Six Modes of Peircean Abduction

1. Six Modes of Peircean Abduction Gary Shan EPCSE Dept., Northern Illinois University Donald J. Cunningham School of Education, Indiana University Based on Peirce’s ten classes of signs as part of his general theory of signs, or semiotic theory.

2. Six Modes of Peircean Abduction Peirce's ten classes of signs can be used to derive six separate and qualitatively distinct modes of abduction, and that these six modes can lead to the formulation of new models of inference and learning.

3. Six Modes of Peircean Abduction First, we have substituted the terms "tone," "token," and "type," for "qualisign," "sinsign," and "legisign" respectively. Second we have replaced the terms "rheme," "dicent," and "argument," with, respectively, "open," "singular," and "formal."

4. Six Modes of Peircean Abduction Open – kvalitativ mulighed Singular – faktisk eksistens Formal - lovmæssighed Ikon – refererer til kvaliteten i sig selv Index – henviser til kvaliteten Symbol – henviser til kvalitetens almene karakter Tone – kvalitet som er et tegn Token – fakta som er et tegn Type – lov som er et tegn

5. Six Modes of Peircean Abduction Using the ten classes of signs as a categorization scheme seems to yield nothing other than a clumsy new language. Turning away from categorization, it makes sense to turn in the direction of inference. That is, what can the ten classes tell us about how human beings reason and make inferences about their world?

6. Six Modes of Peircean Abduction The ten classes are: • Open Iconic Tone • Open Iconic Token • Open Iconic Type • Open Indexical Token • Open Indexical Type • Open Symbolic Type • Singular Indexical Token • Singular Indexical Type • Singular Symbolic Type • Formal Symbolic Type Abduction Induction Deduction

8. Six Modes of Peircean Abduction Based upon the preceding argument, we claim that there are six separate and distinct ways to do abduction.

9. Six Modes of Peircean Abduction Open Iconic Tone (or Omen/Hunch) This type of inference deals with the possibility of a possible resemblance. A more concrete way to characterize this type of reasoning is to describe it as reasoning in order to determine the possibility that our initial observations might serve as omens/hunches for possible evidence. An omen/hunch is a sign whose resolution is in future acts of inquiry and observation.

10. Six Modes of Peircean Abduction Open Iconic Tone (or Omen/Hunch) An archeologist might guess that she should examine the banks of an old stream bed, because she might possibly find something that might possibly be an artifact.

11. Six Modes of Peircean Abduction Open Iconic Token (or Symptom) This type of inference deals with possible resemblances. Here we have the case where we are trying to decide whether or not some actual observation has enough properties to be considered as some case. A more concrete way to characterize this type of reasoning is to describe it as reasoning in order to determine whether our observations serve as symptoms for the presence of some more general phenomenon.

12. Six Modes of Peircean Abduction Open Iconic Token (or Symptom) Our archeologist, let us say, finds a smoothed stone. It is not immediately clear whether or not the smoothness is natural or man-made, and so she has to make an inference. In these inferences, we often find a dependence on prior experience is involved.

13. Six Modes of Peircean Abduction Open Iconic Type (or Metaphor/Analogy) This type of inference deals with the manipulation of resemblance to create or discover a possible rule. A more concrete way to characterize this type of reasoning is to describe it as the mode of inference that uses analogy and metaphor to create new potential rules of order.

14. Six Modes of Peircean Abduction Open Iconic Type (or Metaphor/Analogy) Our archeologist is unhappy with current theories of migration to describe the movements of the ancient tribes whose artifacts she has been collecting. She needs to generate a new conceptual frame of reference. It might make sense to create a new root metaphor to guide the formation of the new frame of reference.

15. Six Modes of Peircean Abduction Open Indexical Token (or Clue) This type of inference deals with possible evidence. A more concrete way to characterize this type of reasoning is to describe it as reasoning in order to determine whether or not our observations are clues of some more general phenomenon. A clue is a sign which indicates some past state of affairs. Therefore, any act of reasoning which centers on clues is an act that tries to infer what past states of affairs or circumstances were, and is therefore an act of detection.

