When its atmosphere processing plant's fusion reactor exploded, it turned it into a desolate, irradiated hunk of rock uninhabitable by humans for thousands of years. The explosion was not far off from what the surviving humans in Aliens were planning anyway: nuke the site from orbit. To set the stage for considering the military decisions of Colonial Marines from an ethical perspective, strap in like it's a simulated combat drop from low orbit. This chapter looks at the Aliens future of (...) the twenty‐second century. After the first tragic encounter with the Xenos in Aliens, the remaining humans are trying to figure out their next steps in the back of the armored personnel carrier (APC). Many of the ideas being tossed around in the APC (even slimy Carter Burke's) keep the Xenos distant and so actually reduce the threat, backing the humans away from the need to make decisions in a “supreme emergency”. (shrink)

La parenthèse Vichy marque un tournant dans la carrière de Jean Thibaud (1901-1960). Il occupe des postes rendus vacants par la mise à l’écart de Jean Perrin et de Paul Langevin, deux figures tutélaires de la physique française aux engagements politiques incompatibles avec le nouveau régime. Ces initiatives provoquent des réactions de rejet chez les universitaires qui œuvrent pour la résistance et pointent dès lors Thibaud comme un collaborateur. Nous proposons de suivre au plus près l’itinéraire de Thibaud sous l’angle (...) d’une stratégie personnelle d’accommodement, concept que l’historien Philippe Burrin a proposé pour décrire diverses formes d’adaptation aux circonstances nées de l’Occupation et que nous entendons revisiter dans le cadre de la présente étude. (shrink)

This paper analyzes Kant’s notorious claim that psychology cannot become a science “properly so-called”. Contrary to widespread opinion, he does not hold any of the following three implausible views: psychological phenomena cannot be mathematized, they cannot be explained in by reference to mathematical causal laws, and they cannot be dealt with in causal terms at all. Instead of claiming something about psychological phenomena, Kant argues against a specific conception of psychology: the then popular introspective psychologies. Only this reading explains why (...) he is also concerned with the possibility of psychological experiments, and it does justice to how he himself treats phenomena of thinking, willing, and so on. (shrink)

We examined the affective consequences of everyday attention lapses and memory failures. Significant associations were found between self-report measures of attention lapses , attention-related cognitive errors , and memory failures , on the one hand, and boredom and depression , on the other. Regression analyses confirmed previous findings that the ARCES partially mediates the relation between the MAAS-LO and MFS. Further regression analyses also indicated that the association between the ARCES and BPS was entirely accounted for by the MAAS-LO and (...) MFS, as was that between the ARCES and BDI-II. Structural modeling revealed the associations to be optimally explained by the MAAS-LO and MFS influencing the BPS and BDI-II, contrary to current conceptions of attention and memory problems as consequences of affective dysfunction. A lack of conscious awareness of one’s actions, signaled by the propensity to experience brief lapses of attention and related memory failures, is thus seen as having significant consequences in terms of long-term affective well-being. (shrink)

Ah, emojis ☺. Some enthusiastically speak of them as a new universal language. In 2015, the Oxford English dictionary crowned one of them as its word of the year. Sixty million are exchanged daily on Facebook. Along with emoticons and various other smileys, emojis are now part of daily communications. Visual add-ons or superscript, they are meant to indicate intent or add emotions to written messages, which do not benefit from the tone or body language of the interlocutor. As such, (...) they present themselves as tools for clarification, but one can wonder if they do not, too, introduce uncertainty in language. Aimed at barristers as well as jurilinguists, this paper seeks to underline some design and perception biases that can hinder communication, with a focus on rules of evidence and legal methodology. Empirically rooted in Canadian case law, the findings resonate in other jurisdictions, as emojis, indeed, are a global phenomenon. (shrink)

This paper deals with the interpretation of the Mechanics chapter of Kant’s Metaphysical Foundations of Natural Science. It is aimed at clarifying the procedure Kant invokes for the transcendental determination of the quantity of matter in mechanical respect. Kant’s intention is to ground mass measurement on the moving force that matter possesses by virtue of its motion, and that moving bodies display by setting other bodies in motion. An important issue in this context concerns the role of gravitation as compared (...) to mechanical processes in the narrow sense of “pressure and impact”. (shrink)

