Kalendář

The Deduction of the Dicisign

This is a joint reading and commentary of a section of R 478, the first version that Peirce wrote of a Syllabus for his Lowell Lectures in the autumn of 1903. In this section Peirce set forth an argument designed to prove, or better to deduce, that propositions (here for the first time re-named “dicisigns” or “dicent sign”), provisionally defined as those sign that are capable of truth value, are necessarily compounded or complex entities. The deduction’s conclusion is that a dicisign is a structured sign in which two parts are connected. In this joint reading and commentary, we reconstruct Peirce’s argument, outline its connections to other aspects of his semiotic theory, and explore some important development of the theory that is based on its conclusions.

Bellucci: “Legisigns and Their Variants”

In his celebrated Languages of Art (1968) Nelson Goodman said that any theory of art must do some preliminary work into the theory of symbols or notational systems. A crucial element in Goodman’s theory of notation is the distinction between a “character” and the “instance” of a character. This, as Goodman recognizes, is the distinction made by Charles S. Peirce between a “type” sign and a “token” sign. In this talk, I will reconstruct the steps by means of which Peirce arrived at his type/token distinction in the context of his classification of signs.

Stjernfelt: “Propositions and Artworks”

Much work has been done using aspects of Peirce’s semiotics in the analysis of artworks in literature, painting, film, etc., oftentimes using the icon-index-symbol distinction. Rarely, however, has the central role of propositions, or Dicisigns, in Peirce been acknowledged in the art context. Here, I shall address the role of propositions in artworks along two axes: 1) the role of Ingardian “quasi-propositions” in fictional artworks; 2) the deliberate modernist aesthetic strategy of weakening or blurring propositional structure of the artwork – which may coincidentally have contributed to the failing recognition of artistic propositions more generally.

Workshopy byly podpořeny v rámci projektu GAČR 22-17984S „Ohniskové obrazy: násilí a nelidskost v současném umění a mediální kultuře“ řešeným na FHS UK, ZČU a AVU. // The workshops are a result of the GAČR project 22-17984S "Focal images: Violence and Inhumanism in contemporary art and media culture" investigated at FHS UK, ZČU and AVU.