Mats Bergman C. S. Peirce on Interpretation and Collateral
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Peirce's Theory of Communication and Its Contemporary Relevance
Ahti-Veikko Pietarinen Peirce’s Theory of Communication and Its Contemporary Relevance Introduction The mobile era of electronic communication has created a huge semi- otic system, constructed out of triadic components envisaged by the American scientist and philosopher Charles S. Peirce (1839–1914), such as icons, indices and symbols, and signs, objects and interpretants. Iconic signs bear a physical resemblance to what they represent. Indices point at something and say “there!”, and symbols signify objects by conven- tions of a community.1 All signs give rise to interpretants in the minds of the interpreters. It is nonetheless regrettable that the somewhat simplistic triadic ex- posé of Peirce’s theory of signs has persisted in semiotics as the some- how exhaustive and final description of what Peirce intended. The more fascinating and richer structure of signs emerging from their intimate relation to intercommunication and interaction (Peirce’s terms) has been noted much less frequently. Despite this shortcoming, the full Peircean road to inquiry – per- formed by the dynamic community of learning inquirers, or the com- 1 In fact, according to Peirce (2.278 [1895]): “The only way of directly communi- cating an idea is by means of an icon; and every indirect method of communicating an idea must depend for its establishment upon the use of an icon.” Peirce’s chef d’œuvre came shortly after these remarks into being as his diagrammatic system of existential graphs, a thoroughly iconic representation of and a way of reasoning about “moving pictures of thought”, which encompassed not only propositional and predicate logic, but also modalities, higher-order notions, abstraction and category-theoretic notions. -
Librarianship and the Philosophy of Information
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Library Philosophy and Practice (e-journal) Libraries at University of Nebraska-Lincoln July 2005 Librarianship and the Philosophy of Information Ken R. Herold Hamilton College Follow this and additional works at: https://digitalcommons.unl.edu/libphilprac Part of the Library and Information Science Commons Herold, Ken R., "Librarianship and the Philosophy of Information" (2005). Library Philosophy and Practice (e-journal). 27. https://digitalcommons.unl.edu/libphilprac/27 Library Philosophy and Practice Vol. 3, No. 2 (Spring 2001) (www.uidaho.edu/~mbolin/lppv3n2.htm) ISSN 1522-0222 Librarianship and the Philosophy of Information Ken R. Herold Systems Manager Burke Library Hamilton College Clinton, NY 13323 “My purpose is to tell of bodies which have been transformed into shapes of a different kind.” Ovid, Metamorphoses Part I. Library Philosophy Provocation Information seems to be ubiquitous, diaphanous, a-categorical, discrete, a- dimensional, and knowing. · Ubiquitous. Information is ever-present and pervasive in our technology and beyond in our thinking about the world, appearing to be a generic ‘thing’ arising from all of our contacts with each other and our environment, whether thought of in terms of communication or cognition. For librarians information is a universal concept, at its greatest extent total in content and comprehensive in scope, even though we may not agree that all information is library information. · Diaphanous. Due to its virtuality, the manner in which information has the capacity to make an effect, information is freedom. In many aspects it exhibits a transparent quality, a window-like clarity as between source and patron in an ideal interface or a perfect exchange without bias. -
The Anti-Essentialism Paper
The New Pragmatism, Anti-essentialism, and What is Universal: It’s The Situation All The Way Down C. F. Abel Stephen F. Austin State University [email protected] The New Pragmatism, Anti-essentialism, and What is Universal: It’s The Situation All The Way Down C. F. Abel Stephen F. Austin State University [email protected] A well-known scientist once gave a public lecture on astronomy. He described how the Earth orbits around the sun and how the sun, in turn, orbits around the center of a vast collection of stars called our galaxy. At the end of the lecture, a little old lady at the back of the room got up and said: "What you have told us is rubbish. The world is really a flat plate supported on the back of a giant tortoise." The scientist gave a superior smile before replying, "What is the tortoise standing on?" "You're very clever, young man," said the old lady. "But it's turtles all the way down!" Introduction “New Pragmatism” attacks the very foundation of pragmatic thought by denying that we may ever have any definitive experience. As what