The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not (...) a defining feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight what (...) is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

This essay is an introduction to the Routledge Handbook of Philosophy of Colour. Why has the examination of many different aspects of colour been a prominent feature in philosophy, to such an extent that the topic is worthy of a handbook? Here are two related answers. First, colours are exceedingly familiar, seemingly simple features that become enigmatic under scrutiny, and they are difficult to capture in any familiar-sounding, unsophisticated theory. Second, through colour one can confront various problems that span the (...) breadth of philosophy, including problems pertaining to perception, the mind-body relation, the nature of science, scepticism, vagueness, meta-ethics, and aesthetics. In this introduction we elaborate and guide the reader to the essays in the rest of this volume. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Scepticism about ought simpliciter is the view that there is no such thing as what one ought simpliciter to do. Instead, practical deliberation is governed by a plurality of normative standpoints, each authoritative from their own perspective but none authoritative simpliciter. This paper aims to resist such scepticism. After setting out the challenge in general terms, I argue that scepticism can be resisted by rejecting a key assumption in the sceptic’s argument. This is the assumption that standpoint-relative (...) ought judgments bring with them a commitment to act in accordance with those judgments. Instead, I propose an alternative account of our normative concepts according to which only ought simpliciter judgments commit one to acting in accordance with those judgments. In addition to answering the sceptical challenge, the proposal offers an independently motivated account of what makes a concept normatively authoritative. (shrink)

I focus on a key argument for global external world scepticism resting on the underdetermination thesis: the argument according to which we cannot know any proposition about our physical environment because sense evidence for it equally justifies some sceptical alternative (e.g. the Cartesian demon conjecture). I contend that the underdetermination argument can go through only if the controversial thesis that conceivability is per se a source of evidence for metaphysical possibility is true. I also suggest a reason to doubt (...) that conceivability is per se a source of evidence for metaphysical possibility, and thus to doubt the underdetermination argument. (shrink)

The first part of this paper will provide a reconstruction of Francis Bacon’s interpretation of Academic scepticism, Pyrrhonism, and Dogmatism, and its sources throughout his large corpus. It shall also analyze Bacon’s approach against the background of his intellectual milieu, looking particularly at Renaissance readings of scepticism as developed by Guillaume Salluste du Bartas, Pierre de la Primaudaye, Fulke Greville, and John Davies. It shall show that although Bacon made more references to Academic than to Pyrrhonian Scepticism, (...) like most of his contemporaries, he often misrepresented and mixed the doctrinal components of both currents. The second part of the paper shall offer a complete chronological survey of Bacon’s assessment of scepticism throughout his writings. Following the lead of previous studies by other scholars, I shall support the view that, while he approved of the state of doubt and the suspension of judgment as a provisional necessary stage in the pursuit of knowledge, he rejected the notion of acatalepsia. To this received reading, I shall add the suggestion that Bacon’s criticism of acatalepsia ultimately depends on his view of the historical conditions that surround human nature. I deal with this last point in the third part of the paper, where I shall argue that Bacon’s evaluation of scepticism relied on his adoption of a Protestant and Augustinian view of human nature that informed his overall interpretation of the history of humanity and nature, including the sceptical schools. (shrink)

While there seems to be much evidence that perceptual states can occur without being conscious, some theorists recently express scepticism about unconscious perception. We explore here two kinds of such scepticism: Megan Peters and Hakwan Lau's experimental work regarding the well-known problem of the criterion -- which seems to show that many purported instances of unconscious perception go unreported but are weakly conscious -- and Ian Phillips' theoretical consideration, which he calls the 'problem of attribution' -- the worry (...) that many purported examples of unconscious perception are not perceptual, but rather merely informational and subpersonal. We argue that these concerns do not undermine the evidence for unconscious perception and that this sceptical approach results in a dilemma for the sceptic, who must either deny that there is unconscious mentality generally or explain why perceptual states are unique in the mind such that they cannot occur unconsciously. Both options, we argue, are problematic. (shrink)

