Online research in philosophy

In addition to purely practical values, cognitive values also figure into scientific deliberations. One way of introducing cognitive values is to consider the cognitive value that accrues to the act of accepting a hypothesis. Although such values may have a role to play, such a role does not exhaust the significance of cognitive values in scientific decision-making. This paper makes a plea for consideration of epistemic value—that is, value attaching to a state of belief—and defends the notion of cognitive epistemic value against some criticisms that have been raised. A stability requirement for epistemic value functions is argued for on the basis of considerations of diachronic coherence. This stability requirement is sufficient to obtain the Value of Learning Theorem, which says that the expected utility of cost-free learning cannot be negative. This holds also for cognitive epistemic values, provided that the stability requirement is met.

Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (in §1) Kendall Walton’s startling proposal that photographs are special because they are “transparent” [Walton, 1984] — that is, that they are special because, unlike other depictive representations, they enable us literally to see their depicta.1 Walton’s proposal has not convinced many; however, it has proven surprisingly difficult to say just what is wrong about the transparency thesis. In §§2–4 we’ll rise to this challenge and show why photographs are not transparent in Walton’s sense. Finally, in §§5–7 we’ll propose and defend a novel diagnosis of what is epistemically special about photographs.

Unlike the numerous texts devoted to the subject of Film Theory, this collection contains essays specifically about the art form of Still Photography and the ...

In this paper I examine the feminist claim that non-epistemic values ought to play a role in scientific inquiry. I examine four holist arguments that non-epistemic values ought to play a role not only in the external aspects of scientific inquiry such as problem selection and the ethics of experimentation but also in its internal aspects, those that have to do with epistemic justification. In supporting their conclusion, I argue that they establish that the traditional external/internal distinction has served as a marker for more fundamental distinctions between non-epistemic and epistemic values and between the means by which each are pursued. However, I also contend that these arguments do nothing to deny these distinctions between epistemic and non-epistemic values. Maintaining these distinctions, I argue for an epistemic holism suggesting ways in which both substantive claims about non-epistemic values and reliable processes/methods for the legitimization of non-epistemic values may also be truth-conducive, thereby serving the epistemic ends of scientific inquiry.

Photographs furnish evidence. This is true in both formal and informal contexts. The use of photographs as legal evidence goes back to the very earliest days of photography, and they have been used in American trials since around the time of the Civil War. Photographs may also serve as historical evidence (for example, about the Civil War). And they serve in informal contexts as evidence about all sorts of things, such as what we and our loved ones looked like in the past.

We argue that non-epistemic values, including moral ones, play an important role in the construction and choice of models in science and engineering. Our main claim is that non-epistemic values are not only “secondary values” that become important just in case epistemic values leave some issues open. Our point is, on the contrary, that non-epistemic values are as important as epistemic ones when engineers seek to develop the best model of a process or problem. The upshot is that models are neither value-free, nor depend exclusively on epistemic values or use non-epistemic values as tie-breakers.

The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop an account of how it is that cinema represents ficta on which this is fundamentally a matter of dramatic/theatrical representation. I argue that in cinematic fiction photography delivers a pre-existent representation of ficta rather than creating or generating fictional content. With this being so, the claim that photography is fictionally incompetent is compatible with cinematic fiction. 1.

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction.