Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.

It is often thought that consciousness has a qualitative dimension that cannot be tracked by science. Recently, however, some philosophers have argued that this worry stems not from an elusive feature of the mind, but from the special nature of the concepts used to describe conscious states. Marc Champagne draws on the neglected branch of philosophy of signs or semiotics to develop a new take on this strategy. The term “semiotics” was introduced by John Locke in the modern period – (...) its etymology is ancient Greek, and its theoretical underpinnings are medieval. Charles Sanders Peirce made major advances in semiotics, so he can act as a pipeline for these forgotten ideas. Most philosophers know Peirce as the founder of American pragmatism, but few know that he also coined the term “qualia,” which is meant to capture the intrinsic feel of an experience. Since pragmatic verification and qualia are now seen as conflicting commitments, Champagne endeavors to understand how Peirce could (or thought he could) have it both ways. The key, he suggests, is to understand how humans can insert distinctions between features that are always bound. Recent attempts to take qualities seriously have resulted in versions of panpsychism, but Champagne outlines a more plausible way to achieve this. So, while semiotics has until now been the least known branch of philosophy ending in –ics, his book shows how a better understanding of that branch can move one of the liveliest debates in philosophy forward. (shrink)

Robert Brandom holds that what we mean is best understood in terms of what inferences we are prepared to defend, and that such a defence is best understood in terms of rule-governed social interactions. This manages to explain quite a lot. However, for those who think that there is more to making correct/incorrect inferences than obeying/breaking accepted rules, Brandom’s account fails to adequately capture what it means to reason properly. Thus, in an effort to sketch an alternative that does not (...) rely primarily on peer pressure, I draw on the work of C. S. Peirce. Peirce argued that, when we reason, we manipulate abstract diagrams in order to observe what results. Since some manipulations are barred by the self-same nature of the diagrams, I try to show that this qualitative incompatibility, which I dub “contrapiction,” is a good reason to regard some reasoning as bad. (shrink)

This article builds on C. S. Peirce’s suggestive blueprint for an inclusive outlook that grants reality to his three categories. Moving away from the usual focus on (contentious) cosmological forces, I use a modal principle to partition various ontological layers: regular sign-action (like coded language) subsumes actual sign-action (like here-and-now events) which in turn subsumes possible sign-action (like qualities related to whatever would be similar to them). Once we realize that the triadic sign’s components are each answerable to this asymmetric (...) subsumption, we obtain the means to track at which level of complexity semiosis finds itself, in a given case. Since the bulk of such a “trinitarian” metaphysics would be devoted to countenancing uninterpreted phenomena, I argue that current misgivings about sign-based ontologies are largely misplaced. (shrink)

The cinematic illusion of movement always requires a number of images. In this regard, the present article poses the question as to how far one can narrow this down, and still consider such a manifestation a meaningful cinematic experience that communicates a concise idea. Demonstrating the impact of a flicker or an electronically alternating sequence of visual impulses that arrest our attention, a thaumatrope or an animated GIF can already generate such significance. Within both the art world and avant-garde cinema, (...) artists have found ways to maximize the ­potential of such a minimalist approach to the moving image. The discussion of what the minimal duration for filmic experience of any cultural significance could be, is approached here from a media-archaeological perspective. (shrink)

What would something unlike us--a chimpanzee, say, or a computer--have to be able to do to qualify as a possible knower, like us? To answer this question at the very heart of our sense of ourselves, philosophers have long focused on intentionality and have looked to language as a key to this condition. Making It Explicit is an investigation into the nature of language--the social practices that distinguish us as rational, logical creatures--that revises the very terms of this inquiry. Where (...) accounts of the relation between language and mind have traditionally rested on the concept of representation, this book sets out an alternate approach based on inference, and on a conception of certain kinds of implicit assessment that become explicit in language. Making It Explicit is the first attempt to work out in detail a theory that renders linguistic meaning in terms of use--in short, to explain how semantic content can be conferred on expressions and attitudes that are suitably caught up in social practices. -/- At the center of this enterprise is a notion of discursive commitment. Being able to talk--and so in the fullest sense being able to think--is a matter of mastering the practices that govern such commitments, being able to keep track of one’s own commitments and those of others. Assessing the pragmatic significance of speech acts is a matter of explaining the explicit in terms of the implicit. As he traces the inferential structure of the social practices within which things can be made conceptually explicit, the author defines the distinctively expressive role of logical vocabulary. This expressive account of language, mind, and logic is, finally, an account of who we are. (shrink)

This article challenges the view that rhetoric, dialectic and logic are three perspectives on argument, relating respectively to its process, its procedure, and its product. It also questions the view that rhetorical arguments represent a distinctive type. It suggests that, as related to argument, rhetoric is the theory of arguments in speeches, dialectics the theory of arguments in conversations, and logic the theory of good reasoning in each.

