This article describes how the City of Los Angeles is showcasing data-driven services to the public through dynamic visualisations of open data. I frame an analysis of this aspect of datafication in local government through linguistics and cultural theory; drawing on this set of literature I theorise the use of public data as both a performative tool and a performance of data-driven city services. I then discuss examples of interactive maps on the City of Los Angeles’ open data websites, produced (...) by the Bureau of Sanitation, the Controller’s Office, and the Department of Transportation. The article concludes with some general thoughts on how open data maps are a new form of impression management; they set up a relationship in which government and citizens are in alignment, sharing an orientation towards administrative problems that begins at the same point, framed by an administration’s datasets. (shrink)

In this article, I explore how researchers’ metaphysical commitments can be conducive—or unconducive—to progress in animal cognition research. The methodological dictum known as Morgan’s Canon exhorts comparative psychologists to countenance the least mentalistic fair interpretation of animal actions. This exhortation has frequently been misread as a blanket condemnation of mentalistic interpretations of animal behaviors that could be interpreted behavioristically. But Morgan meant to demand only that researchers refrain from accepting default interpretations of (apparent) actions until other fair interpretations (...) have been duly considered. The Canon backfired largely because of Morgan’s background metaphysical commitment to a univocal, hierarchical, and anthropocentric account of cognitive architecture. I make the case that, going forward, comparative psychologists would do well to pair judicious use of Morgan’s Canon with an openness to the existence of non-humanlike animal minds comprising phenomena belonging to distinct cognitive and folk psychological ontologies. And I argue that this case gives us pragmatic reason to reconcile deep—e.g., psychofunctionalist—and superficial—e.g., dispositionalist—approaches to the metaphysics of belief. (shrink)

This paper draws from critical data studies and related fields to investigate police officer-involved homicide data for Los Angeles County. We frame police officer-involved homicide data as a rhetorical tool that can reify certain assumptions about the world and extend regimes of power. We highlight the possibility that this type of sensitive civic data can be investigated and employed within local communities through creative practice. Community involvement with data can create a countervailing force to powerful dominant narratives and supplement activist (...) projects that hold local officials accountable for their actions. Our analysis examines four Los Angeles County police officer-involved homicide data sets. First, we provide accounts of the semantics, granularity, scale and transparency of this local data. Then, we describe a “counter data action,” an event that invited members of the community to identify the limits and challenges present in police officer-involved homicide data and to propose new methods for deriving meaning from these indicators and statistics. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Heikki Patomäki is Professor of World Politics (Global Political Economy) at the University of Helsinki.1 In Part 1 of this interview (Patomäki and Morgan 2023) he discussed his work and career up...

Historical sciences like paleontology and archaeology have uncovered unimagined, remarkable and mysterious worlds in the deep past. How should we understand the success of these sciences? What is the relationship between knowledge and history? In Scientific Knowledge and the Deep Past: History Matters, Adrian Currie examines recent paleontological work on the great changes that occurred during the Cretaceous period - the emergence of flowering plants, the splitting of the mega-continent Gondwana, and the eventual fall of the dinosaurs - to (...) analyse the knowledge of historical scientists, and to reflect upon the nature of history. He argues that distinctively historical processes are 'peculiar': they have the capacity to generate their own highly specific dynamics and rules. This peculiarity, Currie argues, also explains the historian's interest in narratives and stories: the contingency, complexity and peculiarity of the past demands a narrative treatment. Overall, Currie argues that history matters for knowledge. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

We argue that narratives are central to the success of historical reconstruction. Narrative explanation involves tracing causal trajectories across time. The construction of narrative, then, often involves postulating relatively speculative causal connections between comparatively well-established events. But speculation is not always idle or harmful: it also aids in overcoming local underdetermination by forming scaffolds from which new evidence becomes relevant. Moreover, as our understanding of the past’s causal milieus become richer, the constraints on narrative plausibility become increasingly strict: a narrative’s (...) admissibility does not turn on mere logical consistency with background data. Finally, narrative explanation and explanation generated by simple, formal models complement one another. Where models often achieve isolation and precision at the cost of simplification and abstraction, narratives can track complex changes in a trajectory over time at the cost of simplicity and precision. In combination both allow us to understand and explain highly complex historical sequences. (shrink)

In Part 1 of this wide-ranging interview Heikki Patomäki discusses his early work and career up to the Global Financial Crisis. He provides comment on his role as a public intellectual and activist, his diverse academic interests and influences, and the many and varied ways he has contributed to critical realism and critical realism has influenced his work. In Part 2 he discusses his later work, the predicament of humanity and the role of futures studies.

