Journal articles: 'Phaneroscopie'

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Nielsen, Jesper Tang. "Sansningens phaneroscopy." Dansk Teologisk Tidsskrift 72, no. 1 (May 17, 2009): 34–56. http://dx.doi.org/10.7146/dtt.v72i1.106449.

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The Danish theologian and philosopher K.E. Løgstrup has presented an original theory of sensation. From a phenomenological perspective, sensation is not receptive but without distance, he claims. By introducing C.S. Peirces categories Firstness, Secondness and Thirdness, it is argued that Løgstup’s understanding of sensation coheres with parts of Peirce’s so called phaneroscopy. The lack of distance in sensation corresponds to Firstness. As a corollary, Løgstrup’s theory can be understood within Peirce’s more comprehensive phenomenological approach to reality. Finally, some perspectives for Løgstrup’s religious interpretation of sensation are discussed.

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Atkins. "Direct Inspection and Phaneroscopic Analysis." Transactions of the Charles S. Peirce Society 52, no. 1 (2016): 1. http://dx.doi.org/10.2979/trancharpeirsoc.52.1.01.

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Chibani, Dr AbdelKader Fehim. "Semiotics and Phaneroscopy." Journal of Human Sciences 2015, no. 27 (June 1, 2016): 305–25. http://dx.doi.org/10.12785/jhs/20162711.

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Atkins. "Broadening Peirce's Phaneroscopy: Part One." Pluralist 7, no. 2 (2012): 1. http://dx.doi.org/10.5406/pluralist.7.2.0001.

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Atkins. "Broadening Peirce's Phaneroscopy: Part Two." Pluralist 8, no. 1 (2013): 97. http://dx.doi.org/10.5406/pluralist.8.1.0097.

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De Tienne, André. "Iconoscopy Between Phaneroscopy and Semeiotic." Recherches sémiotiques 33, no. 1-2-3 (February 22, 2016): 19–37. http://dx.doi.org/10.7202/1035282ar.

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Phaneroscopy and semeiotic study two entities with distinct modes of being : the phaneron and the sign. Each consists in a continuum, one of first intention, the other of second intention, the latter lying within the former. Peirce sought to solve the question of the passage from one to the other since the time of his first publication ‘Upon a New List of Categories’. The mature writings reveal the important role the notion of image plays in this transition. Peirce indeed develops a pragmatic conception of image that turns the latter into the fundamental ingredient of the concrete experience of signs. An image in this sense is not a drawing or a picture, but at first a logical concept with a mathematical basis that helps explain the psychological phenomenon. The image is at the junction between the percept (phaneral element) and the perceptual judgment (the most elementary kind of semiotic event) through the percipuum, and it can be observed through a special kind of activity called iconoscopy. I shall present those properties of the image that allow it to govern the transition between phaneron and sign, and clarify in what sense Peirce could assert that images ‘instigate to judgment’.

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Venancio, Rafael Duarte Oliveira. "C. S. Peirce's Phaneroscopy as Early Communicology." Coactivity: Philosophy, Communication 25, no. 1 (March 27, 2017): 26–37. http://dx.doi.org/10.3846/cpc.2017.269.

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This article aims to show that the contribution of Charles Sanders Peirce to communicology is much earlier than the advent of epistemological integration of semiotics in communication studies, being phaneroscopy as a early form of communicology. This reflection is based on the study of the categorical degeneration theorized by Peirce, his influence on communicational thinking (especially on Gilles Deleuze’s cinema theory), as well as the conceptual link between degeneration and phenomenon from the philosophical point of view of quaternions.

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Reyes Cárdenas, Paniel Osberto, and Dora Ivonne Alvarez Tamayo. "An Approach to the Social Media “Meme” through Peirce’s Phaneroscopy." Glimpse 18 (2017): 49–54. http://dx.doi.org/10.5840/glimpse2017185.

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Hansen, Mark B. N. "Appearance In-Itself, Data-Propagation, and External Relationality: Towards a Realist Phenomenology of »Firstness«." Zeitschrift für Medien- und Kulturforschung 7, no. 1 (2016): 45–60. http://dx.doi.org/10.28937/1000106454.

