Floyd Merrell

This is the third volume in Floyd Merrell's trilogy on semiotics focusing on Peirce's categories of Firstness, Secondness, and Thirdness. In this book the author argues that there are passageways linking the social sciences with the physical sciences, and signs with life processes. This is not a study of the semiotics of life, but rather of semiosis as a living process. Merrell attempts to articulate the links between thought that is rooted in that which can be quantified and thought that resists quantification, namely that of the consciousness. As he writes in his preface, he is intent on `fusing the customary distinctions between life and non-life, mind and matter, self and other, appearance (fiction) and "reality,"... to reveal the everything that is is a sign.' In order to accomplish this goal, Peirce's terciary concept of the sign is crucial. Merrell begins by asking `What are signs that they may take on life-like processes, and what is life that it may know the sign processes that brought it - themselves - into existence?' In order to answer this question he examines semiotic theory, philosophical discourse, the life sciences, the mathematical sciences, and literary theory. He offers an original reading of Peirce's thought along with that of Prigogine and of many others. Following Sebeok, Merrell reminds us that `any and all investigation of nature and of the nature of signs and life must ultimately be semiotic in nature.'

"Who are we to suppose we are capable of comprehending the world of which we are a part, and what is the world to suppose it can be understood by us, minuscule and insignificant spatiotemporal warps contained within it?" This provocative question opens Floyd Merrell's study of postmodernism and the thought of Charles Sanders Peirce, part of the author's ongoing effort to understand our contemporary cultural and intellectual environment. The specific focus in this interdisciplinary study is the modernism/postmodernism dichotomy and Peirce's precocious realization that the world does not lend itself to the simplistic binarism of modernist thought. In Merrell's examination of postmodern phenomena, the reader is taken through various facets of the cognitive sciences, philosophy of science, mathematics, and literary theory. Merrell's consideration of Peirce's complex and inadequately understood concept of the sign is enhanced through numerous charts and figures. Theories, hypotheses, and speculation in the physical sciences are then brought to bear on Peircean semiotics. The final chapter critiques the often undiscriminating acceptance of postmodern practices in today's academic world.

Peirce's concept of the sign can be qualified in terms of inter-dependence, inter-relatedness, and inter-action, from icons to indices to symbols, from Firstness to Secondness to Thirdness, and with respect to sign generacy and degeneracy. This entails a contradictory complementary coalescence of signs, within a temporal-spatial flux and flow wherein everything is always becoming something other than what it was becoming. In this vein, the present article suggests that (1) topological models, (2) certain facets of twentieth-century science up to the present, and (3) avant-garde art — specifically, Cubism and the work of Mavrits C. Escher — when qualified by (4) a non-Boolean, non-linear, context-dependent, contradictory complementary lattice, which reveals (5) sign convergence and blending, or signs becoming signs, can offer (6) a synthetic account of the general semiosic process.

Brief consideration of (1) Peirce’s ‘logic of vagueness’, (2) his categories, and (3) the concepts of overdetermination and underdetermination, vagueness and generality, and inconsistency and incompleteness, along with (4) the abrogation of classical Aristotelian principles of logic, bear out the complexity of all relatively rich sign systems. Given this complexity, there is semiotic indeterminacy, which suggests sign limitations, and at the same time it promises semiotic freedom, giving rise to sign proliferation the yield of which is pluralistic, inter-relational semiosis. This proliferation of signs owes its perpetual flowing change in time to the inapplicability of classical logical principles, namely Non-Contradiction and Excluded-Middle, with respect to elements of vagueness and generality in all signs. Hempel’s ‘Inductivity Paradox’ and Goodman’s ‘New Riddle of Induction’ bear out the limitation and freedom of sign making and sign taking. A concrete cultural example, the Spaniards’ world including the Virgin of Guadalupe and the Aztecs world including their Goddess, Tonantzín, are given a Hempel-Goodman interpretation to reveal the ambiguous, vague, and complex nature of intercultural sign systems, further suggesting pluralism. In fact, when taking the ‘limitativetheorems’ of Gödel, Turing, and Chaitin into account, pluralism becomes undeniable, in view of the inconsistency-incompleteness of complex systems. A model for embracing and coping with pluralism suggests itself in the form of contextualized novelty seeking relativism. This form of pluralism takes overdetermination, largely characteristic of Peirce’s Firstness, and underdetermination largely characteristic of Peirce’s Thirdness, into its embrace to reveal a global context capable of elucidating local contexts the collection of which is considerably less than that global view. The entirety of this global context is impossible to encompass, given our inevitable finitude and fallibilism. Yet, we usually manage to cope with processual pluralism, within the play of semiosis.

Life is a creative response to creative nature. This notion heeds Norm Hirstrsquo;s call, by way of Robert Rosen, that life as creativity follows a lsquo;logicrsquo; that is radically distinct from classical logical principles. This alternate lsquo;logicrsquo; of creative life follows differentiating Identity and Included-Middle Principles. Charles S. Peircersquo;s process philosophy and his concept of the sign, offer a sense of the nonlinear, nonmechanistic, creative emergence of signs and life through possibly possible signification and living forms as illustrated by means of amorphous topological variability.

Three premises set the stage for a Peirce based notion of resemblance, which, as Firstness, cannot be more than vaguely distinguished from Secondnessand Thirdness. Inclusion of Firstness with, and within, Secondness and Thirdness, calls for a nonbivalent, nonlinear, context dependent mode of thinkingcharacteristic of semiosis — that is, the process by which everything is always becoming something other than what it was becoming — and at the same time itincludes linear, bivalent classical logic as a subset. Certain aspects of the Dao, Buddhist philosophy, and Donald Davidson’s ‘radical interpretation’ affordadditional, and perhaps unexpected, support for the initial set of three premises.

Three premises set the stage for a Peirce based notion of resemblance, which, as Firstness, cannot be more than vaguely distinguished from Secondness and Thirdness. Inclusion of Firstness with, and within, Secondness and Thirdness, calls for a nonbivalent, nonlinear, context dependent mode of thinking characteristic of semiosis — that is, the process by which everything is always becoming something other than what it was becoming — and at the same time it includes linear, bivalent classical logic as a subset. Certain aspects of the Dao, Buddhist philosophy, and Donald Davidson’s ‘radical interpretation’ afford additional, and perhaps unexpected, support for the initial set of three premises.

Meinongian 'objects' are evoked in an effort to critique and expand upon traditional theories of reference. The argument stems from an account of Peirce's categories of meaning in light of vague, contradictory, inconsistent, general, incomplete, and incompleteable signs. In addition to signs as either 'true', 'false', or meaningless, the function of imaginary numbers reveals the possibility of a sign's being both 'true' and 'false' or neither 'true' nor 'false', over time, and dialogically speaking. This demands a tolerance for vagueness, ambiguity, contradiction, and incessantly changing meaning