This essay attempts an overview of Peirce’s pragmaticist doctrine of the truth of propositions. Relying on his writings, I try to characterize his conception of the real and discuss the ways in which his peculiar scholastic metaphysics, opposing that of nominalists, is a central tenet of the pragmaticist view of truth which he strived to develop. Peirce conceived indeed real possibilities and real necessities to be just as real as actualities, those realities corresponding in nature to qualities (“firsts”), laws (“thirds”), (...) and existents (“seconds”), respectively. More specifically, I detail the peculiar mode of being of each kind of real elements and show that all three categories must be recognized at once in true propositions. This led Peirce to conclude that if propositions are general signs indeed and, as such, along with terms and arguments, are necessarily dependent on mind, it does not in the least preclude those propositions to be about, nor true of, a real world – a position which actually constitutes a necessary prerequisite for any meaningful conception of scientific inquiry. I believe that a focus on such interrelations between Peirce’s categorial account of the real and Peirce’s pragmaticist conception of truth constitutes an ideal testament to the systematic nature of his thought, which is an aspect often deflated in unspecialized literatures. (shrink)

This essay focuses on Charles S. Peirce’s grammar of representation and its relevance for a logical conception of scientific inquiry. Closely relying on Peirce’s writings, one of his important trichotomies of signs will be discussed in particular: that distinguishing between substitutive signs, or “semes”, informational signs, or “phemes”, and persuasive signs, or “delomes”. According to Peirce, these three categories of signs result from an extension of the traditional division between “terms”, “propositions”, and “arguments” to all signs, understood as the foundational (...) elements with and on which the scientific mind operates. It is shown that such an extended view of logic, conceived as a “semiotic”, or general doctrine of signs, is consistent with Peirce’s metaphysical views on truth and reality. Logic-as-semiotic, and its three corresponding branches of stecheotic, critic, and methodeutic, is thus conceived as a requisite normative trivium for the practice of scientific inquiry, whose purpose is to represent reality truthfully. In the end, we aim to remind that Peirce’s semiotic epistemology must necessarily be contextualized within the frame of his comprehensive philosophy of the scientific “settlement of opinion”. (shrink)

A recent logical anti-exceptionalist trend proposes that logical theories are revisable in the same manner as scientific theories, either on grounds of the method of theory selection or on what counts as evidence for this revision. Given this approximation of logic and science, the present essay analyzes the commitments of both these varieties and argues that, as it currently stands, this kind of anti-exceptionalism is committed to scientific realism, that is, to realism about some unobservable entities evoked in logical theories. (...) The essay argues that anti-exceptionalism cannot be separated into metaphysical and epistemological varieties, and proposed rather to label anti-exceptionalists views either broadly in terms of theory revision, or narrowly in terms of logic’s affinity with science. (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)