Historical scientists frequently face incomplete data, and lack direct experimental access to their targets. This has led some philosophers and scientists to be pessimistic about the epistemic potential of the historical sciences. And yet, historical science often produces plausible, sophisticated hypotheses. I explain this capacity to generate knowledge in the face of apparent evidential scarcity by examining recent work on Thylacoleo carnifex, the ‘marsupial lion’. Here, we see two important methodological features. First, historical scientists are methodological omnivores, that is, they (...) construct purpose-built epistemic tools tailored to generate evidence about highly specific targets. This allows them to produce multiple streams of independent evidence and thus maximize their epistemic reach. Second, investigative scaffolding: research proceeds in a piece-meal fashion, information only gaining evidential relevance once certain hypotheses are well supported. I illustrate scaffolding in a discussion of the nature of functional ascription in paleobiology. Frequently, different senses of ‘function’ are not discriminated during paleobiological investigation—something which can mar adaptationist investigations of extant organisms. However, I argue that, due to scaffolding, conflating senses of ‘function’ can be the right thing to do. Coarse-grained functional hypotheses are required before it is clear what evidence could discriminate between more fine-grained ones. I draw on omnivory and scaffolding to argue that pessimists make a bad empirical bet. It is a bad idea to bet against the epistemic fortunes of such opportunistic and resourceful scientists, especially when we have reason to think we will systematically underestimate the amount of evidence ultimately available to them. (shrink)

We identify a species of experiment—Kon-Tiki experiments—used to demonstrate the competence of a cause to produce a certain effect, and we examine their role in the historical sciences. We argue that Kon-Tiki experiments are used to test middle-range theory, to test assumptions within historical narratives, and to open new avenues of inquiry. We show how the results of Kon-Tiki experiments are involved in projective inferences, and we argue that reliance on projective inferences does not provide historical scientists with any special (...) protection against the problem of unconceived alternatives. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Philosophers Trivialize Art: Bleak House, Oedipus Rex, "Leda and the Swan"Michael D. HurleyIIt is a Perverse but unsurprising irony that answers to the question of whether art can give us knowledge characteristically trivialize that which draws us to individual artworks in the first place. The experience of art is sidelined in favor of the apparent after-effect of that experience. Even those writing against each other tend to converge (...) on this. In an essay contesting Nelson Goodman's epistemic claims for art, Gordon Graham nonetheless agrees that, "The question to be asked of such a work is not, 'Does this effectively capture the scene portrayed?', but 'Does this make us see this sort of occasion differently?'"1 Even attempts to distinguish art as "gift" as opposed to commodity predictably figure its value in terms of what might be taken away: "I went to see a landscape painter's works, and that evening, walking among pine trees near my home, I could see the shapes and the colors I had not seen the day before."2This state of affairs is perversely ironic for two reasons. Firstly, because the possibility of art's cognitive content is only prompted at all by the immediate experience it offers: without this, art would not excite us the way it does and there would be no debate to be had. Secondly, and more significantly, because a defining part of what constitutes an interest in art is, I should like to suggest, an experience of knowledge; or, more accurately, an experience of knowing. This irony is unsurprising because it is merely another expression of a recalcitrant prejudice in western epistemology that idealizes knowledge as an objectively true, justified belief—perforce excluding the possibility of knowing as a subjective [End Page 107] experience of believing. No wonder the author of Theætetus elsewhere finds poets incapable of offering anything but lies.Plato's lingering legacy assures that the cognitive content of art be assized according to what might be extracted from the artwork—cashed in like so many casino chips—when we are done with our experience of it. This applies whether the knowledge-bearing being argued for, or against, is conceptual or propositional (e.g., Putnam, Novitz, John),3 or imaginative (e.g., Goodman, Robinson, Currie),4 as well as for the claim that art can offer us moral instruction (e.g., Beardsmore, Eldridge, Nussbaum, Sharpe, Kieran, John).5 There is less consensus as to whether the capacity of art to give us knowledge enriches the aesthetic value of that artwork, but those who would advance this position have been on the back-foot in recent years following a wave of criticisms from, among others, Beardsley, Lamarque and Olsen, Diffey, and Gaut.6This article addresses art's capacity to give us knowledge as well as the conjunct of whether such knowledge might inform its value qua art. In so doing, it presses a case that has already been disallowed by the terms in which the question of the relationship between art and knowledge is typically put. Whatever efferent knowledge art might offer, it also provides the conditions for a kind of knowing that cannot be translated beyond itself. Only such an experience of knowledge-as-knowing, which is realized through the untranslatable singularity of an artwork, may be considered constitutive of art's aesthetic value. Couched another way: epistemology meets aesthetics not where it has most often been located, in the perfective, at the congruence of the thought and the felt, but in the present continuous, in the engagement of thinking and feeling. Connecting the epistemic and the aesthetic in this way is, then, exactly the opposite proposition to that presented by Douglas Morgan, for whom, "although many words in many arts can and do give us knowledge of many kinds, nonetheless if this knowledge were the key and limit to the love of art, the world of art would be even sorrier than it now is."7IILiterature has generated by far the greatest volume of commentary in the debate on art and knowledge. This is to be expected given the bias towards categorizing knowledge as something like data... (shrink)

