Many idealists have thought that realism raises epistemological problems. The worry is that, if it is possible for truths about ordinary objects to outstrip our experiences in the ways that realists typically suppose, we could never be justified in our beliefs about objects. Few contemporary theorists find this argument convincing; philosophers have offered a variety of responses to defend the epistemology of our object judgments under the assumption of realism. But in this paper, I offer a new type of epistemic (...) argument against realism which is immune to the standard responses in the literature. In addition to raising a challenge for realism, the epistemology of our object judgments has implications for how the idealist should develop her own positive metaphysical view. So in the second half of this paper, I discuss how the idealist should understand the dependence between objects and our experiences if she is to secure epistemic advantages over the realist. (shrink)

ABSTRACT According to edenic idealism, our ordinary object terms refer to items in the manifest world—the world of primitive objects and properties presented in experience. I motivate edenic idealism as a response to scenarios where it is difficult to match the objects in experience with corresponding items in the external world. I argue that edenic idealism has important semantic advantages over realism: it is the most intuitive view of what we are actually talking about when we use terms for objects.

Recently, many philosophers have claimed that the world has an ordered, hierarchical structure, where entities at lower ontological levels are said to metaphysically ground entities at higher ontological levels. Other philosophers have recently claimed that our language has an ordered, hierarchical structure. Semantically primitive sentences are said to conceptually ground less primitive sentences. It’s often emphasized that metaphysical grounding is a relation between things out in the world, not a relation between our sentences. But conflating these relations is easy to (...) do, given that both types of grounding are expressed by non-causal “in-virtue-of” claims. The purpose of this paper is to clarify the relation between metaphysical and conceptual grounding. I argue that conceptual and metaphysical grounding are exclusive: if a given in-virtue-of claim involves conceptual grounding, then it does not involve metaphysical grounding. I also develop some heuristics for deciding which type of grounding is relevant in a given case. These heuristics suggest that many proposed cases of metaphysical grounding do not actually involve metaphysical grounding at all. (shrink)

In this paper, I clarify the relation between two types of grounding: metaphysical and conceptual. Metaphysical grounding relates entities at more and less fundamental ontological levels. Conceptual grounding relates semantically primitive sentences and semantically derivative sentences. It is important to distinguish these relations given that both types of grounding can underwrite non-causal “in-virtue-of” claims. In this paper, I argue that conceptual and metaphysical grounding are exclusive: if a given in-virtue-of claim involves conceptual grounding, then it does not involve metaphysical grounding. (...) I then present two heuristics for deciding which type of grounding is relevant to a given case. These heuristics suggest that certain proposed cases of metaphysical grounding may not actually involve metaphysical grounding at all. (shrink)

According to the idealist, facts about phenomenal experience determine facts about the physical world. Any such view must account for illusions: cases where there is a discrepancy between the physical world and our experiences of it. In this paper, I critique some recent idealist treatments of illusions before presenting my own preferred account. I then argue that, initial impressions notwithstanding, it is actually the realist who has difficulties properly accounting for illusions.

Many philosophers have argued that large language models (LLMs) subvert the traditional undergraduate philosophy paper. For the enthusiastic, LLMs merely subvert the traditional idea that students ought to write philosophy papers “entirely on their own.” For the more pessimistic, LLMs merely facilitate plagiarism. We believe that these controversies neglect a more basic crisis. We argue that, because one can, with minimal philosophical effort, use LLMs to produce outputs that at least “look like” good papers, many students will complete paper assignments (...) in a way that fails to develop their philosophical abilities. We argue that this problem exists even if students can produce better papers with AI and even if instructors can detect AI-generated content with decent reliability. But LLMs also create a pedagogical opportunity. We propose that instructors shift the emphasis of their assignments from philosophy papers to “LLM dialogues”: philosophical conversations between the student and an LLM. We describe our experience with using these types of assignments over the past several semesters. We argue that, far from undermining quality philosophical instruction, LLMs allow us to teach philosophy more effectively than was possible before. (shrink)