Kant's response to scepticism in the Critique of Pure Reason is complex and remarkably nuanced, although it is rarely recognized as such. In this paper, I argue that recent attempts to flesh out the details of this response by Paul Guyer and Michael Forster do not go far enough. Although they are right to draw a distinction between Humean and Pyrrhonian scepticism and locate Kant's response to the latter in the Transcendental Dialectic, their accounts fail to capture two (...) important aspects of this response. The first is that Kant's response to Pyrrhonian scepticism is also a response to Hume. The second is that aspects of this response are decidedly positive. In particular, I argue (1) that Kant believed Hume's scepticism manifested important elements of Pyrrhonian scepticism and (2) that both Pyrrhonian scepticism and Hume had a significant positive influence on the development of the Transcendental Dialectic. (shrink)

I advocate scepticism about epistemic blame; the view that we have good reason to think there is no distinctively epistemic form of blame. Epistemologists often find it useful to draw a distinction between blameless and blameworthy norm violation. In recent years, this has led several writers to develop theories of ‘epistemic blame.’ I present two challenges against the very idea of epistemic blame. First, everything that is supposedly done by epistemic blame is done by epistemic evaluation, at least according (...) to a prominent view about the social role of epistemic evaluation. Parsimony considerations count against introducing an idle mechanism that does the same work as an existing one. Second, no current theory of epistemic blame includes a plausible account of the force of epistemic blame or the practices that could express it. I conclude that we should give up the notion of epistemic blame. (shrink)

The relation of scepticism to infallibilism and fallibilism is a contested issue. In this paper I argue that Cartesian sceptical arguments, i.e. sceptical arguments resting on sceptical scenarios, are neither tied to infallibilism nor collapse into fallibilism. I interpret the distinction between scepticism and fallibilism as a scope distinction. According to fallibilism, each belief could be false, but according to scepticism all beliefs could be false at the same time. However, to put this distinction to work sceptical (...) scenarios have to be understood as ignorance-possibilities, not as error-possibilities. To show that scepticism is not tied to infallibilism I reject the principle of unrestricted relevance according to which any error- or ignorance-possibility whatsoever is relevant. Instead I argue that the sceptic should distinguish between local and global ignorance-possibilities. Global ignorance-possibilities are relevant even though not all ignorance-possibilities are relevant. The result is a refined version of the Cartesian sceptical argument that avoids two traps other versions do not avoid. (shrink)

This article explores the relationship between epistemic relativism and Pyrrhonian scepticism. It is argued that a fundamental argument for contemporary epistemic relativism derives from the Pyrrhonian problem of the criterion. Pyrrhonian scepticism is compared and contrasted with Cartesian scepticism about the external world and Humean scepticism about induction. Epistemic relativism is characterized as relativism due to the variation of epistemic norms, and is contrasted with other forms of cognitive relativism, such as truth relativism, conceptual relativism and (...) ontological relativism. An argument from the Pyrrhonian problem of the criterion to epistemic relativism is presented, and is contrasted with three other arguments for epistemic relativism. It is argued that the argument from the criterion is the most fundamental argument for epistemic relativism. Finally, it is noted how the argument of the present paper fits with the author’s previous suggestion that a particularist response to the Pyrrhonian sceptic may be combined with a naturalistic view of epistemic warrant to meet the challenge of epistemic relativism. (shrink)

The classical arguments for scepticism about the external world are defended, especially the symmetry argument: that there is no reason to prefer the realist hypothesis to, say, the deceitful demon hypothesis. This argument is defended against the various standard objections, such as that the demon hypothesis is only a bare possibility, does not lead to pragmatic success, lacks coherence or simplicity, is ad hoc or parasitic, makes impossible demands for certainty, or contravenes some basic standards for a conceptual or (...) linguistic scheme. Since the conclusion of the sceptical argument is not true, it is concluded that one can only escape the force of the argument through some large premise, such as an aptitude of the intellect for truth, if necessary divinely supported. (shrink)

Some moral theorists argue that being an innocent beneficiary of significant harms inflicted by others may be sufficient to ground special duties to address the hardships suffered by the victims, at least when it is impossible to extract compensation from those who perpetrated the harm. This idea has been applied to climate change in the form of the beneficiary-pays principle. Other philosophers, however, are quite sceptical about beneficiary pays. Our aim in this article is to examine their critiques. We conclude (...) that, while they have made important points, the principle remains worthy of further development and exploration. Our purpose in engaging with these critiques is constructive — we aim to formulate beneficiary pays in ways that would give it a plausible role in allocating the cost of addressing human-induced climate change, while acknowledging that some understandings of the principle would make it unsuitable for this purpose. (shrink)