The question, “What norms are appropriate for the evaluation of the probative merits of visual arguments?” underlies the investigation of this paper. The notions of argument and of multimodal visual argument employed in the study are explained. Then four multimodal visual arguments are analyzed and their probative merits assessed. It turns out to be possible to judge these qualities using the same criteria that apply to verbally expressed arguments. Since the sample is small and not claimed to be representative, this (...) finding can at best be regarded as suggestive for the probative assessment of multimodal visual arguments in general. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Bergson's famous study of the philosophical implications of biological evolutionary theory, presenting the idea of a creative life force shaping both the world and itself.

This article re-examines Vilém Flusser's philosophy of photography and its relation to what I will name the philosophical question of 'image-thinking'. It places his work on photography in the context of the much discussed 'pictorial' and 'iconic' turns in the study of visual culture and, through this, aims to reveal the depth of Flusser's approach to understanding media culture and to argue for the significance and continuing relevance of his philosophy of photography.

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

It has been suggested that Russell and or Wittgenstein arrived at a truth-table device in or around 1912 [Shosky 1997], and that, since the history of its development is so complex, the best one can claim is that theirs may be the first identifiably ascribable example. However, Charles Peirce had, unbeknownst to most logicians of the time, already developed a truth table for binary connectives of his algebra of logic in 1902.

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

It is often assumed that the capability to make inferences requires language. Against this assumption, I claim that inferential abilities do not necessarily require a language. On the contrary, certain cartographic systems could be used to explain some forms of inferences, and they are capable of warranting rational relations between contents they represent. By arguing that certain maps, as well as sentences, are adequate for inferential processes, I do not mean to neglect that there are important differences between maps and (...) sentences. Instead, the purpose of this paper is to highlight interesting distinctions that might affect the way that cartographic thinking works. (shrink)

This paper proposes that virtue theories of argumentation and theories of visual argumentation can be of mutual assistance. An argument that adoption of a virtue approach provides a basis for rejecting the normative independence of visual argumentation is presented and its premisses analysed. This entails an independently valuable clarification of the contrasting normative presuppositions of the various virtue theories of argumentation. A range of different kinds of visual argument are examined, and it is argued that they may all be successfully (...) evaluated within a virtue framework, without invoking any novel virtues. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

Signs and things -- How Shall a Sign be Called? -- Peirce -- Modes of Representation -- Medium Matters -- The Mute Poem -- Rhetoric of the image.

This volume contains 12 papers addressed to researchers and advanced students in informal logic and related fields, such as argumentation, formal logic, and communications. Among the issues discussed are attempts to rethink the nature of argument and of inference, the role of dialectical context, and the standards for evaluating inferences, and to shed light on the interfaces between informal logic and argumentation theory, rhetoric, formal logic and cognitive psychology.

Charles Sanders Peirce was one of the United States’ most original and profound thinkers, and a prolific writer. Peirce’s game theory-based approaches to the semantics and pragmatics of signs and language, to the theory of communication, and to the evolutionary emergence of signs, provide a toolkit for contemporary scholars and philosophers. Drawing on unpublished manuscripts, the book offers a rich, fresh picture of the achievements of a remarkable man.

Perhaps the most important work of philosophy written in the twentieth century, the Tractatus Logico-Philosophicus first appeared in 1921 and was the only philosophical work that Ludwig Wittgenstein (1889-1951) published during his lifetime. Written in short, carefully numbered paragraphs of extreme compression and brilliance, it immediately convinced many of its readers and captivated the imagination of all. Its chief influence, at first, was on the Logical Positivists of the 1920s and 30s, but many other philosophers were stimulated by its philosophy (...) of language, finding attractive, if ultimately unsatisfactory, its view that propositions were pictures of reality. Perhaps most of all, Wittgenstein himself, after his return to philosophy in the late 1920s, was fascinated by its vision of an inexpressible, crystalline world of logical relationships. The posthumous publication of other writings has, therefore, only served to reawaken interest in the Tractatus and to illuminate its more neglected aspects. David Pears and Brian McGuinness revised their translation in the light of Wittgenstein's own suggestions and comments in his correspondence with C.K. Ogden about the first translation. In addition, this edition contains the introduction by Bertrand Russell which appeared in the original English translation. (shrink)

In redefining logic, philosophers need to go back to the Aristotelian roots of the subject, to expand the boundaries of the subject to include informal logic and to give up false oppositions between informal and formal logic.