I develop an account of productive surprise as an epistemic virtue of scientific investigations which does not turn on psychology alone. On my account, a scientific investigation is potentially productively surprising when results can conflict with epistemic expectations, those expectations pertain to a wide set of subjects. I argue that there are two sources of such surprise in science. One source, often identified with experiments, involves bringing our theoretical ideas in contact with new empirical observations. Another, often identified with simulations, (...) involves articulating and bringing together different parts of our knowledge. Both experiments and simulations, then, can surprise. (shrink)

Cognitive archaeologists infer from material remains to the cognitive features of past societies. We characterize cognitive archaeology in terms of trace-based reasoning, which in the case of cognitive archaeology involves inferences drawing upon background theory linking objects from the archaeological record to cognitive features. We analyse such practices, examining work on cognitive evolution, language, and musicality. We argue that the central epistemic challenge for cognitive archaeology is often not a paucity of material remains, but insufficient constraint from cognitive theories. However, (...) we also argue that the success of cognitive archaeology does not necessarily require well-developed cognitive theories: Success might instead lead to them. (shrink)

Paleobiologists often provide simple narratives to explain complex, contingent episodes. These narratives are sometimes ‘one-shot hypotheses’ which are treated as being mutually exclusive with other possible explanations of the target episode, and are thus extended to accommodate as much about the episode as possible. I argue that a provisional preference for such hypotheses provides two kinds of productive scaffolding. First, they generate ‘hypothetical difference-makers’: one-shot hypotheses highlight and isolate empirically tractable dependencies between variables. Second, investigations of hypothetical difference-makers provision explanatory (...) resources, the ‘raw materials’ for constructing more complex—and likely more adequate—explanations. Provisional preferences for simple, one-shot hypotheses in historical science, then, is defeasibly justified on indirect—strategic—grounds. My argument is made in reference to recent developments regarding the K–Pg extinction. (shrink)

Many accounts of scientific modeling conceive of models as fictions: scientists interact with models in ways analogous to various aesthetic objects. Fictionalists follow most other accounts of modeling by taking them to be revelatory of the actual world in virtue of bearing some resemblance relation to a target system. While such fictionalist accounts capture crucial aspects of modelling practice, they are ill-suited to some design and engineering contexts. Here, models sometimes serve to underwrite design projects whereby real-world targets are constructed. (...) In such circumstances, it is unclear what the model is supposed to resemble. Further, while fictionalists often require that models qua models have their content in virtue of construal or interpretation, in some engineering and design contexts success-conditions do not require such content—all that is required is that the model generates the required outputs. I take these points to motivate a view which accommodates fictionalism, but is broader. I articulate and defend an account of models as tools: specifically, material objects which are put to particular uses in particular contexts. (shrink)