Although significant literature and jurisprudence has amassed on rights-based climate litigation over recent years, less research and case law has emerged on poverty-related court cases and the fulfilment of economic, social, and cultural rights (ESCR) in Canada. Fewer still are studies exploring the interlinkages between these areas of inquiry. The purpose of this paper is to explore, using Canada as a case study, rights-based developments in climate litigation cases and how these could impact the innovative advancement of ESCR (e.g. to (...) food, housing and water). Typically, issues of justiciability and standing emerge, impeding the realization of such rights. Given the grave threats we now face, climate cases and social movements must be brought together to better hold state actors accountable for their rights obligations. We implore the legal community to explore ways to traverse juridical obstacles to realize the interdependencies of human rights and protect the planet from calamitous climate change. (shrink)

United Nations (UN) leaders suggest that the world is not on track to meet the Sustainable Development Goals (SDGs) by 2030. The purpose of this paper is to explore whether the SDGs provide a valuable platform to call for a basic income (BI) globally. Adopting a critical historical studies approach, the article traces the evolution of ‘development’, including the UN decades of development, the Millennium Development Goals, and the SDGs. It subsequently describes the structural adjustment and poverty reduction efforts by (...) the World Bank and International Monetary Fund, and then outlines why the SDG framework may be helpful in advancing a BI. We argue that as climate-related disasters increase, a BI will be vital in providing a modicum of security in an increasingly unstable world. Calls for BI must be anchored to a broader change agenda that recognizes the causes of poverty and income inequality, and seeks their dismantling and redress. (shrink)

Transdisciplinarity includes the assumption that within new institutional settings, scientific research becomes more closely responsive to practical problems and user needs and is therefore often subject to considerable application pressure. This raises the question whether transdisciplinarity affects the epistemic standards and the fruitfulness of research. Case studies show how user-orientation and epistemic innovativeness can be combined. While the modeling involved in all cases under consideration was local and focused primarily on features of immediate practical relevance, it was informed by theoretical (...) insights from basic research. Conversely, industrial research turns out sometimes to produce theoretical understanding. These findings highlight an interactive relationship between science and technology (moderate emergentism), which is distinct from the traditional view of a one-sided dependence of technology on science (cascade model) and from the newly received independence account (emergentism). (shrink)

Drawing from both theoretical and empirical research, the literature on basic income (BI) is now voluminous, pronouncing both its merits and its limitations. Burgeoning research documents the impacts of un/conditional cash transfers and negative income tax programs, with many studies highlighting the effectiveness of these programs in reducing poverty, and improving a host of social, economic and health outcomes. We consider possible avenues for BI architecture to be adopted within Canada’s existing constellation of income security programs, to the benefit of (...) disadvantaged groups in society. Identifying key federal and provincial (i.e., Ontario) transfer and tax benefit programs, we highlight which programs might best be maintained or converted to a BI. While opponents decry the (alleged) exorbitant costs of BI schemes, we suggest that the existing approach not only produces an ineffective system—which actually engenders poverty and the health and social problems that accompany it—but an excessively costly one. (shrink)

I address options for providing scientific policy advice and explore the relation between scientific knowledge and political, economic and moral values. I argue that such nonepistemic values are essential for establishing the significance of questions and the relevance of evidence, while, on the other hand, such social choices are the prerogative of society. This tension can be resolved by recognizing social values and identifying them as separate premises or as commissions while withholding commitment to them, and by elaborating a plurality (...) of policy packages that envisage the implementation of different social goals. There are limits to upholding the value-free ideal in scientific research. But by following the mentioned strategy, science can give useful policy advice by leaving the value-free ideal largely intact. Such scientific restraint avoids the risk of appearing to illegitimately impose values on the public and could make the advice given more trustworthy. (shrink)

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the current situation (...) of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History, Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. (shrink)