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

1 INTRODUCTION Above the other titles he might justly have claimed, Charles S. Peirce prized the title 'logician'. He expressed in several places his ...

_Peirce’s Speculative Grammar: Logic as Semiotics _offers a comprehensive, philologically accurate, and exegetically ambitious developmental account of Peirce’s theory of speculative grammar. The book traces the evolution of Peirce’s grammatical writings from his early research on the classification of arguments in the 1860s up to the complex semiotic taxonomies elaborated in the first decade of the twentieth century. It will be of interest to academic specialists working on Peirce, the history of American philosophy and pragmatism, the philosophy of language, the (...) history of logic, and semiotics. (shrink)

Argumentation involves offering and/or exchanging reasons – either reasons for adopting various attitudes towards specific propositional contents or else reasons for acting in various ways. This paper develops the idea that the force of reasons is through and through a normative force because what good reasons accomplish is precisely to give one a certain sort of entitlement to do what they are reasons for. The paper attempts to shed light on what it is to have a reason, how the sort (...) of entitlement arising from reasons differs from other species of entitlement and how the norms by which such entitlement is assessed obtain their status as norms. (shrink)

This paper examines the contemporary philosophical and cognitive relevance of Charles Peirce's diagrammatic logic of existential graphs (EGs), the ‘moving pictures of thought’. The first part brings to the fore some hitherto unknown details about the reception of EGs in the early 1900s that took place amidst the emergence of modern conceptions of symbolic logic. In the second part, philosophical aspects of EGs and their contributions to contemporary logical theory are pointed out, including the relationship between iconic logic and images, (...) the problem of the meaning of logical constants, the cognitive economy of iconic logic, the failure of the Frege–Russell thesis, and the failure of the Language of Thought hypothesis. (shrink)

Charles Peirce’s alpha system \ is reformulated into a deep inference system where the rules are given in terms of deep graphical structures and each rule has its symmetrical rule in the system. The proof analysis of \ is given in terms of two embedding theorems: the system \ and Brünnler’s deep inference system for classical propositional logic can be embedded into each other; and the system \ and Gentzen sequent calculus \ can be embedded into each other.

We describe Peirce’s 1903 system of modal gamma graphs, its transformation rules of inference, and the interpretation of the broken-cut modal operator. We show that Peirce proposed the normality rule in his gamma system. We then show how various normal modal logics arise from Peirce’s assumptions concerning the broken-cut notation. By developing an algebraic semantics we establish the completeness of fifteen modal logics of gamma graphs. We show that, besides logical necessity and possibility, Peirce proposed an epistemic interpretation of the (...) broken-cut modality, and that he was led to analyze constructions of knowledge in the style of epistemic logic. (shrink)

In many diagrams one seems to perceive necessity – one sees not only that something is so, but that it must be so. That conflicts with a certain empiricism largely taken for granted in contemporary philosophy, which believes perception is not capable of such feats. The reason for this belief is often thought well-summarized in Hume's maxim: ‘there are no necessary connections between distinct existences’. It is also thought that even if there were such necessities, perception is too passive or (...) localized a faculty to register them. We defend the perception of necessity against such Humeanism, drawing on examples from mathematics. (shrink)

Taking the possibility of visual argumentation seriously, this essay explores how refutation might proceed. We posit three ways in which images can refute and be refuted in a mixed-media environment: (1) dissection, in which an image is broken down discursively; (2) substitution, in which one image is replaced within a larger visual frame by a different image; and (3) transformation, in which an image is recontextualized in a new visual frame. These strategies are illustrated in an analysis of three American (...) documentary films on abortion. (shrink)