we are experiencing is up for grabs, we can never know any situation that we may encounter, and we are left to ground both our knowledge and our values in our language games alone. This paper argues that this set of claims is founded on two errors, one regarding the nature of language games and the other regarding the nature of deconstruction. The “Old Pragmatism,” by way of contrast, is non-essentialist but not anti- essentialist, and it resolves the problem of how we might know “the situation,” given the subjectivity of our observations and the contingencies of our language games, by suggesting that our experiences can be understood as existing in, and constituted by, the totality of their particular instances or modes at the time of inquiry. -
METAPHYSICS and the WORLD CRISIS Victor B
METAPHYSICS AND THE WORLD CRISIS Victor B. Brezik, CSB (The Basilian Teacher, Vol. VI, No. 2, November, 1961) Several years ago on one of his visits to Toronto, M. Jacques Maritain, when he was informed that I was teaching a course in Metaphysics, turned to me and inquired with an obvious mixture of humor and irony indicated by a twinkle in the eyes: “Are there some students here interested in Metaphysics?” The implication was that he himself was finding fewer and fewer university students with such an interest. The full import of M. Maritain’s question did not dawn upon me until later. In fact, only recently did I examine it in a wider context and realize its bearing upon the present world situation. By a series of causes ranging from Kant’s Critique of Pure Reason in the 18th century and the rise of Positive Science in the 19th century, to the influence of Pragmatism, Logical Positivism and an absorbing preoccupation with technology in the 20th century, devotion to metaphysical studies has steadily waned in our universities. The fact that today so few voices are raised to deplore this trend is indicative of the desuetude into which Metaphysics has fallen. Indeed, a new school of philosophers, having come to regard the study of being as an entirely barren field, has chosen to concern itself with an analysis of the meaning of language. (Volume XXXIV of Proceedings of the American Catholic Philosophical Association deals with Analytical Philosophy.) Yet, paradoxically, while an increasing number of scholars seem to be losing serious interest in metaphysical studies, the world crisis we are experiencing today appears to be basically a crisis in Metaphysics. -
Hypertext Semiotics in the Commercialized Internet
Hypertext Semiotics in the Commercialized Internet Moritz Neumüller Wien, Oktober 2001 DOKTORAT DER SOZIAL- UND WIRTSCHAFTSWISSENSCHAFTEN 1. Beurteiler: Univ. Prof. Dipl.-Ing. Dr. Wolfgang Panny, Institut für Informationsver- arbeitung und Informationswirtschaft der Wirtschaftsuniversität Wien, Abteilung für Angewandte Informatik. 2. Beurteiler: Univ. Prof. Dr. Herbert Hrachovec, Institut für Philosophie der Universität Wien. Betreuer: Gastprofessor Univ. Doz. Dipl.-Ing. Dr. Veith Risak Eingereicht am: Hypertext Semiotics in the Commercialized Internet Dissertation zur Erlangung des akademischen Grades eines Doktors der Sozial- und Wirtschaftswissenschaften an der Wirtschaftsuniversität Wien eingereicht bei 1. Beurteiler: Univ. Prof. Dr. Wolfgang Panny, Institut für Informationsverarbeitung und Informationswirtschaft der Wirtschaftsuniversität Wien, Abteilung für Angewandte Informatik 2. Beurteiler: Univ. Prof. Dr. Herbert Hrachovec, Institut für Philosophie der Universität Wien Betreuer: Gastprofessor Univ. Doz. Dipl.-Ing. Dr. Veith Risak Fachgebiet: Informationswirtschaft von MMag. Moritz Neumüller Wien, im Oktober 2001 Ich versichere: 1. daß ich die Dissertation selbständig verfaßt, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. 2. daß ich diese Dissertation bisher weder im In- noch im Ausland (einer Beurteilerin / einem Beurteiler zur Begutachtung) in irgendeiner Form als Prüfungsarbeit vorgelegt habe. 3. daß dieses Exemplar mit der beurteilten Arbeit überein -
The Representation of Soil in the Western Art: from Genesis to Pedogenesis
The representation of soil in the Western Art: From genesis to pedogenesis Christian FellerA, Lydie Chapuis-LardyA and Fiorenzo UgoliniB AInstitut de Recherche pour le Développement (IRD), UMR 210 Eco&Sols, SUPAGRO, Bâtiment 12, 2 Place Viala, 34060 Montpellier cedex 1, France. BUniversita Degli Studi, Dipartimento di Scienza del Suolo e Nutrizione della Pianta, Piazzale delle Cascine 16, Firenze, Italy. Abstract This communication is a chronological short history of Western art (mainly paintings) from Prehistory to the contemporary period through the word “Soil”. The conclusion is that the vision of Soil (in a scientific meaning), as an independent work of art, is recent. Key Words Soil, landscape, Western art, paintings. The