ABSTRACT This article explores the relevance of Peirce’s cosmological concept of love for politics, focusing on its expression as an evolutionary process of semiosis. More specifically, it argues that in Peircean semiotics love becomes the impulse motivating the creation of signs but without resorting to a transcendental structure that would attribute the source of their meaning to the human subject. Rather, it is shown that if love is said to be creative at all, this is only to the extent that it is a metaphysical diagram by which nature signifies itself into manifold worlds. The first part of this paper traces the articulation of diagrammatic love in Peirce’s naturalised concept of the sign as part of his response to the dilemma between construction and reality concerning the interpretation of experimental phenomena. The metaphysical and methodological consequences of this response are then taken up in relation to a different articulation of the same dilemma, this time implying that in order for love to be political it would either have to lose its cosmic character or else its relevance for human concerns. As a conclusion, the paper explores the potential link between diagrammatic love as experimental ethics of semiosis with what has come to be known as the “cosmopolitical proposal”, exemplified in the work of Isabelle Stengers.

中文翻译：

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符号的冲动：尝试皮尔斯的图式恋爱

摘要本文探讨了皮尔斯的对政治之爱的宇宙学概念的相关性，重点是将其表达为符号主义的进化过程。更具体地讲，它认为在皮尔士符号学中，爱变成了推动创造符号的冲动，但没有诉诸于将其含义的来源归因于人类主体的先验结构。相反，它表明，如果说爱情根本是有创造力的，那只是在某种程度上，它是一种形而上的图，大自然通过它形容自己进入了多个世界。本文的第一部分追溯了皮尔斯自然化的符号概念中对图解爱的表达，这是皮尔斯对实验现象的解释对建构与现实之间的困境做出回应的一部分。然后，针对同一困境的不同表达来考虑这种反应的形而上学和方法论上的后果，这一次意味着，为了使爱成为政治，它要么不得不失去其宇宙特性，要么就失去与人类关注的关联性。作为结论，本文探讨了以符号主义作为实验性符号主义的实验性爱情与后来被称为“世界政治建议”之间的潜在联系，这一点在伊莎贝尔·斯汀格斯（Isabelle Stengers）的工作中得到了例证。