An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to (...) know that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to (...) knowledge of that which is “alone really essential to the world, the true content of its phenomena.” (WWR1: 184) It is this second aspect of Schopenhauer's aesthetics that is both appealing and curious: while Schopenhauer's aesthetics and epistemology are both rooted in his picture of the world as Will, which is (taken at face value) deeply counter-intuitive, it yet seems to me that by assigning epistemic value to art, he manages to capture the quality of profundity with which certain works of art strike us – a profundity that is accounted for neither by reference to mere enjoyment nor by reference to paraphrasable, propositional knowledge. (shrink)

A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and (...) dissatisfactions are fed by reading romance novels. (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...) able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects – (...) realisations. The fact that various artworks seem to differ in their ontology is due to certain fairly consistent culturally determined biases which cause people to prioritise the above compounds differently in cases of different arts. Thus the diversity of arts should not be considered on the level of ontology, as the pluralists would hold, but epistemology, or even further – socially determined phenomena concerning customary perception of various artworks. (shrink)

This paper considers the view that medicine is both “science” and “art.” It is argued that on this view certain clinical knowledge – of patients’ histories, values, and preferences, and how to integrate them in decision-making – cannot be scientific knowledge. However, by drawing on recent work in philosophy of science it is argued that progress in gaining such knowledge has been achieved by the accumulation of what should be understood as “scientific” knowledge. I claim there are varying degrees of (...) objectivity pertaining to various aspects of clinical medicine. Hence, what is often understood as constituting the “art” of medicine is amenable to objective methods of inquiry, and so, may be understood as “science”. As a result, I conclude that rather than endorse the popular philosophical distinction between the art and science of medicine, in the future a unified, multifaceted epistemology of medicine should be developed to replace it. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Confirmational holism is at odds with Jeffrey conditioning --- the orthodox Bayesian policy for accommodating uncertain learning experiences. Two of the great insights of holist epistemology are that (i) the effects of experience ought to be mediated by one's background beliefs, and (ii) the support provided by one's learning experience can and often is undercut by subsequent learning. Jeffrey conditioning fails to vindicate either of these insights. My aim is to describe and defend a new updating policy that does (...) better. In addition to showing that this new policy is more holism-friendly than Jeffrey conditioning, I will also show that it has an accuracy-centered justification. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...) FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...) renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...) are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory of (...) projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

This is the introduction to the Routledge Companion to Thought Experiments.

The purpose of this paper is to present and describe a new method for studying pre-speech language. The suggested approach allows correlate epistemology of linguistics to the ideological tradition of other scientific disciplines. Method is based on three linguistic categories – nouns, verbs, and interjections in their motor and expressive qualities – and their relation to the three basic forms of art – graphics (visual art), movement (dance), and sound (music). The study considers this correlation as caused by the (...) nature of the human receptor system. This method explains the nature of art and the phenomenon of aesthetics and allows for the chronological arrangement of important cultural processes; it identifies the fundamental unanimity of the semiotic nature of language and art. (shrink)

The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...) achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (shrink)