ABSTRACTAccording to many naturalists, our ordinary conception of the world is in tension with the scientific image: the conception of the world provided by the natural sciences. But in this paper, I present a critique of naturalism with precedents in the post-Kantian idealist tradition. I argue that, when we consider our actual linguistic behavior, there is no evidence that the truth of our ordinary judgments hinges on what the scientific image turns out to be like. I then argue that the (...) best explanation of this result is that the norms and presuppositions operating in ordinary discourse are different from the norms and presuppositions operating in scientific discourse. So naturalistic attempts to undermine the manifest image are illegitimate attempts to critique a practice ‘from the outside’. (shrink)

ABSTRACT Certain features of our conceptual scheme seem necessary for subjects with our basic nature: we cannot imagine humans accomplishing their basic projects without having a conceptual scheme with these features. Other aspects of our conceptual scheme seem more contingent: we can imagine communities effectively using a somewhat different conceptual scheme. Conceptual cartography is the project of investigating the necessity and contingency of the various features of conceptual schemes. The project of conceptual cartography has not received much explicit methodological attention. (...) But in this paper, I argue that conceptual cartography has important implications for the study of conceptual engineering. I also provide a general framework for thinking about conceptual cartography. (shrink)

Structural realists claim that we should endorse only what our scientific theories say about the structure of the unobservable world. But according to Newman’s Objection, the structural realist’s claims about unobservables are trivially true. In recent years, several theorists have offered responses to Newman’s Objection. But a common complaint is that these responses “give up the spirit” of the structural realist position. In this paper, I will argue that the simplest way to respond to Newman’s Objection is to return to (...) one of the standard motivations for adopting structural realism in the first place: the No Miracles Argument. Far from betraying the spirit of structural realism, the solution I present is available to any theorist who endorses this argument. (shrink)

Many theorists have proposed that we can use the principle of indifference to defeat the inductive sceptic. But any such theorist must confront the objection that different ways of applying the principle of indifference lead to incompatible probability assignments. Huemer offers the explanatory priority proviso as a strategy for overcoming this objection. With this proposal, Huemer claims that we can defend induction in a way that is not question-begging against the sceptic. But in this article, I argue that the opposite (...) is true: if anything, Huemer’s use of the principle of indifference supports the rationality of inductive scepticism. (shrink)

Many philosophers have argued that large language models (LLMs) subvert the traditional undergraduate philosophy paper. For the enthusiastic, LLMs merely subvert the traditional idea that students ought to write philosophy papers “entirely on their own.” For the more pessimistic, LLMs merely facilitate plagiarism. We believe that these controversies neglect a more basic crisis. We argue that, because one can, with minimal philosophical effort, use LLMs to produce outputs that at least “look like” good papers, many students will complete paper assignments (...) in a way that fails to develop their philosophical abilities. We argue that this problem exists even if students can produce better papers with AI and even if instructors can detect AI-generated content with decent reliability. But LLMs also create a pedagogical opportunity. We propose that instructors shift the emphasis of their assignments from philosophy papers to “LLM dialogues”: philosophical conversations between the student and an LLM. We describe our experience with using these types of assignments over the past several semesters. We argue that, far from undermining quality philosophical instruction, LLMs allow us to teach philosophy more effectively than was possible before. (shrink)

Laws of nature have various roles in scientific practice. It is widely agreed that an adequate theory of lawhood ought to align with the roles that scientists assign to the laws. But philosophers disagree over whether Humean laws or non-Humean laws are better at filling these roles. In this paper, I provide an argument for settling this dispute. I consider possible situations in which scientists receive conclusive evidence that—according to the non-Humean—falsifies their beliefs about the laws, but which—according to the (...) Humean—does not falsify their beliefs about the laws. I argue that, in these possible scenarios, all law-related aspects of scientific practice would remain unchanged. In other words, scientists would treat the regularities “preferred” by the Humean as the laws of nature. On this basis, I conclude that non-Humean laws fail to align with scientific practice. (shrink)