Crispin Wright maintains that the architecture of perceptual justification is such that we can acquire justification for our perceptual beliefs only if we have antecedent justification for ruling out any sceptical alternative. Wright contends that this principle doesn’t elicit scepticism, for we are non-evidentially entitled to accept the negation of any sceptical alternative. Sebastiano Moruzzi has challenged Wright’s contention by arguing that since our non-evidential entitlements don’t remove the epistemic risk of our perceptual beliefs, they don’t actually enable us (...) to acquire justification for these beliefs. In this paper I show that Wright’s responses to Moruzzi are ineffective and that Moruzzi’s argument is validated by probabilistic reasoning. I also suggest that Wright cannot answer Moruzzi’s challenge without weakening the support available for his conception of the architecture of perceptual justification. (shrink)

This paper presents a particularist and naturalist response to epistemic relativism. The response is based on an analysis of the source of epistemic relativism, according to which epistemic relativism is closely related to Pyrrhonian scepticism. The paper starts with a characterization of epistemic relativism. Such relativism is explicitly distinguished from epistemological contextualism. Next the paper presents an argument for epistemic relativism that is based on the Pyrrhonian problem of the criterion. It then considers a response to the problem of (...) the criterion proposed by Roderick Chisholm, which is based on epistemological particularism. After sketching Chisholm’s approach, a response to epistemic relativism is presented which combines Chisholm’s particularism with epistemic naturalism and reliabilism. A number of objections to the position are then considered. The paper ends with remarks about the relationship between particularism and the naturalistic response proposed to epistemic relativism. (shrink)

We focus on Timothy Williamson’s recent attack on the epistemological significance of the a priori–a posteriori distinction, and offer an explanation of why, fundamentally, it does not succeed. We begin by setting out Williamson’s core argument, and some of the background to it and move to consider two lines of conciliatory response to it—conciliatory in that neither questions the central analogy on which Williamson's argument depends. We claim, setting aside a methodological challenge to which Williamson owes an answer, that no (...) satisfactory such reconciliation is in prospect. Rather, as we then argue, —and it is on this that we base our overall negative assessment of his argument—Williamson’s core analogy is flawed by an oversight. We conclude with some brief reflections on Williamson’s ideas about the imagination as a source of knowledge. Our principal conclusion is only that Williamson’s argument fails to perform as advertised. A constructive case for confidence, to the contrary, that the intuitive contrast between a priori and a posteriori reflects something of fundamental epistemological significance is prefigured in our final section, but will not be elaborated here. (shrink)

The irreducibility thesis of phenomenal consciousness can only succeed against the sceptical attack and avoid solipsism iff it can coherently establish the transition from subjective certainty to the objectivity of knowledge. The sceptical attack on the relationship between the phenomenal qualitative character of experience about the subjects own mental fact and the awareness of the qualitative properties of the phenomenal object can be avoided through establishing the immediacy of experience. The phenomenal realist become successful in establishing the subjective certainty about (...) the knowledge of phenomenal consciousness, however, has been failed in establishing objective certainty of knowledge, which leads to several epistemological problems (i.e., scepticism about the independent existence of external world, knowledge about the external reality and the existence of other mind; popularly known as the harder problem of consciousness) in philosophy of mind. In this paper, my objective is to reveal the undesirable consequences of representationalism. Representationalism is not an ideal option for responding to the sceptical attack against the other minds and the reality of the external world. It always leaves an open question for us about the relation between the representation of the object of experience and consciousness. Representationalistic theories of experience violates the principles of phenomenality by rejecting the immediacy of experience and has been committing the pragmatic contradiction by reducing the phenomenal properties to representational properties. The categorization of knowledge about phenomenality as inferential knowledge by representationalist leave no room for foundational knowledge about phenomenality. (shrink)