Wittgenstein once wrote, “a wheel that can be turned though nothing else moves with it, is not part of the mechanism,” and Nyberg’s explanation as to why Hilary Putnam’s answer to the question of whether we might intelligibly suppose ourselves to be “brains in a vat” is wrong takes us, by way of Wittgenstein’s statement, to the intersection of metaphysics and epistemology, i.e., to the very cornerstone of western philosophy, where we find, waiting for us, the absolute I of (...) solipsism. Yet, it is the solipsistic I which in its articulation most obviously violates the private language argument’s stricture against criterionless reference, though the solipsist has available a reply of sorts – the reply of silence, a complete silence which shrouds equally the blank slates of absolute solipsism and pure realism. Through silence, the I of solipsism becomes the eye of realism and, no longer visible even to itself, vanishes from the realm of analytic discourse, only to be reborn at the correspondent point of each successive incarnation of the paradigm. Other methods of philosophy must, thus, be adopted if we are ever to escape the analytic paradigm’s cyclic limits. It is here, at the point where analysis alone can carry us no further, that “Zen” transitions from an unusually-structured but still traditional philosophic essay into something else entirely, with the incorporation into its closing pages of 15 poetic pieces, each drawn from Nyberg’s 100, a longer text of philosophical poetry which takes up where “Zen” leaves off. [email protected] Iowa City, Iowa/Palo Alto, California/New York, New York/Los Angeles, California/Rapid City, South Dakota June 1982-January 2020 . (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His notion (...) that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence of the (...) hybridization of disciplines and of other bran- ches of human knowledge. Nevertheless, it can be demonstrated that proposals as those by Julius von Schlosser and Giulio Carlo Argan enclose reflections and methodological aspects which can help us face the task of understanding and visualizing the mediating role of historians in the culture of sensitivity, and the art modulations that have resulted from the blows of history and that, in turn, have shaped both art and art history into what they are or can be to us today. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Though typically arts information professionals are concerned with the documentation of artwork, this conceptual paper explores how art-making itself can be considered a form of documentation and finished artworks as documents in their own right. On this view, artwork references something outside itself as part of a broader system, and exposes how it references. The implications of this perspective are discussed, springing from a historical discussion of document epistemology, research on the information behavior of artists and the philosophy of (...) Nelson Goodman. This discussion provides a framework for conceptualizing artistic information behavior along the entire information chain. Framing art-making in the terms of information science in this way may help arts information professionals assist artists, and it provides grounds for deeper co-understandings between artists and information scientists. Additionally, once information scientists consider art as a document, we can begin to see that even non-artistic documents perhaps never were as "objective" or "factual" as they seemed. (shrink)

Even though he is not very explicit about it, in “Wittgenstein on Rules and Private Language” Kripke discusses two different, albeit related, skeptical theses ‒ the first one in the philosophy of mind, the second one in the philosophy of language. Usually, what Kripke says about one thesis can be easily applied to the other one, too; however, things are not always that simple. In this paper, I discuss the case of the so-called “Normativity Argument” against semantic dispositionalism (which I (...) take to be epistemological in nature) and argue that it is much stronger as an argument in the philosophy of mind than when it is construed as an argument in the philosophy of language. (shrink)

An overview of the epistemology of perception, covering the nature of justification, immediate justification, the relationship between the metaphysics of perceptual experience and its rational role, the rational role of attention, and cognitive penetrability. The published version will contain a smaller bibliography, due to space constraints in the volume.

In his Encyclopaedia Logic, Hegel affirms that truth is ‘usually’ understood as the agreement of thought with the object, but that in the ‘deeper, i.e. philosophical sense’, truth is the agreement of a content with itself or of an object with its concept. Hegel then provides illustrations of this second sort of truth: a ‘true friend’, a ‘true state’, a ‘true work of art’. Robert Stern has argued that Hegel's ‘deeper’ or ‘philosophical’ truth is close to what Heidegger labelled ‘material’ (...) truth, namely a property attributed to a thing on the basis of the accordance of that thing with its essence. It has since been common to think of Hegel's concept of ‘philosophical’ truth as ‘ontological’, ‘objective’ or ‘material’ in contrast to ‘epistemological’ or ‘propositional’ definitions. In this paper, I wish to add an important nuance to the existing literature on this subject: even though things have a truth-value for Hegel, the latter is always negative. I argue that Hegel's criterion of ‘philosophical’ truth, which is best formulated as ‘agreement with self’, is first and foremost intended to examine the truth-value of thought-determinations. I then argue that even though this criterion may also be applied to examine the truth-value of things (namely, even though things have a truth-value), things never fall under this definition. After reviewing several of Hegel's explicit remarks on the matter, I provide an alternative explanation to those features of Hegel's ‘philosophical’ truth which have led scholars to view it as a truth in things. Especially, I argue that what are generally seen as Hegel's examples (‘true friend’, ‘true state’, ‘true work of art’) are not intended as examples but only as imperfect illustrations of ‘philosophical’ truth. (shrink)

