Suppose we consider knowledge to be valuable because of the role known propositions play in practical reasoning. This, I argue, does not provide a reason to think that knowledge is valuable in itself. Rather, it provides a reason to think that true belief is valuable from one standpoint, and that justified belief is valuable from another standpoint, and similarly for other epistemic concepts. The value of the concept of knowledge is that it provides an economical way of talking about many (...) epistemic concepts that are valuable in itself from one standpoint or another. In this way knowledge is like a Swiss Army Knife; a Swiss Army Knife is not useful as such on any occasion, but it provides an efficient way of carrying around different tools that are useful in themselves on different occasions. (shrink)

I propose that testimony is subject to a norm that is backed by a credibility sanction: whenever the norm is violated, it is appropriate for the testifier to lose some credibility for their future testimony. This is one of a family of sanction-based norms, where violation of the norm makes it appropriate to lose some power; in this case, the power to induce belief through testimony. The applicability of the credibility norm to testimony follows from the epistemology of testimony, in (...) that false or unjustified testimony weakens the reason for belief that is provided by the speaker's future testimony. (shrink)

I argue that there is a wide variety of epistemic norms, distributed along two different spectra. One spectrum runs from the ideal to the practical and concerns the extent to which it is possible to follow the norm given our cognitive and epistemic limitations. The other spectrum runs from thin to thick and concerns the extent to which the norm concerns facts about our beliefs over and above the content of the belief. Many putative epistemic norms, such as truth and (...) various conceptions of justification, can be found at different points on the spectra. There is no single obvious privileged point from which to say any of these norms is more fundamental than the others, though there may be some reason to doubt that some of the norms are intrinsically interesting. (shrink)

It has been claimed that justification, conceived traditionally in an internalist fashion, is not an epistemologically important property. I argue for the importance of a conception of justification that is completely dependent on the subject’s experience, using an analogy to advice. The epistemological importance of a property depends on two desiderata: the extent to which it guarantees the epistemic goal of attaining truth and avoiding falsehood, and the extent to which it depends only on the information available to the believer. (...) The traditional intermalist notion of justification completely satisfies the second desideratum and largely satisfies the first. (shrink)

John N. Williams (1994) and Matthew Weiner (2005) invoke predictions in order to undermine the normative relevance of knowledge for assertions; in particular, Weiner argues, predictions are important counterexamples to the Knowledge Account of Assertion (KAA). I argue here that they are not true counterexamples at all, a point that can be agreed upon even by those who reject KAA.

Singularity has been a concern of the developers of cybernetics and artificial intelligence (AI) since the pioneering writings of such thinkers as Norbert Weiner. Yet many accept the inevitability of systems of AI surpassing human control and are optimistic that machine intelligence will harmonize human life with our environment. This essay examines this optimism against a reading of two poets: Richard Brautigan and Friedrich Hölderlin. Through these readings, it will attempt to show that the eclipse of nature by human (...) beings can be used to examine the eclipse of the human being by machine intelligence. Thus, what is missing in machine intelligence is a dimension related to the experience of pain and joy that reconnect us to reflect on what has been severed or lost in the movement of humanity through history. This demonstrates that the very categories of optimism and pessimism concerning the future of AI points to the value of life, one that can never be encoded into our machines. (shrink)

This paper attempts to provide a clearer formulation of the paradox presented by Annette B. Weiner, in terms of a requirement to keep certain objects within a social group and also a requirement to exchange them with another social group.

La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence (...) class='Hi'>Weiner, On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)

The core of the Conceptual artists (Mel Bochner, Sol LeWitt; the Siegelaub group with Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner; English and American members of Art and Language) is situated in the art context of the late sixties and the first half of the seventies. The self-positioning of the Conceptual artists within the art world in texts dealing with art theoretical as well as institutional problems is outlined, and selected works are interpreted.