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Drawing on American philosopher Charles Sanders Peirce›s »phaneroscopy«, and particularly on its point of disjunction from more orthodox phenomenology concerning the status and necessity of reception, this article argues that today’s databases phenomenalize the aesthetic dimension of worldly sensibility. Although database phenomenalizing explicitly substitutes for the phenomenalizing performed by consciousness on standard accounts of phenomenology, the important point is that it does so without severing contact with human experience. What is ultimately at stake here is the status of the phenomenon itself: insofar as it hosts the self-manifestation of the world without necessarily manifesting it to anyone or anything, the phenomenon can be disjoined from its subjective anchoring in consciousness (or any of its avatars) and ascribed to the operationality of worldly sensibility itself. </br></br>Gestützt auf die sog. »phaneroscopy« des amerikanischen Philosophen Charles Sanders Peirce und insbesondere auf ihre Differenz zur orthodoxeren Phänomenologie in Bezug auf den Status und die Notwendigkeit der Rezeption argumentiert dieser Beitrag, dass die heutigen Datenbanken die ästhetische Dimension weltlicher Sinnlichkeit phänomenalisieren. Auch wenn die Phänomenalisierung durch Datenbanken diejenige durch Bewusstsein explizit ersetzt, bleibt es bedeutsam, dass dies geschieht, ohne den Kontakt mit menschlicher Erfahrung abzubrechen. Worum es letztlich geht, ist der Status des Phänomens selbst: Insoweit es die Selbst-Manifestation der Welt beherbergt, ohne sie notwendigerweise für irgendjemand oder irgendetwas zu manifestieren, kann das Phänomen von seiner subjektiven Verankerung im Bewusstsein (oder jedem seiner Avatare) gelöst werden und der Operationalität weltlicher Sensibilität selbst zugeschrieben werden.

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Tzanelli, Rodanthi. "Domesticating Sweet Sadness." Cultural Studies ↔ Critical Methodologies 12, no. 2 (January 24, 2012): 159–72. http://dx.doi.org/10.1177/1532708611435216.

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The article examines Anatolítika glykà (Asia Minor sweets) and the craft of zacharoplastikí (sweet making) in Thessaloniki, Greece’s main northern city. The continuum between sweet makers and product explicates the development of zacharoplastikí—originally a colonial occupation, later a feminine craft of the domestic hearth—to a modern profession. Thessalonikiote sweet making and glykà develop as a travel narrative by obscuring their Eastern associations. Zacharoplastikí’s professionalization was assisted by the employment of spectacular representational techniques. This is today communicated on the websites of its five biggest zacharoplasteío (patisserie) chains through a covert alignment of professional self-presentation with those Greek traditions that have acquired a public face and are (potentially) globally mobile. The author, a native Thessalonikiote, fuses digital hermeneutics with phaneroscopy to explore this phenomenon from within.

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Sonesson, Göran. "Elements of Peircean phenomenology: From categories to signs by way of grounds." Semiotica 2019, no. 228 (May 7, 2019): 259–85. http://dx.doi.org/10.1515/sem-2018-0086.

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Abstract It is curious facts that Peirce scholars tends to take the three Peircean categories for granted, whereas Peirce himself claimed they must be derived by means of phenomenology, later rebaptized phaneroscopy. As I have suggested elsewhere, this is the essential difference between Peircean and Husserlean phenomenology, which are in other respects identical, whether or not there is a historical connection. I have tried to show that the meanings of the three categories, so differently epitomized in Peirce’s numerous writings, can (more or less) be reduced to common denominators. Quite independently of this, I suggested in some earlier work that, by taking our point of departure in Peirce’s notion of “ground” as being that which differentiates the different kinds of signs, we can account for iconicity, indexicality, and symbolicity, quite apart from their embodiment in signs. The task of the present paper is to investigate to what extent this two threesomes can be related to each other.

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Cunningham, Scott, and Lisa Palafox. "Phaneroscopy, Semeiosis as Media and the Educational Endeavor or Educationism, Avoiding It and Living to Tell About It." Glimpse 7 (2005): 23–32. http://dx.doi.org/10.5840/glimpse200574.

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Dymek, Anne. "Perception, Dreams, Films: Iconicity and Indexicality in Peirce's Theory of Perception." Recherches sémiotiques 33, no. 1-2-3 (February 22, 2016): 39–61. http://dx.doi.org/10.7202/1035283ar.

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Chronologically speaking, Charles S. Peirce (1839-1914) could have mentioned the technique of film in the context of his phenomenological, or as he called them, phaneroscopic theories. But when he compared the human percepts to “moving pictures accompanied by sounds and feelings” in 1905 (MS 939 : 24), Peirce did not speak of the cinema. However, his investigations in the fields of cognition and phenomenology show relevant intersections with major concepts and problems of filmic perception theory. The present article aspires to investigate Peircian philosophy and film theory through some of their common concepts. The question will be raised as to whether the filmic viewing situation can be understood as a genuine perceptual situation in the Peircian sense. In a first step, I will give an analysis of Peirce’s theory of perception. In contrast to the majority of interpretations of the latter, which emphasize its iconic character, I shall argue for a perceptual process where iconicity is not the starting point but rather the outcome of it. This will imply an analysis of the roles of iconicity and indexicality in perception and of their relation to cinema’s “impression of reality”. Despite the phenomenological realism of cinematic images, the nature of what the viewer actually perceives is not as obvious as one might be tempted to think. Finally, an interpretation of filmic images as “diagrams of perception” will open up to some pedagogical dimensions of film viewing.