websites allowing one to see the artworks are designated as [x] in the text; the links are provided in the references list. Soil (capitalized) or soil in Art? It is widely accepted that humans always have considered the natural environment a subject of great interest to art. Early pictorial examples include cave paintings done by Cro-Magnon man during the Upper Palaeolithic, about 30,000-40,000 years ago. However the vision of Soil (in a scientific meaning), as an independent work of art, is recent and still extremely rare in the world of painting. For many years, artists have depicted actual or imaginary landscapes from which the trained eye of a pedologist, agronomist or geographer can recognise a schematic view of what is commonly called soil but not Soil (as a Soil profile). This communication will: (i) show representations of Soil or soil in Western Art from the Palaeolithic to the modern era, and (ii) show some recent artworks where the Soil is considered as the main subject, and has as its goal to present Soil in art from Genesis (the Bible) to Pedogenesis (the scientific approach of the Soil formation, from the Greek word Pedon meaning soil) [1, 2]. -
PRAGMATISM and ITS IMPLICATIONS: Pragmatism Is A
PRAGMATISM AND ITS IMPLICATIONS: Pragmatism is a philosophy that has had its chief development in the United States, and it bears many of the characteristics of life on the American continent.. It is connected chiefly with the names of William James (1842-1910) and John Dewey. It has appeared under various names, the most prominent being pragmatism, instrumentalism, and experimentalism. While it has had its main development in America, similar ideas have been set forth in England by Arthur Balfour and by F. C. S. Schiller, and in Germany by Hans Vaihingen. WHAT PRAGMATISM IS Pragmatism is an attitude, a method, and a philosophy which places emphasis upon the practical and the useful or upon that which has satisfactory consequences. The term pragmatism comes from a Greek word pragma, meaning "a thing done," a fact, that which is practical or matter-of-fact. Pragmatism uses the practical consequences of ideas and beliefs as a standard for determining their value and truth. William James defined pragmatism as "the attitude of looking away from first things, principles, 'categories,' supposed necessities; and of looking towards last things, fruits, consequences, facts." Pragmatism places greater emphasis upon method and attitude than upon a system of philosophical doctrine. It is the method of experimental inquiry carried into all realms of human experience. Pragmatism is the modern scientific method taken as the basis of a philosophy. Its affinity is with the biological and social sciences, however, rather than with the mathematical and physical sciences. The pragmatists are critical of the systems of philosophy as set forth in the past. -
Representation in Painting and Consciousness
KEITH LEHRER REPRESENTATION IN PAINTING AND CONSCIOUSNESS Representation in the arts is a creative process of reconfiguring a subject, real or imagined, to yield some original content or inten- tional object. The first question about representation is – what is the question about representation? Gombrich (1972), Wollheim (1980), Goodman (1968), Walton (1990), and Lopes (1996), have offered us diverse theories of representation in the visual arts. They all contain interesting ideas and insights, but the diversity of theories suggests that they may be asking and answering different questions. Moreover, that should not surprise us at all, for the painter, as well as other artists have diverse goals, and one of those goals is to change our conception of representation, to modify and challenge the conventions and constraints of representation. Lopes (1996), for example, suggests that the fundamental form of representation is depiction, demotic picturing, that would enable one to recognize and identify the object depicted. We are indebted to Lopes for this important proposal, but demotic picturing may be opposed to artistic representation. The artist may start with the external subject as the stimulus to find some meaning, some feeling or emotion, some insight or idea, and so reconfigure and repattern what he or she has seen into something that has some new internal meaning or content. The stimulus for a painting, a model, for example, need not be depicted or be what the painting is about The content of a painting is one thing, and the model is something else. A painter is sometimes indifferent to producing a demotic picture of the model or subject, which has caused difficulties between famous portrait painters and those they portrayed, when what interests the artist is the reconfiguration or the reinterpretation of the model or subject. -
What Is a Philosophical Analysis?