16. Six Modes of Peircean Abduction Open Indexical Token (or Clue) Our archeologist discovers a number of pottery shards next to the smooth stone. Is there any connection between the two, or is it just a coincidence? In order to make a judgment, she looks at the shards and looks at the smooth stone, searching for evidence of some physical connection. If she finds pieces of pottery on the stone, then she has a potential clue that the stone was used, for some reason she does not know yet, to shatter the pots.

17. Six Modes of Peircean Abduction Open Indexical Type (or Diagnosis/Scenario) This type of inference involves the formation of a possible rule based on available evidence. A more concrete way to characterize this type of reasoning is to describe it as reasoning in order to discover possible diagnostic judgments amidst our observations. It is the act of reasoning that also finishes off the detection process by the creation of plausible scenarios from the body of clues.

18. Six Modes of Peircean Abduction Open Indexical Type (or Diagnosis/Scenario) The archeologist notes that the shattered pots are all placed in a shallow pit, and there are other smooth stones organized around the edges of the pit. She then starts the process of assembling these individual observations no longer as observations, but now as potential scenarios. They may be tools.

19. Six Modes of Peircean Abduction Open Symbolic Type (or Explanation) This type of inference deals with a possible formal rule. A more concrete way to characterize this type of reasoning is to describe it as reasoning in order to form a general plausible explanation.

20. Six Modes of Peircean Abduction Open Symbolic Type (or Explanation) For example, suppose our archeologist is trying to account for a puzzling collection of artifacts. She has never seen burnt sticks with smooth stones attached to them. As tools, these implements have been weakened by having been burnt. If she shifts her mode of explanation, though, she can make better sense of them.

21. Six Modes of Peircean Abduction Open Symbolic Type (or Explanation) Suppose, instead of being tools, these artifacts have religious significance? The burnt sticks might serve to illustrate some ritual point. Note that this explanation by itself carries no weight of certainty, but it might serve to simplify other explanations, and create a pattern to account for other data.

22. Six Modes of Peircean Abduction Open Symbolic Type (or Explanation) This explanation, if it holds, allows us to summarize a lot of separate pieces of evidence, and a number of alternative scenarios, into a single coherent explanation that has the additional advantage of serving as the basis for meaningful insight. That is, a good explanatory hypothesis does not just explain the obvious. It directs us toward the less obvious, and sheds light on areas once seen as unclear or unconnected.

23. Narratives “A planner needs to know what is really happening, in order to determine whether reality should be changed” C. West Churchman, 1971 While Joseph Campbell (1949) is describing myths as mystical adventures, Churchman resembles the systems approach with exciting journeys. A journey traveled through the lens of the systems approach is based on the principle that all aspects of the human world should be tied together in one grand scheme. This calls for the pursuit of meaning, and whether we are talking about systems, projects or problem-solving,

24. Narratives In The Design of Inquiring Systems (1971), Churchman describes the connection between inquiry and storytelling; he says that the Hegelian inquirer is a true storyteller because Hegel’s idea is that the best inquiry is the one that produces stories. He continues: “The underlying life of a story is its drama, not its “accuracy”. Drama has the logical characteristics of a flow of events in which each subsequent event partially contradicts what went before; there is nothing duller than a thoroughly consistent story. Drama is the interplay of the tragic and the comic; its blood is conviction, and its blood pressure is antagonism. It prohibits sterile classification. It is above all implicit; it uses the explicit only to emphasize the implicit.”

25. DAVID BOJE We know that managers are storytellers and do story work (some better than others), but what stories are they telling, and how can they tell a better story in a pluralistic, postmodern world? And how do managerial processes, the story work, control what stories get told? I want to make four practical author points in this chapter:

26. DAVID BOJE • Managers are taught and socialized to participate in organizing processes that control stories, storytellers, and constructions of storytelling work in complex organizations. • Managers learn to listen to and to evaluate stories being told through administrative processes that reauthor the self and make the personal experience narratives of employees and customers impossible to hear. • Managers may learn how to "live into" stories of the other without via experiential and democratic dialogic processes. • Each of these has consequences for narrative ethics.

28. DAVID BOJE: CONCLUSION I have suggested in this chapter there are ways of being practical that include a more pluralized and even democratic and dialogic creation of stories. In practice this moves organization practice outside the hierarchical and mechanist metaphor or quest and chaos metaphor or even postmodern metaphor to practical discourse.