Our epistemic access to the past is infamously patchy: historical information degrades and disappears and bygone eras are often beyond the reach of repeatable experiments. However, historical scientists have been remarkably successful at uncovering and explaining the past. I argue that part of this success is explained by the exploitation of dependencies between historical events, entities, and processes. For instance, if sauropod dinosaurs were hot blooded, they must have been gluttons; the high-energy demands of endothermy restrict sauropod grazing strategies. Understanding (...) such dependencies extends our reach into the past in spite of incomplete data. In addition, this serves as a counterexample to two accounts of method in the historical sciences. By one, historical science proceeds by identifying ‘smoking guns’: traces that discriminate between live hypotheses. By the other, historical hypotheses are supported by consilience: the convergence of independent lines of evidence. However, testing for ‘coherency’ between past hypotheses also plays a critical role in historical confirmation. Just as historical scientists exploit dependencies between past entities and present entities to infer what the past was like, they also exploit dependencies between past entities themselves. I do not suggest that archetypical historical science proceeds in this manner. Rather, the lesson I draw is that historical methodology cannot be characterized as archetypically relying on one method or another. Historical science is at base opportunistic, and is resistant to unitary analyses. 1 Introduction2 Snowballs and Explosions: The Basic Idea3 Were Sauropods Endothermic?4 Dependent Entities and Interdependent Explanations5 Smoking Guns and Consilience. (shrink)

Many accounts of scientific modeling conceive of models as fictions: scientists interact with models in ways analogous to various aesthetic objects. Fictionalists follow most other accounts of modeling by taking them to be revelatory of the actual world in virtue of bearing some resemblance relation to a target system. While such fictionalist accounts capture crucial aspects of modelling practice, they are ill-suited to some design and engineering contexts. Here, models sometimes serve to underwrite design projects whereby real-world targets are constructed. (...) In such circumstances, it is unclear what the model is supposed to resemble. Further, while fictionalists often require that models qua models have their content in virtue of construal or interpretation, in some engineering and design contexts success-conditions do not require such content—all that is required is that the model generates the required outputs. I take these points to motivate a view which accommodates fictionalism, but is broader. I articulate and defend an account of models as tools: specifically, material objects which are put to particular uses in particular contexts. (shrink)

Pluralism about scientific method is more-or-less accepted, but the consequences have yet to be drawn out. Scientists adopt different methods in response to different epistemic situations: depending on the system they are interested in, the resources at their disposal, and so forth. If it is right that different methods are appropriate in different situations, then mismatches between methods and situations are possible. This is most likely to occur due to method bias: when we prefer a particular kind of method, despite (...) that method clashing with evidential context or our aims. To explore these ideas, we sketch a kind of method pluralism which turns on two properties of evidence, before using agent-based models to examine the relationship between methods, epistemic situations, and bias. Based on our results, we suggest that although method bias can undermine the efficiency of a scientific community, it can also be productive through preserving a diversity of evidence. We consider circumstances where method bias could be particularly egregious, and those where it is a potential virtue, and argue that consideration of method bias reveals that community standards deserve a central place in the epistemology of science. (shrink)

It is often thought that the vindication of experimental work lies in its capacity to be revelatory of natural systems. I challenge this idea by examining laboratory experiments in ecology. A central task of community ecology involves combining mathematical models and observational data to identify trophic interactions in natural systems. But many ecologists are also lab scientists: constructing microcosm or ‘bottle’ experiments, physically realizing the idealized circumstances described in mathematical models. What vindicates such ecological experiments? I argue that ‘extrapolationism’, the (...) view that ecological lab work is valuable because it generates truths about natural systems, does not exhaust the epistemic value of such practices. Instead, bottle experiments also generate ‘understanding’ of both ecological dynamics and empirical tools. Some lab work, then, aids theoretical understanding, as well as targeting hypotheses about nature. 1Introduction2Trophic Interactions and Observational Techniques3Cryptic Dynamics in Bottle Experiments4Extrapolationism 4.1Ecological possibility and actuality4.2Ecological heterogeneity5Understanding 5.1The epistemic good of understanding5.2Bottle experiments as understanding-generators5.3How understanding travels6Conclusion. (shrink)