To what extent are the answers to theological questions knowable? And if the relevant answers are knowable, which sorts of inquirers are in a position to know them? In this chapter we shall not answer these questions directly but instead supply a range of tools that may help us make progress here. The tools consist of plausible structural constraints on knowledge. After articulating them, we shall go on to indicate some ways in which they interact with theological scepticism. In (...) some cases the structural constraints bear directly on whether one can know answers to theological questions. But the structural considerations are related to theological scepticism in other interesting ways as well; for instance we will also be using them to explore the significance of scepticism, by addressing questions such as ‘To what extent does it matter whether or not we can know the answer to theological questions?’. (shrink)

A common objection to Sosa’s epistemology is that it countenances, in an objectionable way, unsafe knowledge. This objection, under closer inspection, turns out to be in far worse shape than Sosa’s critics have realised. Sosa and his defenders have offered two central response types to the idea that allowing unsafe knowledge is problematic: one response type adverts to the animal/reflective knowledge distinction that is characteristic of bi-level virtue epistemology. The other less-discussed response type appeals to the threat of dream (...) class='Hi'>scepticism, and in particular, to the idea that many of our everyday perceptual beliefs are unsafe through the nearness of the dream possibility. The latter dreaming response to the safety objection to Sosa’s virtue epistemology has largely flown under the radar in contemporary discussions of safety and knowledge. We think that, suitably articulated in view of research in the philosophy and science of dreaming, it has much more going for it than has been appreciated. This paper further develops, beyond what Sosa does himself, the dreaming argument in response to those who think safety (as traditionally understood) is a condition on knowledge and who object to Sosa’s account on the grounds that it fails this condition. The payoffs of further developing this argument will be not only a better understanding of the importance of insights about dreaming against safety as a condition on knowledge, but also some reason to think a weaker safety condition, one that is relativised to SSS (i.e., skill/shape/situation) conditions for competence exercise, gets better results all things considered as an anti-luck codicil on knowledge. (shrink)

According to Duncan Pritchard, there are two kinds of radical sceptical problem; the closure-based problem, and the underdetermination-based problem. He argues that distinguishing these two problems leads to a set of desiderata for an anti-sceptical response, and that the way to meet all of these desiderata is by supplementing a form of Wittgensteinian contextualism with disjunctivist views about factivity. I agree that an adequate response should meet most of the initial desiderata Pritchard puts forward, and that some version of Wittgensteinian (...) contextualism shows the most promise as a starting point for this, but I argue, contra Pritchard, that the addition of disjunctivism is unnecessary and potentially counter-productive. If we draw on lessons from Michael Williams's inferential contextualism then it is both possible, and preferable, to meet the most important of Pritchard's desiderata, undercutting both closure-based and underdetermination-based sceptical problems in a unified way, without the need to resort to disjunctivism. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

An overview of the import of disjunctivism to the problem of radical scepticism is offered. In particular, the disjunctivist account of perceptual experience is set out, along with the manner in which it intersects with related positions such as naïve realism and intentionalism, and it is shown how this account can be used to a motivate an anti-sceptical proposal. In addition, a variety of disjunctivism known as epistemological disjunctivism is described, and it is explained how this proposal offers a (...) further way of responding to radical scepticism. (shrink)

Ernest Sosa has made and continues to make major contributions to a wide variety of topics in epistemology. In this paper I discuss some of his core ideas about the nature of knowledge and scepticism. I start with a discussion of the safety account of knowledge – a view he has championed and further developed over the years. I continue with some questions concerning the role of the concept of an epistemic virtue for our understanding of knowledge. Safety and (...) virtue hang very closely together for Sosa. All this easily leads to some thoughts on epistemic scepticism and on Sosa's stance on this. (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and (...) meaningful attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

Some philosophers have argued that the paucity of evidence for theism — along with basic assumptions about God's nature — is ipso facto evidence for atheism. The resulting argument has come to be known as the argument from divine hiddenness. Theists have challenged both the major and minor premises of the argument by offering defences. However, all of the major, contemporary defences are failures. What unites these failures is instructive: each is implausible given other commitments shared by everyone in the (...) debate or by theists in particular. Only challenges which are plausible given both common sense and other theistic commitments will undermine the argument from divine hiddenness. Given that such defences universally fail, the best hope for a successful challenge to the argument comes from more general sceptical responses. This sort of response is briefly sketched and defended against four independent objections. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp (...) on the nature of aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