IntroductionIf we were to identify the beginning of the study of visual argumentation, we would have to choose 1996 as the starting point. This was the year that Leo Groarke published “Logic, art and argument” in Informal logic, and it was the year that he and David Birdsell co-edited a special double issue of Argumentation and Advocacy on visual argumentation . Among other papers, the issue included Anthony Blair’s “The possibility and actuality of visual arguments”. It was also the year (...) that Gail J. Chryslee, Sonja K. Foss and Arthur L. Ranney published their short text on “The construction of claims in visual argumentation” , stating that even though theorists may know a great deal about the process of argumentation, “virtually none of this knowledge is applicable to visual argumentation […] because of the properties that distinguish visual imagery from discursive symbols” .Texts on visual rhetoric have been written as far back as the early 1980s, .. (shrink)

In the first part of this paper, I delineate Peirce's general concept of diagrammatic reasoning from other usages of the term that focus either on diagrammatic systems as developed in logic and AI or on reasoning with mental models. The main function of Peirce's form of diagrammatic reasoning is to facilitate individual or social thinking processes in situations that are too complex to be coped with exclusively by internal cognitive means. I provide a diagrammatic definition of diagrammatic reasoning that emphasizes (...) the construction of, and experimentation with, external representations based on the rules and conventions of a chosen representation system. The second part starts with a summary of empirical research regarding cognitive effects of working with diagrams and a critique of approaches that use “mental models” to explain those effects. The main focus of this section is, however, to elaborate the idea that diagrammatic reasoning should be conceptualized as a case of “distributed cognition.” Using the mathematics lesson described by Plato in his Meno, I analyze those cognitive conditions of diagrammatic reasoning that are relevant in this case. (shrink)

Most infonnallogic texts and articles assume a verbal account of reasoning which defines "argument" as a set of sentences. The present paper broadens this definition in order to account for "visual arguments" which are communicated with nonverbal visual images. Standard approaches to verbal arguments are extended in a way that allows them to explain and evaluate visual argumentation.

During the last decade, one source of debate in argumentation theory has been the notion that there are different modes of arguing that need to be distinguished when analyzing and evaluating arguments. Visual argument is often cited as a paradigm example. This paper discusses the ways in which it and modes of arguing that invoke non-verbal sounds, smells, tactile sensations, music and other non-verbal entities may be defined and conceptualized. Though some attempts to construct a ‘multimodal’ theory of argument are (...) criticized, it advocates for an argumentation theory that makes room for visual arguing and for other non-verbal modes that have not been explored in depth. In the process, the paper provides a method for identifying the structure of multimodal arguments and argues that adding modes to our theoretical tool box is an important step toward a comprehensive account of argument. (shrink)

This article discusses “auditory” arguments: arguments in which non-verbal sounds play a central role. It provides examples and explores the use of sounds in argument and argumentation. It argues that auditory arguments are not reducible to verbal arguments but have a similar structure and can be evaluated by extending standard informal logic accounts of good argument. I conclude that an understanding of auditory elements of argument can usefully expand the scope of informal logic and argumentation theory.

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far too influential on (...) the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

Visual arguments can seem to require unique, autonomous evaluative norms, since their content seems irreducible to, and incommensurable with, that of verbal arguments. Yet, assertions of the ineffability of the visual, or of visual-verbal incommensurability, seem to preclude counting putatively irreducible visual content as functioning argumentatively. By distinguishing two notions of content, informational and argumentative, I contend that arguments differing in informational content can have equivalent argumentative content, allowing the same argumentative norms to be rightly applied in their evaluation.

Natural deduction is the type of logic most familiar to current philosophers, and indeed is all that many modern philosophers know about logic. Yet natural deduction is a fairly recent innovation in logic, dating from Gentzen and Jaśkowski in 1934. This article traces the development of natural deduction from the view that these founders embraced to the widespread acceptance of the method in the 1960s. I focus especially on the different choices made by writers of elementary textbooks—the standard conduits of (...) the method to a generation of philosophers—with an eye to determining what the ‘essential characteristics’ of natural deduction are. (shrink)

In this book two of the leading figures in argumentation theory present a view of argumentation as a means of resolving differences of opinion by testing the acceptability of the disputed positions. Their model of a 'critical discussion' serves as a theoretical tool for analysing, evaluating and producing argumentative discourse. They develop a method for the reconstruction of argumentative discourse that takes into account all aspects that are relevant to a critical assessment. They also propose a practical code of behaviour (...) for discussants who want to resolve their differences in a reasonable way. This is a major contribution to the study of argumentation and will be of particular value to professionals and graduate students in speech communication, informal logic, rhetoric, critical thinking, linguistics, and philosophy. (shrink)

In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a (...) crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life. (shrink)