Introduction to Philosophy: Epistemology engages first-time philosophy readers on a guided tour through the core concepts, questions, methods, arguments, and theories of epistemology—the branch of philosophy devoted to the study of knowledge. After a brief overview of the field, the book progresses systematically while placing central ideas and thinkers in historical and contemporary context. The chapters cover the analysis of knowledge, the nature of epistemic justification, rationalism vs. empiricism, skepticism, the value of knowledge, the ethics of belief, Bayesian (...) epistemology, social epistemology, and feminist epistemologies. Along the way, instructors and students will encounter a wealth of additional resources and tools: chapter learning outcomes, key terms, images of philosophers and related art, useful diagrams and tables, boxes containing excerpts and other supplementary material, questions for reflection, suggestions for further reading, and a glossary. For an undergraduate survey epistemology course, Introduction to Philosophy: Epistemology is ideal when used as a main text paired with primary sources and scholarly articles. For an introductory philosophy course, select book chapters are best used in combination with chapters from other books in the Introduction to Philosophy open textbook series (edited by Christina Hendricks). (shrink)

In his book Art and Knowledge, James O. Young suggests that avant-garde and contemporary art, because it tends to eschew the resources of illustrative representation, lacks cognitive value. Because he regards cognitive value as a necessary condition for a high degree of aesthetic value, he concludes that contemporary works tend to have little aesthetic value and thus do not deserve to be regarded as valuable artworks (or, in many cases, as artworks at all). In this paper, I mount a defense (...) of contemporary art against Young’s criticisms. I examine particular artworks to show that the use of exemplification in many contemporary works is sufficient to allow them to make the kind of cognitive contribution Young requires. And I show that even a work that uses virtually none of the resources of illustrative representation makes available an experience that is a valuable source of knowledge. There is, thus, nothing about contemporary art that prevents it from having, or makes it especially unlikely to have, cognitive value. (shrink)

Naturalism in philosophy has a long time and rich heritage. In the second half of twentieth century, there have been a number of philosophers who called for naturalizing epistemology. In recent years the movement to naturalize epistemology has become increasingly popular. The interest in naturalistic epistemology traces to W.V.Quine’s paper "Epistemology Naturalized" (1969). In this paper, Quine argued for a new approach to epistemological questions, and he made argument for transforming epistemology into a new discipline (...) by making it a part of natural science. According to Quine, Descartes’s view of epistemology as first philosophy was doomed to failure, because it was pursued outside science. Epistemology, as traditionally practiced, is a normative enterprise. It seeks the standards which might be used to justify our beliefs and judgments. Traditional rationalists and empiricists do agree that search of these standards within natural science would be illegitimate; because the object of traditional epistemology is to provide a ground for natural science. But naturalists reject the autonomy of epistemology, and seek continuity between epistemology and natural science. Quine says that I see philosophy not as a priori groundwork for science, but as continuous with science. This paper seeks to achieve the following aims: (1) Determining the different concepts which fall under the heading of naturalistic epistemology. (2) Clarify the arguments provided by naturalistic epistemologists to confirm their theories. (3) Discussing the most important criticisms advanced by philosophers against naturalistic epistemology. (4) Stating our attitude toward naturalistic epistemology through defending the "moderate epistemic naturalism". Since strong naturalistic epistemology, in affirmative usage, amounts to scientism, this paper seeks to answer a general question about the legitimacy of scientism. (shrink)

Root, branch, and blossom, attention is intertwined with epistemology. It is essential to our capacity to learn and decisive of the evidence we obtain, it influences the intellectual connections we forge and those we remember, and it is the cognitive tool whereby we enact decisions about inquiry. Moreover, because it is both an epistemic practice and a site of agency, attention is a natural locus for questions about epistemic morality. This article surveys the emerging epistemology of attention, reviewing (...) the existing literature and sketching avenues for future investigation. It also argues for a reorientation of epistemology itself. This argument is the focus of Section 1. Section 2 briefly reviews philosophical accounts of attention, Section 3 focuses on issues in traditional, individualistic epistemology, and Section 4 turns to social epistemology. (shrink)

Recent third person approaches to thought experiments and conceptual analysis through the method of surveys are motivated by and motivate skepticism about the traditional first person method. I argue that such surveys give no good ground for skepticism, that they have some utility, but that they do not represent a fundamentally new way of doing philosophy, that they are liable to considerable methodological difficulties, and that they cannot be substituted for the first person method, since the a priori knowledge which (...) is our object in conceptual analysis can be acquired only from the first person standpoint. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

How should one react when one has a belief, but knows that other people—who have roughly the same evidence as one has, and seem roughly as likely to react to it correctly—disagree? This paper argues that the disagreement of other competent inquirers often requires one to be much less confident in one’s opinions than one would otherwise be.