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Anellis, Irving. "Charles Peirce and Bertrand Russell on Euclid." Revista Brasileira de História da Matemática 19, no. 37 (October 16, 2020): 79–94. http://dx.doi.org/10.47976/rbhm2019v19n3779-94.

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Both Charles Sanders Peirce (1839–1914) and Bertrand Russell (1872–1970) held that Euclid’s proofs in geometry were fundamentally flawed, and based largely on mathematical intuition rather than on sound deductive reasoning. They differed, however, as to the role which diagramming played in Euclid’s emonstrations. Specifically, whereas Russell attributed the failures on Euclid’s proofs to his reasoning from diagrams, Peirce held that diagrammatic reasoning could be rendered as logically rigorous and formal. In 1906, in his manuscript “Phaneroscopy” of 1906, he described his existential graphs, his highly iconic, graphical system of logic, as a moving picture of thought, “rendering literally visible before one’s very eyes the operation of thinking in actu”, and as a “generalized diagram of the Mind” (Peirce 1906; 1933, 4.582). More generally, Peirce personally found it more natural for him to reason diagrammatically, rather than algebraically. Rather, his concern with Euclid’s demonstrations was with its absence of explicit explanations, based upon the laws of logic, of how to proceed from one line of the “proof” to the next. This is the aspect of his criticism of Euclid that he shared with Russell; that Euclid’s demonstrations drew from mathematical intuition, rather than from strict formal deduction.

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15

Morris, Sharon. "Peirce: Re-Staging the Sign in the Work of Art1." Recherches sémiotiques 33, no. 1-2-3 (February 22, 2016): 177–204. http://dx.doi.org/10.7202/1035291ar.

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In the tradition of Rosalind Krauss’ essay “Notes on the Index” (1986) I want to re-posit the importance of the indexical status of the work of art and look at how Peirce’s views of aesthetics, his theory of the sign, and his version of phenomenology, can be useful to our understanding of contemporary works of art. The work of art that emerges from reading Peirce is not a representation of an object in the world but a mode of presentation of experience and in particular feeling. Defined as a complex form of icon, a hypoicon, the work of art is not constrained to mimetic representation but engaged in actively re-interpreting our world and our sense of self, cutting through preconceptions by returning us to the present : presentness, and the possibilities of firstness. Peirce’s late discussion on the study of phenomena, phaneroscopy, allows us to understand the work of art both as a part of our experience, and also as giving meaning to our experience : the work of art as a re-staging of the sign on the cusp between possibility and existence.

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16

Andacht, Fernando. "THE IMAGINED COMMUNITY REVISITED THROUGH A MOCK-NATIONALISTIC YOUTUBE WEB SERIES." Digital Age in Semiotics & Communication 1, no. 1 (July 17, 2018): 35–50. http://dx.doi.org/10.33919/dasc.18.1.3.

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This paper is based on the question: can we revisit the notion of ‘imagined community’ (Anderson, 1983) to use it as a reliable analytical tool for media studies in the digital age? The concept is widely used in social sciences and media studies, but is used more often than not with total disregard for its epistemological purport, thus jeopardizing its heuristic value. I consider a concept initially proposed as a valuable approach to study the emergence of nations in the 19th century, adapting it to analyze a popular parodic take on the 21st century nation which takes YouTube as its medium. I argue that Anderson’s ‘imagined community’ benefits from being redefined in terms of Peircean semiotics. My approach is based on Peirce’s phaneroscopic categories, and on the iconic working of the human imagination. As a case study for this revisited concept, I use a YouTube weekly series called Tiranos Temblad, which consists of an odd medley of amateur videos drawn from that social media website. The topic of all these videos is a discussion of or reflection on the small Latin American nation of Uruguay. Some of the edited videos are local but many come from abroad. The latter enthusiastically praise Uruguay but lack even the most elementary knowledge about it, as the voice-over narrative never fails to remark and celebrate in a deadpan style that makes the series curiously funny. I claim that this web series is a parodical revisiting of nationalism and of the rebranding of a nation.

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17

Nesher, Dan. "“What makes a reasoning sound” is the proof of its truth: A reconstruction of Peirce’s semiotics as epistemic logic, and why he did not complete his realistic revolution." Semiotica 2018, no. 221 (March 26, 2018): 29–52. http://dx.doi.org/10.1515/sem-2016-0086.

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AbstractCharles S. Peirce attempted to develop his semiotic theory of cognitive signs interpretation, which are originated in our basic perceptual operations that quasi-prove the truth of perceptual judgment representing reality. The essential problem was to explain how, by a cognitive interpretation of the sequence of perceptual signs, we can represent external physical reality and reflectively represent our cognitive mind’s operations of signs. With his phaneroscopy introspection, Peirce shows how, without going outside our cognitions, we can represent external reality. Hence Peirce can avoid the Berkeleyian, Humean, and Kantian phenomenologies, as well as the modern analytic philosophy and hermeneutic phenomenology. Peirce showed that with the trio of semiotic interpretation – abductive logic of discovery of hypotheses, deductive logic of necessary inference, and inductive logic of evaluation – we can reach a complete proof of the true representation of reality. This semiotic logic of reasoning is the epistemic logic representing human confrontation in reality, with which we can achieve knowledge and conduct our behavior. However, Peirce did not complete his realistic revolution to eliminate previously accepted nominalistic and idealistic epistemologies of formal logic and pure mathematics. Here, I inquire why Peirce did not complete his historical realist epistemological revolution and following that inquiry I attempt to reconstruct it.

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Veisi Hasar, Rahman. "The grotesque knot of the symptom: Heterogeneity and mutability." Semiotica 2020, no. 233 (March 26, 2020): 19–34. http://dx.doi.org/10.1515/sem-2018-0013.

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AbstractThe present paper aims to shed light on some post-oedipal moments of the Freudian-Lacanian psychoanalysis. Going beyond the stereotypical opposition between the oedipal psychoanalysis and the anti-oedipal schizoanalysis, it endeavors to reinvestigate the semiotic nature of the knotenpunkt and the sinthome by applying some Deleuzian and Bakhtinian concepts. Thus, the knotenpunkt is described as a grotesque knot bringing together some heterogeneous elements. The involved disparate components establish a rhizomatic multiplicity irreducible to a common determiner. As far as the sinthome is concerned, it is also illustrated as a grotesque knot quilting the disseminated heterogeneous orders. In contrast to the dominant conception of the symptom with a complex mode of signifying (that is mainly bound to the oedipal topography), the knotenpunkt and the sinthome hold a kind of hyper-formative mode of signifying. As a result, the latter may be regarded as pure formators irreducible to a meaning or a certain interpretation. Finally, the paper sets out to analyze and evaluate the relationship between the sinthome and the foreclosure from a semiotic perspective. Accordingly, the sinthome is explained as a reply to foreclosure which is specifically a perceptive-imperative (retroactive) contemplation (in the light of law according to the Peircean phaneroscopy) on the rhizomatic multiplicity of psychosis (the case of schizophrenia).

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da Costa e Silva, Tiago. "On the Edge of the Unknown." American Journal of Semiotics 36, no. 3 (2020): 217–55. http://dx.doi.org/10.5840/ajs202112065.

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The present paper intends to discuss the process of design and its peculiar location at the threshold between the unknown (the insecure place with unknown order) and already established, well-accepted knowledge. The process of design is known for its catalyzing possibilities, often suggesting connections between conceptions, ideas, and solutions to problems by linking an initial formulation with the innovative and upcoming development of a project within a given design context. Thus, the process of design has the power to provide a space for playing, where experiments of thought, the testing of conceptions, the assembling of elements of these conceptions, and the serendipitous conflation of different parts of ideas can take place. Charles S. Peirce’s theory of inquiry—with especial emphasis on the systemic character of semiotics in relation to phaneroscopy, esthetics, logic of abduction and pragmatism—informs the chosen theoretical framework of this paper. Because it also emphasizes the process of discovery, Peirce’s theory of inquiry will be here mobilized to analyze, within the theory of the design process, the transition between critical predicament and an undecided—still to be formed—future. This task consists of stating in futuro the unthinkable in order to render any design project feasible.

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20

Rosenthal, Sandra. "Peircean Phaneroscopy: The Pervasive Role of Abduction." Semiotica 2005, no. 153 - 1/4 (January 24, 2005). http://dx.doi.org/10.1515/semi.2005.2005.153-1-4.299.

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21

Švantner, Martin. "Struggle of a description: Peirce and his late semiotics." Human Affairs 24, no. 2 (January 1, 2014). http://dx.doi.org/10.2478/s13374-014-0220-2.

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AbstractThe paper deals with the problem of Peirce’s theory of signs, placing it within the context of modern semiotics (comparing it with Saussurean semiology, in particular), and considers Peirce’s semiotics from the point of view of his theory of categories (phaneroscopy) and in the terms of his classification of signs. The article emphasizes the complicated system of Peirce’s late, “mature”, semeiotic and his theory (classification) of Interpretant.

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Journal articles on the topic 'Phaneroscopie'

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