According to the standard view, Montaigne’s Pyrrhonian doubts would be in the origin of Descartes’ radical Sceptical challenges and his cogito argument. Although this paper does not deny this influence, its aim is to reconsider it from a different perspective, by acknowledging that it was not Montaigne’s Scepticism, but his Stoicism, which played the decisive role in the birth of the modern internalist conception of subjectivity. Cartesian need for certitude is to be better understood as an effect of the (...) Stoic model of wisdom, which urges the sage to build an inner space for self-sufficiency and absolute freedom. (shrink)

In the article, ‘Being Good in a World of Need: Some Empirical Worries and an Uncomfortable Philosophical Possibility,’ Larry Temkin presents some concerns about the possible impact of international aid on the poorest people in the world, suggesting that the nature of the duties of beneficence of the global rich to the global poor are much more murky than some people have made out. -/- In this article, I’ll respond to Temkin from the perspective of effective altruism—one of the targets (...) he attacks. I’ll argue that Temkin’s critique has little empirical justification, given the conclusions he wants to reach, and is therefore impotent. (shrink)

In this paper, we develop a novel response to counterfactual scepticism, the thesis that most ordinary counterfactual claims are false. In the process we aim to shed light on the relationship between debates in the philosophy of science and debates concerning the semantics and pragmatics of counterfactuals. We argue that science is concerned with many domains of inquiry, each with its own characteristic entities and regularities; moreover, statements of scientific law often include an implicit ceteris paribus clause that restricts (...) the scope of the associated regularity to circumstances that are ‘fitting’ to the domain in question. This observation reveals a way of responding to scepticism while, at the same time, doing justice both to the role of counterfactuals in science and to the complexities inherent in ordinary counterfactual discourse and reasoning. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I (...) suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for (...) those wishing to defend aesthetic non-cognitivism, would be to appeal to a similar argument. However, both Caj Strandberg and Walter Sinnott-Armstong have argued that Internalism is a less plausible claim to make about aesthetic judgements than about moral judgements by raising objections against aesthetic internalism. In this paper, I will argue that both of these objections can be raised against internalism about moral judgements as well. As a result, internalism is no less plausible a claim to make about aesthetic judgements than about moral judgements. I will then show how a theory of internalism about normative judgements in general is capable of avoiding both of these objections. (shrink)

The paper starts by describing and clarifying what Williamson calls the consequence fallacy. I show two ways in which one might commit the fallacy. The first, which is rather trivial, involves overlooking background information; the second way, which is the more philosophically interesting, involves overlooking prior probabilities. In the following section, I describe a powerful form of sceptical argument, which is the main topic of the paper, elaborating on previous work by Huemer. The argument attempts to show the impossibility of (...) defeasible justification, justification based on evidence which does not entail the (allegedly) justified proposition or belief. I then discuss the relation between the consequence fallacy, or some similar enough reasoning, and that form of argument. I argue that one can resist that form of sceptical argument if one gives up the idea that a belief cannot be justified unless it is supported by the totality of the evidence available to the subject—a principle entailed by many prominent epistemological views, most clearly by epistemological evidentialism. The justification, in the relevant cases, should instead derive solely from the prior probability of the proposition. A justification of this sort, that does not rely on evidence, would amount to a form of entitlement, in (something like) Crispin Wright’s sense. I conclude with some discussion of how to understand prior probabilities, and how to develop the notion of entitlement in an externalist epistemological framework. (shrink)

I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, (...) or making music together. This article argues that we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...) love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are (...) distal versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts (...) of aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)

The Socratic Paradox (that only Socrates is wise, and only because only he recognizes our lack of wisdom) is explained, elaborated and defended. His philosophical scepticism is distinguished from others (Pyrrhonian, Cartesian, Humean, Kripkean Wittgenstein, etc.): the doubt concerns our understanding of our beliefs, not our justification for them; the doubt is a posteriori and inductive, not a priori. Post-Socratic philosophy confirms this scepticism: contra-Descartes, our ideas are not transparent to us; contra-Verificationism, no criterion distinguishes sense from nonsense. (...) The import of this scepticism for professional ethicists is examined. (shrink)

Given the multiple crises that are occurring after decades of neoliberalism we should take care to examine neoliberalism’s claims and subject them to critical scrutiny. What I propose to do here is to examine some of the philosophical claims made by Friedrich Hayek and then submit them to scrutiny using tools from Hayek’s cousin, Ludwig Wittgenstein.