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

The debates on the scientificity of social sciences in general, and sociology in particular, are recurring. From the original methodenstreitat the end the 19th Century to the contemporary controversy on the legitimacy of “regional epistemologies”, a same set of interrogations reappears. Are social sciences really scientific? And if so, are they sciences like other sciences? How should we conceive “research programs” Lakatos (1978) or “research traditions” for Laudan (1977) able to produce advancement of knowledge in the field of social and (...) human phenomena? Is the progress of knowledge in social sciences similar to the one generally observed in natural sciences? Is it possible to evaluate the relative merits of each one of these research programs? -/- These debates are important vectors of social and intellectual polarization. The historical divide between the positivist and the hermeneutics poles precedes the structure of the contemporary debate around the epistemic space of social sciences, It is not only a question of renewing the opposition between a monist view of sciences (e.g. McIntyre, 1996) and a dualistic one (e.g. Geertz, 1973) or even a trialist view of sciences (e.g. Lepenies, 1985). It is also a question of asserting dichotomies transformed into framework (including when it is a question of exceeding them): nature-culture, nomothetic-idiographic, models-narrative, structure-history, cause-reason, explanation-comprehension. -/- In this short introduction, we provide, in section 2, a first overview of this epistemological debate in social science. Section 3 proposes a different standpoint on the same questions, by introducing both ontological and methodological aspects in this basic epistemological debate. Namely, following (Hollis, 1994) oppositions of the explanation - understanding, causes - meaning, etc., types discussed in the firsts ection are comparatively examined together with oppositions of the structure - action, holism - individualism types. This allows us to discus show multi-agent design, by integrating various dimensions and standpoints in the same framework (Phan, Amblard, 2007, Chapters 1, 5, 14) can help us to shift these boundaries, and to bypass these oppositions. As model building and ontology design are at the core of this process (Phan, Amblard, 2007, Chapter 12), Section4 discusses various issues of the art of modelling, starting both from economists’ and sociologists’ current standpoints. (shrink)

[ES] Este trabajo, realiza una sumarísima revisión histórica, a través de algunas conjeturas epistemológicas, sobre las reflexiones filosóficas acerca del mundo del arte, su estatuto, desarrollo y «funcionamiento» con el propósito de allanar el camino para una ulterior descripción de la problemática acerca de la noción del mundo del arte. [EN] This writing makes a brief historical review, through some epistemological assumptions, on the philosophical reflections on the art world, its status, development and «functioning» in order to pave the way (...) for a further description of the problems about the notion of the art world. (shrink)

What is it to know someone? Epistemologists rarely take up this question, though recent developments make such inquiry possible and desirable. This paper advances an account of how such interpersonal knowledge goes beyond mere propositional and qualitative knowledge about someone, giving a central place to second-personal treatment. It examines what such knowledge requires, and what makes it distinctive within epistemology as well as socially. It assesses its theoretic value for several issues in moral psychology, epistemic injustice, and philosophy of (...) mind. And it offers an account of the complex content in play if interpersonal knowledge is to be understood in terms of its mental states and their functions. (shrink)

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

When I was eleven, my form teacher, Mr Howard, showed some of my class how to punch. We were waiting for the rest of the class to finish changing after gym, and he took a stance that I would now call shizentai yoi and snapped his right fist forward into a head-level straight punch, pulling his left back to his side at the same time. Then he punched with his left, pulling back on his right. We all lined up in (...) our ties and sensible shoes (this was England) and copied him—left, right, left, right—and afterwards he told us that if we practised in the air with sufficient devotion for three years, then we would be able to use our punches to kill a bull with one blow. I worshipped Mr Howard (though I would sooner have died than told him that) and so, as a skinny, eleven-year-old girl, I came to believe that if I practised, I would be able to kill a bull with one blow by the time I was fourteen. This essay is about epistemic viciousness in the martial arts, and this story is illustrates just that. Though the word ‘viciousness’ normally suggests deliberate cruelty and violence, I will be using it here with the more old-fashioned meaning, possessing of vices. Vices (such as avarice, alcoholism and nail-biting) are common, and most of us struggle with a few, but ‘epistemic’ means ‘having to do with knowledge and the justification of belief’ and so epistemic viciousness is the possession of vices that make one bad at acquiring true beliefs, or give one a tendency to form false ones. My eleven-year-old self possessed the epistemic vice of gullibility and hence showed a streak of epistemic viciousness, which led to the formation of a false belief. Other kinds of epistemic vice can lead to us failing to form true beliefs when we ought to. Consider the internet-surfing karate-sensei who stumbles upon an article claiming that chocolate milk is better than water or sports drinks for promoting recovery after strenuous exercise, and describing an experiment using stationary bikes performed at the University of Indiana, purporting to support this claim.. (shrink)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

