The present paper proposes an emergentist reading of Peirce, with special reference to his concept of evolution. Although the author never adopts the word “emergence” in a technical manner, it will be demonstrated that the core problem of emergence lies at the heart of his evolutionary doctrine, generally displayed by the interplay of his three well-known categories of Firstness, Secondness and Thirdness. Indeed, although the Classical pragmatists most quoted in connection to emergentism are Dewey and Mead (and William James to (...) some degree), scholars have recently suggested some emergentist readings of Peirce’s thought (cf. above all Tiercelin 1998, Quieroz & El-Hani 2006, Rose 2016), in particular with regard to semiotic process and cosmogony. Exploring further the path opened by those researches, the present paper aims to clarify the theoretical problem of emergent evolution from a pragmatist perspective and especially to illustrate Peirce’s emergentist standpoint. In order to reach this goal, the article is divided into four parts: after (1) a brief introduction to the contemporary debates on emergence, (2) I give a historical overview of Classical Pragmatism and British Emergentists, (3) with a special focus on the common roots of the British Emergentists and Peirce on evolution. Finally, (4) I offer an emergentist reading of Peirce’s theory of evolution. In particular, I show how his strong emphasis on chance and the “growth” of the universe go together with his arch-stone of synechism (that is his theory of continuity), through what he calls agapasm. (shrink)

: Is Peirce's esthetic relevant for the philosophy of art—what is usually referred to today as aesthetics? At first glance Peirce's idiosyncratic esthetic seems quite unconcerned with issues of art. Yet a careful examination reveals that this is not the case. Thus, rather than attempt to "apply" Peirce's views to some aspect of the practice or the theory of art (e.g., creativity, historiography of art, style, genre), or even to a particular work of art, my intention is to examine how (...) art fits into Peirce's own conception of his esthetic theory. The argument is divided into two parts. In the first section I present Peirce's conception of esthetics in the context of the normative sciences. I argue that esthetics connects with various strands of Peirce's philosophy, most notably his cosmology, his agapasm and with the way that important aspects of them hang together around the principle of abduction and the corresponding notion insight. In the second section, I consider in what way art may be said to be admirable, to contribute to the summum bonum. I try to show that Peirce's esthetic suggests that what attracts us towards art is first and foremost a semeiotic quality qua quality of mind or quality of Thirdness. (shrink)

Synechism, as a metaphysical theory, is the view that the universe exists as a continuous whole of all of its parts, with no part being fully separate, determined or determinate, and continues to increase in complexity and connectedness through semiosis and the operation of an irreducible and ubiquitous power of relational generality to mediate and unify substrates. As a research program, synechism is a scientific maxim to seek continuities where discontinuities are thought to be permanent and to seek semiotic relations (...) where only dyadic relations are thought to exist. Synechism and pragmatism mutually support each other: synechism provides a theoretical rationale for pragmatism, while use of the pragmatic maxim to identify conceivable consequences of experimental activity enriches the content of the theory by revealing and creating relationships. (shrink)

My question in this paper started from how the goal of social growth in a democratic society can be a proper aim for the teaching of philosophy. Furthermore, I wondered what “genuine” social growth meant in our quest to build a theoretical foundation for the teaching of philosophy. For this investigation, I reviewed first the pragmatic notion of Dewey’s social inquiry and social growth. I realized that Dewey’s ideal communication for a democratic community has an aesthetic feature and even some (...) characteristics we find in a religious faith. By means of such recognition, I could easily move to the inquiry of the Peircean conception of “progress,” which provides us a certain viewpoint of American philosophy in relation with Emersonian spirit. It is a mode of evolution based on a creative love of agapasm. From the point of Peirce’s “evolutionary love,” I come to conclude that genuine social growth toward which our teaching philosophy should aim is evolutionary creativity itself, rather than any given social goal under the name of national ethics or civic morality. Only “love” as a sympathetic power with purposivespontaneity can make genuine progress in communal life. A community cannot be substantially developed unless the creative love lives in the relationships among the members and their thoughts. This is to manifest again the main features of pragmaticism: interactive relationship, integrating process, and spontaneous continuity. Related to such pivotal characteristics, I think another mode of social inquiry in teaching philosophy creates the possibility of expanding our goal into a certain spiritual domain in reconsidering Peircean pragmatism within an evolving process. This kind of reconstruction of Pragmatism will help us to dig into a broad perspective of Philosophy Education in the 21st century.(*). (shrink)