ABSTRACT: In this essay I provide one methodology that yields the level of analysis of an alleged knowledge-claim under investigation via its relations to varying gradations of scepticism. Each proposed knowledge-claim possesses a specified relationship with: (i) a globally sceptical argument; (ii) the least sceptical but successful argument that casts it into doubt; and (iii) the most sceptical yet unsuccessful argument, which is conceivably hypothesized to repudiate it but fails to do so. Yielding this specified set of relations, by means (...) of proceeding from global scepticism to (ii) and (iii), increases the chances of identifying the highest evaluative relevancy of the levels of analysis and observation of an alleged knowledge-claim. I argue that the failure to analyse and derive a difference between (i) and (ii) with respect to an alleged knowledge-claim signifies that the claim is grounded within the theoretical framework itself, that the claim lacks specification with regard to content that is analysable via that framework, and the claim is dubious insofar as alternative theoretic frameworks may present greater relevancy to levels of observation. KEYWORDS: knowledge, scepticism, perception, level of observation, magnification level, methodological scepticism. (shrink)

This article reconsiders the early hominid ‘‘lithic niche’’ by examining the social implications of stone artifact making. I reject the idea that making tools for use is an adequate explanation of the elaborate artifact forms of the Lower Palaeolithic, or a sufficient cause for long-term trends in hominid technology. I then advance an alternative mechanism founded on the claim that competency in making stone artifacts requires extended learning, and that excellence in artifact making is attained only by highly skilled individuals (...) who have been taught and practiced for extensive periods. Consequently both competency and expertise in knapping comes at a high learning cost for both the individual learner and the social group to which they belong. Those high intrinsic costs of learning created contexts in which groups selected cost-reducing forms of social learning and teaching, and in which specialization could develop. Artifacts and their manufacturing processes probably acquired functions as social signals—as honest signals of valuable capacities. The magnification of these signals, through competition between knappers and through inspiring later craftspeople, may account for a substantial amount of the accumulated elaboration visible in the archaeological record. Consequently lithic artifacts operated as material symbols from an early time in hominid evolution. (shrink)

This essay from 1999, republished in Notre Dame Magazine online in July 2023, explores how the 1950s were a time of fundamental transformations in American society, a time when the United States went fully megatechnic. The hugely increased power of military, corporate-industrial and “big science” institutions developed during the 1950s signaled the transformation to megatechnic America, with atomic bombs and nuclear testing, automobiles and televisions as key symbols of that transformation. Figures such as J. Robert Oppenheimer and Edward Teller illustrated (...) the battle between national security dictates controlling nuclear bomb testing and responsible science. -/- Since the Second World War the United States has been problematically guided by a power-oriented culture, which, in the names of national security and convenience, has tended to reshape America toward an increasingly hierarchical model of society based on the system requirements of a machine. This same era gave birth to a generalized economic prosperity in the United States, to the civil rights movement, to feminism, literary and artistic innovations, and to other openings of public equality and freedom. Yet the magnification of bureaucratic-corporate structures in that postwar, cold war prosperity has ultimately tended to restructure America against the basic requirements of democratic community. (shrink)

Lucretius On the Nature of Things draws heavily on Epicurus’s ideas, translating them from Greek into Latin and putting them into his own poetic voice. It is therefore the best source we have for the ideas of [classical Epicurean philosophy]. The atomic model is not more than a representational model of the physical universe up to a certain level of magnification. Modern science dives much deeper than atoms and ends up with no matter at all.

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain (...) of the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)