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Communication, as a knowledge discipline, consists in the analysis of an interdisciplinary object of study, which requires the integral conjunction of other fields of scientific knowledge without losing its essence and specificity. This paper is the result of a critical revision of the numerous studies that have, in the first place, considered the communication as a science; secondly, envisaged the diverse communicative processes and understood the social phenomena from different perspectives. Finally, they have considered the communication science as an interdisciplinary field whose study requires an epistemology with a methodological pluralism that leads to the solution of problems through applied research. Nowadays, the communication research has taken diverse forms; those who study the uses, practices, social representations and the production of sense of the communicative phenomena, face the dilemma of choosing the adequate way to study a social phenomenon, which is the object or subject of the communication. [ABSTRACT FROM AUTHOR]

In this paper, I discuss the scientific possibilities of communication. The debate focuses on some aspects of the epistemology of communication epistemology and of the construction of a general science to explain social reality and culture. In this essay, I present the main arguments for those who regard scientificity as a possibility or as a vain enterprise. In the second part, I review ample visions of communication by those who call themselves "communicologists"; that is, scientists who have mainly reflected on communication, from outside communication studies. Finally, I explain why communication has become the area of inquiry that leads to the temptation of regarding it as the meeting point of sciences, whose object is information. [ABSTRACT FROM AUTHOR]

This paper examines an approach to Karl R. Popper's philosophical and epistemological proposition (philosophy of science), as a theoretical framework to analyze the links between literary and visual creativity. Popper's methodological proposal is briefly reviewed, as well as the way his epistemological categories are linked to the creative process, enriching it as a cognitive instrument. Then the scope of this instrument as a tool for proving and predicting validity, is explored by applying it to a particular case: the creative process that led to the creation of 18 original visual works that attempt to reflect the original sounds of vowels and consonants. [ABSTRACT FROM AUTHOR]