de Peirce para tratar de caracterizar después el signo artístico como representación. Se desarrollan enseguida algunas consideraciones sobre la obra de arte como signo que como tal conlleva tres elementos: experiencia, expresión e interpretación. Finalmente se concluye que la belleza requiere para Peirce un peculiar equilibrio, la conjunción imaginativa de lo sensible y lo razonable en un signo artístico; requiere además la expresión de algo que trasciende lo sensible; requiere, en tanto signo, de una interpretación que no es exacta y que implica crecimiento. Requiere, por último, amor, pues el artista solo alcanzará lo bello cuando sea guiado por el ágape y a través de la abducción vaya actualizando y armonizando posibilidades, creando nuevos signos que den forma a lo que no la tiene, cuando ame lo que hace y se exprese libremente. (shrink)

In this article we wish to share the work in which the Group of Peirce Studies of the University of Navarra has been involved since 2007: the study of a very interesting part of the extensive correspondence of Charles S. Peirce, specifically, his European letters. Peirce wrote some of these letters over the course of his five trips to Europe (between 1870 and 1883), and wrote others to the many European scientists and intellectuals he communicated with over the course of (...) his life. The translation of those letters has been an excellent practical example of the creative and abductive nature of translation, as well as of the cooperative character of research. Translating Peirce's letters has allowed us a deep study of some theoretical aspects, and at the same time it has permitted us to work creatively and cooperatively to enrich the common vision of this scientist and philosopher. (shrink)

A surprising fact about the Hispanic philosophical historiography2 of the 20th century is its almost complete ignorance of the American philosophical tradition. This disconnect is even more surprising when one takes into account the striking affinities between the topics and problems treated by the most relevant Hispanic thinkers (Unamuno, Ortega, Vaz Ferreira, Ferrater Mora, Xirau) and the central questions raised in the most important native current of American thought in the late 19th and 20th centuries, pragmatism. In recent years there (...) has been a resurgence of pragmatist philosophy in contemporary culture, which is producing a deep renovation and transformation. One of the important features of this process is precisely the recuperation and improved understanding of the thought of Charles S. Peirce, who offers suggestions for dealing with some of the most persistent problems in contemporary philosophy, and who in addition can help us to reassume our responsibilities as philosophers, responsibilities that a good part of the philosophy of the 20th century had renounced. We can confidently say, as will be clear from what follows, that Spain and the Latin American countries are playing an important role in this increased understanding and diffusion of Peircean thought throughout the world. (shrink)