Few figures of the Middle Ages command the attention of so many modern disciplines as Robert Grosseteste (c. 1170-1253). Theology, Philosophy, History, and Science are all areas which his life and thought continue to have significance and to inspire re-interpretation. Accompanied by a series of original commentaries, this new edition of Grosseteste's work, with English translation, draws together the perspectives of modern scientists and medieval specialists. Volume I of a six volume series, Knowing and Speaking presents two of the (...) earliest of Grosseteste's works, the treatises On the Liberal Arts and On the Generation of Sounds. These are accompanied by a significant Middle English treatise on the Seven Liberal Arts whose anonymous fifteenth-century author translated and excerpted passages from Grosseteste's treatises in a re-imagining of their structure and function.0Each work is treated separately within the volume, which is constructed in three parts. On the Liberal Arts sets Grosseteste's thoughts on the arts subjects and emphasises moral concerns about the purpose of learning. On the Generation of Sounds builds on the theories and statements of On the Liberal Arts in connection to the production of sound, elaborating the earlier position, relating the generation of sounds to human vocal and speech production. (shrink)

Environmental pollution is a global problem today, and together with urbanization closely intertwined with the current pandemic and the challenges facing humanity. This text, based on Robert Smithson’s aesthetic theory and production, intends to show that Earth Art could provide a critical comprehension of industrial culture, could oppose its Gestell, and sensitize society to the current environmental problems. I also discuss Smithson’s multi-stratified art works, his preference for processes over objects and his critical reflection on museums and (...) galleries as closed and traditional spaces. I suggest that Earth Art has the potential to redefine the relationship between outside and inside, optic and haptic, as well between a «distal, disembodied approach» on one hand and «immediate body experience» on the other. It could be developed more intensively in the future, inasmuch it attracts public to open spaces, thus avoiding possible contagion. (shrink)

Mounted randomly in various geo-ecological loci in Yucatan, Mexico, Robert Smithson’s earth art of the “Mirror Displacements” stages an eco-phenomenology characterized by “a wilderness of unassimilated seeing.” His leitmotif of an “anti-vision” or “negative seeing,” which paradoxically enables the world to appear counter-intuitively through the mirror displacements, presents itself as an artistic rendition of Jean-Luc Marion’s phenomenon of givenness. Theorized as the third phenomenological reduction contra that of Husserl and Heidegger, Marion’s phenomenology of givenness postulates a phenomenon saturated (...) with intuition, which appears absolutely and unconditionally, beyond the limits set by the horizon and the transcendental I. In both Smithson’s eco-phenomenology of the “Mirror Displacements” and Marion’s phenomenology of givenness, the appearance of this saturated phenomenon is, as Marion epitomizes it, “invisible according to quantity, unbearable according to quality, absolute according to relation, irregardable according to modality.”. (shrink)

This paper utilizes Robert Smithson's philosophy as a kind of counterpoint, rather than refutation, to many of Hegel's convictions on the nature and function of art in world historical spirit.

An images is build up of elements placed in a fix reciprocal positions. In this way an image is able to organize a block of space-time extracted from becoming and offered as a crystallized present, this notion imply Chronos notion of time. How would spatial co-ordinates work on the time line of Aîon , where present can’t exist? We are going to answer this question by analyzing Robert Smithson’s Monuments of Passaic.

This paper shows that there is one and the same break in the artistic creative process of Robert Smithson and in the philosophical creative process of Gilles Deleuze and Félix Guattari. For Smithson it takes place between Site-Nonsite works and Earthworks . For Deleuze and Guattari it happens in the transition from Difference and Repetition to Anti- Oedipus . Smithson's break marks his abandoning of the institution in favour of an art of direct intervention, the Earthworks (...) confronting one of the most pressing political concerns of his time, the destruction of the earth. Deleuze and Guattari's break happens as they take us from a conceptual mapping of structures to a material machinery of production that allows thought to engage with real political processes. (shrink)

