Though ancient Pyrrhonian skepticism is apparently based on disagreement, this aspect of skepticism has been widely neglected in contemporary discussion on skepticism. The paper provides a rational reconstruction of the skeptical argument from disagreement that can be found in the books of Sextus Empiricus. It is argued that this argument forms a genuine skeptical paradox that has no fully satisfactory resolution. All attempts to resolve it make knowledge or justified belief either intuitively too easy or impossible.

Fogelin’s neo-Pyrrhonism is skepticism about epistemology and philosophy more generally. Philosophical reflection on ordinary epistemic practices leads us to deny the possibility of knowledge and justified belief. However, instead of accepting the dogma that knowledge and justified beliefs are impossible, a neo-Pyrrhonist rejects the philosophical premises that lead to this conclusion. Fogelin argues in particular that contemporary theories of justification cannot avoid dogmatic skepticism, because they are committed to the premises of the skeptical argument deriving from the modes of Agrippa. (...) It is argued against Fogelin that those theories can and typically do deny one or another of the premises and thus can avoid the skeptical conclusion. Neo-Pyrrhonism should rather be defended by arguing that the premises of the Agrippan argument are intuitively plausible and that neo-Pyrrhonism provides the best resolution of the resulting paradox. Only neo-Pyrrhonism both explains the intuitive plausibility of the premises and avoids dogmatic skepticism. (shrink)

The paper defends Cartesian skepticism by an argument relying on internalism and infallibilism. It argues that this sort of skepticism gives the best explanation of our intuitions and ordinary epistemic practices.

In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account (...) of direct reference developed by Bertrand Russell and contemporary philosophy of language. On this basis, an expanded version of Goodman’s theory can explain how artworks can express propositions even without being linguistic, representational, or non-fictive. Lammenranta explicates his theory by explaining how abstract paintings and literary fictions can mediate propositional claims about the actual, everyday world. (shrink)