JEFFREY C. KING WHAT IS A PHILOSOPHICAL ANALYSIS? (Received 24 January 1996) It is common for philosophers to offer philosophical accounts or analyses, as they are sometimes called, of knowledge, autonomy, representation, (moral) goodness, reference, and even modesty.1 These philosophical analyses raise deep questions. What is it that is being analyzed (i.e. what sorts of things are the objects of analysis)? What sort of thing is the analysis itself (a proposition? sentence?)? Under what conditions is an analysis correct? How can a correct analysis be informative? How, if at all, does the production of philo- sophical analyses differ from what scientists do? The purpose of the present paper is to provide answers to these questions. The traditional answers to the ®rst and last of these questions are that concepts are the objects of philosophical analysis and that philo- sophical analyses differ from the results of scienti®c investigation in being conceptual analyses. Like many philosophers I am suspicious of the notions of concept and conceptual analysis as traditionally understood. Though the critique of these notions is beyond the scope of the present work, the answers I shall give to the questions raised above shall not invoke concepts (understood as things distinct from properties).2 I count it as a virtue of my account that it is able to provide answers to the questions raised above without an appeal to concepts. And to the extent that it has been felt that concepts are needed to answer these questions, the present account weakens the case for positing concepts. Before addressing these questions, however, we shall make the simplifying assumption that analyses are given in a ªcanonical formº. -
A Semiotic Theory of Music: According to a Peircean Rationale
A SEMIOTIC THEORY OF MUSIC: ACCORDING TO A PEIRCEAN RATIONALE The Sixth International Conference on Musical Signification University of Helsinki Université de Provence (Aix-Marselle I) Aix-en-Provence, December 1-5, 1998 José Luiz Martinez (Ph.D.) [1] The recent growth of musical applications of Peirce’s general theory of signs, such as in the works of David Lidov (1986), Robert Hatten (1994), William Dougherty (1993, 1994), shows that this approach, once set properly in both musical and semiotic contexts, has great analytical power on questions of musical signification. In this paper I will present the structure of a semiotic theory of music, as demonstrated in my doctoral dissertation, Semiosis in Hindustani Music (Imatra: International Semiotics Institute), submitted and approved by the University of Helsinki in 1997. [2] Peirce, in his studies of semiotics, concluded that thought is only possible by means of signs (vide CP 1.538, 4.551, 5.253). Music is a species of thought; and thus, the idea that music is sign and depends on significative processes, or semiosis, is obviously true. A musical sign can be a system, a composition or its performance, a musical form, a style, a composer, a musician, hers or his instrument, and so on. According to Peirce, signification occurs in a triadic relation of a sign and the object it stands for to an interpretant (CP 6.347), which - in music - is another sign developed in the mind of a listener, musician, composer, analyst or critic. [3] In Peirce’s classification of the sciences, semiotics (or semeiotic) has three branches: Speculative Grammar, Critic and Methodeutic (or Speculative Rhetoric) (CP 1.192). -
Qualia NICHOLAS HARKNESS Harvard University, USA
Qualia NICHOLAS HARKNESS Harvard University, USA Qualia (singular, quale) are cultural emergents that manifest phenomenally as sensuous features or qualities. The anthropological challenge presented by qualia is to theorize elements of experience that are semiotically generated but apperceived as non-signs. Qualia are not reducible to a psychology of individual perceptions of sensory data, to a cultural ontology of “materiality,” or to philosophical intuitions about the subjective properties of consciousness. The analytical solution to the challenge of qualia is to con- sider tone in relation to the familiar linguistic anthropological categories of token and type. This solution has been made methodologically practical by conceptualizing qualia, in Peircean terms, as “facts of firstness” or firstness “under its form of secondness.” Inthephilosophyofmind,theterm“qualia”hasbeenusedtodescribetheineffable, intrinsic, private, and directly or immediately apprehensible experiences of “the way things seem,” which have been taken to constitute the atomic subjective properties of consciousness. This concept was challenged in an influential paper by Daniel Dennett, who argued that qualia “is a philosophers’ term which fosters nothing but confusion, and refers in the end to no properties or features at all” (Dennett 1988, 387). Dennett concluded, correctly, that these diverse elements of feeling, made sensuously present atvariouslevelsofattention,wereactuallyidiosyncraticresponsestoapperceptions of “public, relational” qualities. Qualia were, in effect, -
Title Peirce's General Theory of Signs Author(S)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kyoto University Research Information Repository Title Peirce's General Theory of Signs Author(s) Clare Thornbury Finding Meaning, Cultures Across Borders: International Citation Dialogue between Philosophy and Psychology (2011): 49-57 Issue Date 2011-03-31 URL http://hdl.handle.net/2433/143046 The copyright of papers included in this paper belongs to each Right author. Type Article Textversion publisher Kyoto University 49 Peirce's General Theory of Signs CLARE THORNBURY Institute of Education, University of London Charles. S Peirce was one ofthe founders ofPragmatism, alongside William James and John Dewey. This paper looks at Peirce's later work on his theory of signs, or semiotic. Peirce's semiotic is a broad one, including as signs things that other semioticians may reject. Peirce's semiotic includes a key division ofsigns into the three categories ofIcon, Index and Symbol. This trichotomy and the breadth ofPeirce's semiotic makes it well suited to, for example, a semiology of cinema. The basic structure ofthe sign in Peirce is also triadic, being a relation between sign-object-interpretant, and this brings us to a further appreciation of the sign as sign-action: a move from semiotic to semiosis. Peirce's approach to the philosophy of language goes beyond language to a theory of signs in general, and this 'semiotic' is deeply embedded within his broader systematic philosophical works. To understand it therefore, it is helpful to do two things: 1) to understand the breadth of Peirce's semiotic and 2) to differentiate it from other philosophical theories in the field.