Beliefs have genealogies. Can tracing a belief’s genealogy illuminate the epistemic quality of the belief? This paper sets out a general epistemology of genealogies. As it turns out, genealogies for beliefs come in two sorts: those that trace a belief to some mental event that doubles as evidence for the belief and those that do not. The former have the potential to undercut the belief, rebut the belief, or—importantly—both. The latter have the potential to reinforce the belief or rebut (...) the belief but—importantly—not undercut it. The ultimate conclusion is that there is a role for genealogies in the epistemic appraisal of our beliefs, but this role will be circumscribed by the availability of clear and compelling genealogies. (shrink)

This paper surveys the epistemology of two attitudes: faith and hope. First, I examine descriptive questions about faith and hope. Faith and hope are resilient attitudes with unique cognitive and conative components; while related, they are also distinct, notably in that hope’s cognitive component is weaker than faith’s. I then turn to faith and hope's epistemic (ir)rationality, and discuss various ways that faith and hope can be rational and irrational. Finally, I discuss the relationship between faith, hope, and knowledge: (...) while it’s controversial whether faith is compatible with knowledge, hope is not compatible with knowledge. (shrink)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some (...) of its versions) is not threatened by their examples and arguments. (shrink)

Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out of writing on film. Although (...) presented as a monograph with a single argumentative strand, the book may be more profitably read as three partly distinct works: an examination of the boundaries of theory and philosophy that doubles as a defense of a “philosophy of the humanities,” an interpretation of Deleuze’s work on film that intriguingly prioritizes What Is Philosophy?, and an interpretation of Cavell that argues that his epistemological and ontological questions are subsumed under ethics in a way that pairs well with Deleuze’s emphasis on immanence. (shrink)

En este trabajo se discute acerca de la posibilidad de llevar a cabo afirmaciones epistémicamente objetivas respecto del arte a partir de la filosofía de la sociedad de John Searle y de la epistemología del desacuerdo. Para ello se considerarán las distinciones ontológicamente objetivo/subjetivo y epistémicamente objetivo/subjetivo en relación con el arte como fenómeno relativo a la intencionalidad, señalándolo como ontológicamente subjetivo y epistémicamente objetivo. Luego se discutirá acerca del desacuerdo en torno a obras polémicas de arte y de la (...) disolución de tales desacuerdos al considerar la oposición entre creencia y aceptación según la propuesta de Jonathan Cohen. Finalmente, mostrando la posibilidad de generar acuerdos en torno al juicio de gustos, se señala el rol de las instituciones relativas al arte en nuestra comprensión del estatuto artístico de las obras polémicas. De esta manera, se pretende señalar que la apreciación de una obra como ‘arte’ es una cuestión objetiva dependiente de las instituciones que operan en nuestra sociedad. (shrink)

If our experiences are cognitively penetrable, they can be influenced by our antecedent expectations, beliefs, or other cognitive states. Theorists such as Churchland, Fodor, Macpherson, and Siegel have debated whether and how our cognitive states might influence our perceptual experiences, as well as how any such influences might affect the ability of our experiences to justify our beliefs about the external world. This article surveys views about the nature of cognitive penetration, the epistemological consequences of denying cognitive penetration, and the (...) epistemological consequences of affirming cognitive penetration. (shrink)

This chapter contains section titles: Introduction Section 1 Section 2 Conclusion.

The chapter discusses the issue of how we may achieve knowledge of essence. It offers a critical survey of the main theories of knowledge of essence that have been proposed within contemporary debates, particularly by Lowe, Hale, Oderberg, Elder, and Kment.

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)