In this journal, Robert Smithson argues that considerations stemming from Kantian and post-Kantian idealism undermine naturalistic arguments that seek to debunk elements of the ‘manifest image’ in favour of the ‘scientific image’. The idealist tradition, on this view, holds that philosophy’s task is to uncover and clarify the principles and norms which underlie different forms of inquiry, and is thus well placed to dispel the apparent ‘placement’ problems that stem from the collision of our ordinary worldview with contemporary (...) philosophical naturalism. Smithson also argues that this idealist critique of naturalism is preferable to the Liberal Naturalist critique of naturalism. In this response, I argue that Smithson’s view contains a gap which the naturalist can exploit to evade idealist critique, but that a Hegelian idealism contains no such gap, making it the better idealist choice. Further, I argue that that Hegelian idealism is itself plausibly a version of liberal naturalism. (shrink)

The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenth-century author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, (...) John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’. Art historian Jack Burnham’s interprets Smithson’s earthworks as a ‘time-bound web of man-nature interactions … didactic exercises … [that] show a desperate need for environmental sensibility’. In this respect, the work of both Jarry and Smithson can provide a useful corrective to an overly rationalistic approach to art research, offering the field – and contemporary art in general – potentially valuable tools for forms of practice that challenge rather than adopt conventional academic models and epistemological constructs. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that (...) composes the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

The abstract structure of inquiry - the process of acquiring and changing beliefs about the world - is the focus of this book which takes the position that the "pragmatic" rather than the "linguistic" approach better solves the philosophical problems about the nature of mental representation, and better accounts for the phenomena of thought and speech. It discusses propositions and propositional attitudes (the cluster of activities that constitute inquiry) in general and takes up the way beliefs change in response to (...) potential new information, suggesting that conditional propositions should be understood as projections of epistemic policies onto the world.Robert C. Stalnaker is a professor in the Sage School of Philosophy at Cornell University. A Bradford Book. (shrink)

Winner of the 1975 National Book Award, this brilliant and widely acclaimed book is a powerful philosophical challenge to the most widely held political and social positions of our age--liberal, socialist, and conservative.

We argue that indeterminate probabilities are not only rationally permissible for a Bayesian agent, but they may even be rationally required . Our first argument begins by assuming a version of interpretivism: your mental state is the set of probability and utility functions that rationalize your behavioral dispositions as well as possible. This set may consist of multiple probability functions. Then according to interpretivism, this makes it the case that your credal state is indeterminate. Our second argument begins with our (...) describing a world that plausibly has indeterminate chances. Rationality requires a certain alignment of your credences with corresponding hypotheses about the chances. Thus, if you hypothesize the chances to be indeterminate, your will inherit their indeterminacy in your corresponding credences. Our third argument is motivated by a dilemma. Epistemic rationality requires you to stay open-minded about contingent matters about which your evidence has not definitively legislated. Practical rationality requires you to be able to act decisively at least sometimes. These requirements can conflict with each other-for thanks to your open-mindedness, some of your options may have undefined expected utility, and if you are choosing among them, decision theory has no advice to give you. Such an option is playing Nover and Hájek’s Pasadena Game , and indeed any option for which there is a positive probability of playing the Pasadena Game. You can serve both masters, epistemic rationality and practical rationality, with an indeterminate credence to the prospect of playing the Pasadena game. You serve epistemic rationality by making your upper probability positive-it ensures that you are open-minded. You serve practical rationality by making your lower probability 0-it provides guidance to your decision-making. No sharp credence could do both. (shrink)