29. DAVID BOJE: CONCLUSION Chaos and postmodern fragmentation are not necessarily the way all people want to narrate their life experience. If postmodern narration privileges the voice of self over the collective voice and the voice of nature there are ethical concerns. If chaos and postmodern narratives are more about situating claims in webs of dialogue and context than about universal appeals to abstract laws of ethics, one has to ask if all ethical laws are destructive to civilization and cosmos?

30. DAVID BOJE: CONCLUSION Is there a space for dialogue between modern and postmodern positions? There are personalities who create dysfunction, whose way of being sets of chaotic misery for others (including nature). They drop a pebble into the water and are not conscious and worse, not caring of its effects. It is also not clear that valorizing the personal experience narrative over the bureaucratic or quest narrative will result in an ethical position.

31. Kommunikationsplatform In what follows we try to expand the above by using the theory and praxis developed by David Boje, who has invented the term antenarrative in order to bring new life to narratives and storytelling in and around communities and organizations. The reason for this is that we would like to use the idea of narratology for design purposes in order to create the heroic out of potential, presumtive and actual narratives.

32. Kommunikationsplatform “...a “pre-narrative”, and a “bet” (ante) that you can tell a pre-story that will become a story that is world-changing” • An antenarrative is a story that is NOT YET. • It has not yet enrolled its cast of characters. • It has not yet become REAL-ized in the world of objects and processes and systems. • Antenarrative has not yet changed the context; antenarrating means you are trying to recontextualize or decontextualize.

33. Kommunikationsplatform Boje views narratives and storytelling as an “after the fact” recording, where the story is narrated in a finalized form. In this use of theory of antenarratives we suggest that is is applied as a design theory and a diversity of methods for designing, analyzing, telling and using antenarratives – even to the point of creating an “after the implementation” finalized narrative. Here with a moral and agreed plot.

34. Kommunikationsplatform Boje identifies five dimensions of antenarratives • antenarrating is before whatever narratology as a method and theory supplements, frames and imposes onto story. There are still many meanings to sort out before plot and coherence descend to close off the need for further sensemaking • antenarrative gives attention to the speculative, the ambiquity of sensemaking and guessing as to what is happening in the flow of experience. It answers the question “what is going on here?” Antenarrative is constituted out of the flow of lived experience, narrative method is more meta; it is about the storytelling that came before • antenarrative directs our analytic attention to the flow of storytelling, as a sensemaking to living experience before narrative requires beginnings, middles or endings.

35. Kommunikationsplatform • antenarrative is about the Tamara of storytelling. In Tamara, Los Angeles longest-running play, a dozen characters unfold their stories infront of a walking, sometimes running audience. • antenarrative is collective memory before it becomes reified into the story, the consensual narrative. It is before the plots have been agreed to; it is still in a state of coming-to-be; still in flux.

36. Bureaucratic Storytelling Organization • Managed process of organization can overwhelm personal experience narratives with the technical language of managerial control, including reducing “individual story” to entries into personnel databases to facilitate the administration of storytelling in complex organizations. • Stories so quantified, normalized, and digitized standardize personal stories and make the control of individuals more predictable. • Managerial acts can play a role in creating a linear, rationalized, and over-controlled storytelling processes. The basic human fear is to be invisable in someone else´s narration. • Conclusively, they are based on linearity, ratinalization and control.

37. Inter-Story Storytelling Organization • The inter-story dynamics raises particular narrative ethic implications for the practical author. • Bojes purpose here is to show how the storytelling process can be different, be more in tune with the idea of narrative ethics (e.g., engaging with the narrative of personal experience) and how this might be done by the practical author (i.e., the practical author is aware of the problems of storytelling and wants to co-author narratives with others). • And this can include moving from a narrative position that sees the entire organization as a bureaucratic, chaos, quest or even postmodern storytelling organization. • The deeper question here is how do managers balance and inter-weave the various types?

38. Postmodern Storytelling Organization • Postmodern narrating is a critical witness to modern times. As in the chaos pattern, there are fragments of memory overwhelmed by situated occurence that do not settle into the coherence of meaningful journey or bureaucratic order. • But in the postmodern storytelling organization process there is a conscious act of the storyteller to struggle to gain sovereignty over his or her own experience. In this sense, the difference between chaos and postmodern storytelling organization process, is the more active role played by self-reflection. • In both postmodern and chaos storytelling organizations, there is no narrative coherence at the call to recite a story. • In the postmodern processes there is an act of collective reflection that does not rob the individual of their self-reflective experience narrative.