Interpreters of Hume on causation consider that an advantage of the ‘quasi-realist’ reading is that it does not commit him to scepticism or to an error theory about causal reasoning. It is unique to quasi-realism that it maintains this positive epistemic result together with a rejection of metaphysical realism about causation: the quasi-realist supplies an appropriate semantic theory in order to justify the practice of talking ‘as if’ there were causal powers in the world. In this paper, I problematise (...) the quasi-realist reading of Hume on causation by showing how quasi-realism does not speak to inductive scepticism. I also offer evidence that Hume takes inductive scepticism to result from his theory of causation, and that his scepticism is tied to his rejection of metaphysical causal realism. (shrink)

Abstract: Scepticism has only two moves to make and each is indefensible.

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; (...) we are ignorant of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

Until very recently, there has been no discussion of aesthetic agency. This is likely because aesthetics has traditionally focused not on action, but on appreciation, while the standard approach identifies ‘agency’ with the will, and, more specifically, with the capacity for intentional action. In this paper, I argue, first, that this identification is unfortunate since it fails to do justice to the fact that we standardly attribute beliefs, emotions, desires, and other conative and affective attitudes that aren’t formed ‘at (...) will,’ including aesthetic appreciation, to people’s agency. Fortunately, we need not abide by this Practical Approach, but can develop an alternative: the Authority Approach to rational agency, which does justice to the widespread practice of rationally assessing, reactively responding to, and holding people responsible for non-voluntary attitudes. This is very good news for aesthetics since, I argue additionally, any account of aesthetic agency that accepts the Practical Approach, and focuses on aesthetic actions fails to provide a genuine notion of aesthetic agency. For we have no handle on what counts as aesthetic actions independently of these actions’ relation to appreciation: actions are “aesthetic” only derivatively insofar as they center around those that merit (dis)appreciation. For this reason, we have genuine aesthetic agency only if we can exercise agency in acts of the rational-affective capacity for appreciation, which differs from the will. The Authority Approach allows us to explain how we exercise agency in aesthetic appreciations, thus equipping us with a genuine conception of aesthetic agency. (shrink)

This paper is about three of the most prominent debates in modern epistemology. The conclusion is that three prima facie appealing positions in these debates cannot be held simultaneously. The first debate is scepticism vs anti-scepticism. My conclusions apply to most kinds of debates between sceptics and their opponents, but I will focus on the inductive sceptic, who claims we cannot come to know what will happen in the future by induction. This is a fairly weak kind of (...) scepticism, and I suspect many philosophers who are generally anti-sceptical are attracted by this kind of scepticism. Still, even this kind of scepticism is quite unintuitive. I’m pretty sure I know (1) on the basis of induction. (1) It will snow in Ithaca next winter. Although I am taking a very strong version of anti-scepticism to be intuitively true here, the points I make will generalise to most other versions of scepticism. (Focussing on the inductive sceptic avoids some potential complications that I will note as they arise.) The second debate is a version of rationalism vs empiricism. The kind of rationalist I have in mind accepts that some deeply contingent propositions can be known a priori, and the empiricist I have in mind denies this. Kripke showed that there are contingent propositions that can be known a priori. One example is Water is the watery stuff of our acquaintance. (‘Watery’ is David Chalmers’s nice term for the properties of water by which folk identify it.) All the examples Kripke gave are of propositions that are, to use Gareth Evans’s term, deeply necessary (Evans, 1979). It is a matter of controversy presently just how to analyse Evans’s concepts of deep necessity and contingency, but most of the controversies are over details that are not important right here. I’ll simply adopt Stephen Yablo’s recent suggestion: a proposition is deeply contingent if it could have turned out to be true, and could have turned out to be false (Yablo, 2002)1. Kripke did not provide examples of any deeply contingent propositions knowable a priori, though nothing he showed rules out their existence.. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on (...) class='Hi'>aesthetic testimony seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or (...) not these arguments suffice to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)