. Philosophers and scientists often cite ontic factors when explaining the methods and success of scientific inquiry. That is, the adoption of a method or approach is explained in reference to the kind of system in which the scientist is interested: these are explanations of why scientists do what they do, that appeal to properties of their target systems. We present a framework for understanding such “Opticks to his Principia. Newton’s optical work is largely experiment-driven, while the Principia is primarily (...) mathematical, so usually, each work is taken to exemplify a different kind of science. However, Newton himself often presented them in terms of a largely consistent method. We use our framework to articulate an original and plausible position: that the differences between the Opticks and the Principia are due to the kinds of systems targeted. That is, we provide an ontic-driven explanation of methodological differences. We suspect that ontic factors should have a more prominent role in historical explanations of scientific method and development. (shrink)

Thinking of models in science as fictions is said to be helpful, not merely because models are known or assumed to be false, but because work on the nature of fiction helps us understand what models are and how they work. I am unpersuaded. For example, instead of trying to assimilate truth-in-a model to truth-in-fiction we do better to see both as special and separate cases of the more general notion truth-according-to-a-corpus. Does enlightenment go the other way? Do we better (...) understand fiction's capacity to generate knowledge by thinking of it as a kind of modelling? If we see, as we should, fictions and models are parts of larger patterns of cognitive activity that include institutional frameworks, the best answer is no. (shrink)

Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...) this formulation is unhelpful. (shrink)

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an (...) argument that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)

Both paleobiology and investigations of ‘major evolutionary transitions’ are intimately concerned with the macroevolutionary shape of life. It is surprising, then, how little studies of major transitions are informed by paleontological perspectives and. I argue that this disconnect is partially justified because paleobiological investigation is typically ‘phenomena-led’, while investigations of major transitions are ‘theory-led’. The distinction turns on evidential relevance: in the former case, evidence is relevant in virtue of its relationship to some phenomena or hypotheses concerning those phenomena; in (...) the latter, evidence is relevant in virtue of providing insights into, or tests of, an abstract body of theory. Because paleobiological data is by-and-large irrelevant to the theory which underwrites the traditional conception of major transitions, it is of limited use to that research program. I suggest that although the traditional conception of major transitions is neither ad-hoc or problematically incomplete, its promise of providing unificatory explanations of the transitions is unlikely to be kept. Further, examining paleobiological investigations of mass extinctions and organogenesis, I further argue that whether or not transitions in paleobiology count as ‘major’ turns on how we conceive of major transitions ; although major transitions potentially have a unified theoretical basis, recent developments suggest that investigations are becoming increasingly phenomena-led; adopting phenomena-led investigations maximizes the evidence available to paleobiologists. (shrink)

Some of us have suggested that what fiction makers do is offer us things to imagine, that this is what is distinctive of fiction and what distinguishes it from narrative-based but assertive activities such as journalism or history. Some of us hold, further, that it is the maker's intention which confers fictional status. Many, I think, feel the intuitive appeal of this idea at the same time as they sense looming problems for any proposal about fiction's nature based straightforwardly on (...) the identification of fiction with the to-be-imagined. I formulate a very weak version of the proposal which is not vulnerable to some objections recently presented. My formulation is in terms of supervenience. But while this version is weak, it is also quite precise, and its precision brings into view certain other problems which have not so far been attended to. To the extent that these problems are serious, the prospects for an intentional theory of fiction look, I am sorry to say, poor; the version susceptible to the objections is weak, and anything weaker still but not so susceptible could hardly be thought of as a theory of fiction, though it might supplement such a theory. (shrink)

Ethnographic analogy, the use of comparative data from anthropology to inform reconstructions of past human societies, has a troubled history. Archaeologists often express concern about, or outright reject, the practice—and sometimes do so in problematically general terms. This is odd, as the use of comparative data in archaeology is the same pattern of reasoning as the ‘comparative method’ in biology, which is a well-developed and robust set of inferences which play a central role in discovering the biological past. In pointing (...) out this continuity, I argue that there is no ‘special pleading’ on the part of archaeologists in this regard: biologists must overcome analogous epistemic difficulties in their use of comparative data. I then go on to emphasize the local, empirically tractable ways in which particular ethnographic analogies may be licensed. (shrink)