39. Chaotic Storytelling Organization • Chaos storytelling organization as an ideal type, is at the opposite continuum of bureaucratic storytelling organization. • Chaos is the exposure of the pit of the narrative wreckage bureaucratic and quest tales seek to cover. • Chaos storytelling organization appeals to the legitimacy of scientific knowledge in ways that marginalizes how people experience the suffering in chaos. Organizational practice is shrouded in scientific legitimacy through abstraction, with theories of fractal chaos and complexity. • The plot of the chaos storytelling organization is life never gets better, especially when one tumbles into the abyss. • Chaos story is improper because the storyteller uses “and then this happened” and “then that happened” without tying the events to some orderly plot, but the events are not ordered or grasped by some retrospective act of narrative reflection.

40. Quest Storytelling Organization • The hero of the journey who has a compelling story to tell. • The quest narrative focuses upon the voice of the hero while marginalizing others who participate in the journey or experience of the consequences of the elixir spread over those who await the return • Joseph Campbell defined the quest narrative as composed of three essential segments: the call, the initiation and the return.

41. Quest Storytelling Organization There is a call for adventure, and after some false starts and meeting and recruiting companions, the hero departs on the journey. The hero is of the tale is overwhelmed by life and takes off on a journey where more overwhelming events unfold. This threshold of departure crossed, the journey begins with some act of initiation that involves a series of trials. These usually mold the journey mob into a mighty team. Along the journey the hero can be tempted and even atone for transgressions. In the end of the journey, the hero is transformed – returning not only with the loot, but also with values that have been transformed. In the return, the hero has mastered the pain and suffering of chaos.

42. 12 elements in Innovation 1. Client – who ought to be served? 2. Purpose – goals, objectives and ideals. 3. Measure of Performance – can be viewed uner the three subcategories of purpose. 4. Decision Maker – When one decides to do something, one also decides not to do a number of other things[1]. 5. Components – aspects of reality that the decision maker can change. 6. Environment – aspects of reality that the decision maker can not change. 7. Planner/Designer – who should plan and who should decide on goals, objectives and ideals? 8. Implementation – the tradegy and comedy of planning. 9. Guarantor – what is the guarantor and what should it be? 10. System Philosophers – who ought to develop systems like this one? 11. Enemies of the Systems Approach­ – politics, moral, religion and aesthetics. 12. Significance - when all is said and done, what is really the significance of the whole effort?

43. Where should one start or act? The need is to start, to act but in such a way that one always put these 12 elements into play. Then one has done the best one can in one’s actions.

44. 12 elements in Innovation • Every planned action on the part of human ought to serve a specific class of individuals (who need not be Every planned action on the part of human ought to serve a specific class of individuals (who need not be human), called “clients” (and ought not to serve some other classes). • Clients are served by attempting to coproduce ethically defensible goals, objectives and ideals. • There ought to be an integrating (comprehensive) way of measuring the performance of the system in order to find out whether the client´s goals, objectives and ideals are met. • For every deliberate action there are individuals (decision makers) who ought to coproduce the action (and individuals who ought not to coproduce the action), through the use of appropriate resources (components). • For every deliberate action there are co-producers (components) of the goals, objectives and ideals. • There is an environment that cannot be, or ought not to be, changed by the appropriate decision makers.

45. 12 elements in Innovation 6. There is an environment that cannot be, or ought not to be, changed by the appropriate decision makers. 7. There exists of class of actions that ought to be planned by an appropriate individual or group (the designer). 8. Such appropriate plans ought to be implemented. 9. There exists (or ought to exist) a guarantor that prevents the disaster of erroneous plans (or guarantees human progress). 10. There exists (ought to exist) a system philosopher who has an idea of how a system ought to be built up. 11. There exists (ought to exist) enemies of the Systems Approach and the enemy is us. 12. The action taken ought to be of some significance for the social good.

46. So live the moment that each future moment would find you more powerful had you lived in any other way