This dissertation examines the works of Richard Serra and Robert Irwin as possible proponents of a tendency in recent art toward exposing perceptual experience as a means by which to construct our understanding of the world. ;Provisionally called phenomenal art, it is an art which through its materials, form, placement, and effect attempts to expose visual phenomena such as the tactile nature of an object, light and shadow or depth in space so that we may realize how these things (...) determine the visual field and by extension, a sensory experience of our environment. ;This study is developed in four parts. The introduction frames the art of Serra and Irwin within the modern/postmodern context of existing modes of interpretation and acknowledges that within these various modes the overwhelming tendency is to examine the phenomenal component of their works through the philosophy of phenomenology. ;The second part is an historical analysis of the works and writings of the two artists, an analysis which outlines the theoretical models that each has employed when conceiving and reading their art as well as the relationship that these models share with the artists' intentions for their work. ;In the first two parts, a case is made for the use of existential phenomenology as a critical method. The third part develops this method as a series of readings or interpretations of select pieces by each artist. These readings are coupled with the findings of the second part to lay the foundation for a comparison of the two artists in terms of their intentions, philosophies, and the operation of their works. ;The conclusion contextualizes the information previously compiled within the larger framework of the contemporary art scene. As such, it proposes new readings of some of the critical theory that surround the works of Irwin and Serra, readings which substantiate the notion of phenomenal art, and in doing so, determine the role that these two artists play within it. ;Finally, the modes of analysis used and the conclusions reached with regard to Irwin and Serra set the stage for examining the works of other artists such as Robert Morris, James Turrell, and Robert Smithson, through the phenomenological apparatus, and in such a way that these artists might also be considered under the model of phenomenal art. (shrink)

Robert B. Brandom is one of the most original philosophers of our day, whose book Making It Explicit covered and extended a vast range of topics in metaphysics, epistemology, and philosophy of language--the very core of analytic philosophy. This new work provides an approachable introduction to the complex system that Making It Explicit mapped out. A tour of the earlier book's large ideas and relevant details, Articulating Reasons offers an easy entry into two of the main themes of Brandom's (...) work: the idea that the semantic content of a sentence is determined by the norms governing inferences to and from it, and the idea that the distinctive function of logical vocabulary is to let us make our tacit inferential commitments explicit. Brandom's work, making the move from representationalism to inferentialism, constitutes a near-Copernican shift in the philosophy of language--and the most important single development in the field in recent decades. Articulating Reasons puts this accomplishment within reach of nonphilosophers who want to understand the state of the foundations of semantics. Table of Contents: Introduction 1. Semantic Inferentialism and Logical Expressivism 2. Action, Norms, and Practical Reasoning 3. Insights and Blindspots of Reliabilism 4. What Are Singular Terms, and Why Are There Any? 5. A Social Route from Reasoning to Representing 6. Objectivity and the Normative Fine Structure of Rationality Notes Index Displaying a sovereign command of the intricate discussion in the analytic philosophy of language, Brandom manages successfully to carry out a program within the philosophy of language that has already been sketched by others, without losing sight of the vision inspiring the enterprise in the important details of his investigation ' Using the tools of a complex theory of language, Brandom succeeds in describing convincingly the practices in which the reason and autonomy of subjects capable of speech and action are expressed. --J'rgen Habermas. (shrink)

Winner of the Los Angeles Times Book Prize With a new preface by the author In his most powerful and important book, renowned psychiatrist Robert Jay Lifton presents a brilliant analysis of the crucial role that German doctors played in the Nazi genocide. Now updated with a new preface, The Nazi Doctors remains the definitive work on the Nazi medical atrocities, a chilling exposé of the banality of evil at its epitome, and a sobering reminder of the darkest side (...) of human nature. (shrink)

In a new retelling of the romantic rationalist adventure of ideas that is Hegel's classic The Phenomenology of Spirit, Robert Brandom argues that when our self-conscious recognitive attitudes take Hegel's radical form of magnanimity and trust, we can overcome a troubled modernity and enter a new age of spirit.

This paper revisits some foundational questions concerning the abstract representation of a discourse context. The context of a conversation is represented by a body of information that is presumed to be shared by the participants in the conversation – the information that the speaker presupposes a point at which a speech act is interpreted. This notion is designed to represent both the information on which context-dependent speech acts depend, and the situation that speech acts are designed to affect, and so (...) to be a representation of context that is appropriate for explaining the interaction of context and the contents expressed in them. After reviewing the motivating ideas and the outlines of the apparatus, the paper responds to a criticism of the framework, and considers the way it can help to clarify some phenomena concerning pronouns with indefinite antecedents. (shrink)