One of the arguments advanced in favor of scientific realism is the 'miracle argument'. It says that for the anti-realist the predictive success of science appears as an utter miracle. This argument indeed has some prima facie plausibility, provided that it is sharpened by construing "predictive success" as prediction of previously unknown laws and the occurrence of a consilience of inductions. Still, the history of science teaches us that it is possible to arrive at predictive success in this sense by (...) employing radically non-referring theoretical mechanisms. The 'miracle argument' is thus unsound. Rather, the capacity of a theory to generate predictive success can be traced back to its "classificativity correspondence.". (shrink)

My intention is to cast light on the characteristics of epistemic or fundamental research (in contrast to application-oriented research). I contrast a Baconian notion of objectivity, expressing a correspondence of the views of scientists to the facts, with a pluralist notion, involving a critical debate between conflicting approaches. These conflicts include substantive hypotheses or theories but extend to values as well. I claim that a plurality of epistemic values serves to accomplish a non-Baconian form of objectivity that is apt to (...) preserve most of the intuitions tied to the objectivity of science. For instance, pluralism is the only way to cope with the challenge of preference bias. Furthermore, the plurality of epistemic values cannot be substantially reduced by exploring the empirical success of scientific theories distinguished in light of particular such values. However, in addition to pluralism at the level of theories and value-commitments alike, scientific research is also characterized by a joint striving for consensus which I trace back to a shared epistemic attitude. This attitude manifests itself, e.g., in the willingness of scientists to subject their claims to empirical scrutiny and to respect rational argument. This shared epistemic attitude is embodied in rules adopted by the scientific community concerning general principles of dealing with knowledge claims. My contention is that pluralism and consensus formation can be brought into harmony by placing them at different levels of consideration: at the level of scientific reasoning and at the level of social conventions regarding how to deal with claims put forward within the scientific community. (shrink)

. Science at the interface with society is regarded with mistrust among parts of the public. Scientific judgments on matters of practical concern are not infrequently suspected of being incompetent and biased. I discuss two proposals for remedying this deficiency. The first aims at strengthening the independence of science and suggests increasing the distance to political and economic powers. The drawback is that this runs the risk of locking science in an academic ivory tower. The second proposal favors “counter-politicization” in (...) that research is strongly focused on projects “in the public interest,” that is, on projects whose expected results will benefit all those concerned by these results. The disadvantage is that the future use of research findings cannot be delineated reliably in advance. I argue that the underlying problem is the perceived lack of relevance and reliability and that pluralism is an important step toward its solution. Pluralism serves to stimulate a more inclusive research agenda and strengthens the well-testedness of scientific approaches. However, pluralism also prevents the emergence of clear-cut practical suggestions. Accordingly, pluralism is part of the solution to the credibility crisis of science, but also part of the problem. In order for science to be suitable as a guide for practice, the leeway of scientific options needs to be narrowed – in spite of uncertainty in epistemic respect. This reduction can be achieved by appeal to criteria that do not focus on the epistemic credentials of the suggestions but on their appropriateness in practical respect. (shrink)

ISBN-13: 978-0-8229-4317-4 (cloth : alk. paper) ISBN-10: 0-8229-4317-4 (cloth : alk. paper) 1. Science — Philosophy. 2. Science — Social aspects. 3. Values. 4. Science and civilization. I. Carrier, Martin. II. Howard, Don, professor. III. Kourany ...

Earlier in this century, many philosophers of science (for example, Rudolf Carnap) drew a fairly sharp distinction between theory and observation, between theoretical terms like 'mass' and 'electron', and observation terms like 'measures three meters in length' and 'is _2° Celsius'. By simply looking at our instruments we can ascertain what numbers our measurements yield. Creatures like mass are different: we determine mass by calculation; we never directly observe a mass. Nor an electron: this term is introduced in order to (...) explain what we observe. This (once standard) distinction between theory and observation was eventually found to be wanting. First, if the distinction holds, it is difficult to see what can characterize the relationship between theory :md observation. How can theoretical terms explain that which is itself in no way theorized? The second point leads out of the first: are not the instruments that provide us with observational material themselves creatures of theory? Is it really possible to have an observation language that is entirely barren of theory? The theory-Iadenness of observation languages is now an accept ed feature of the logic of science. Many regard such dependence of observation on theory as a virtue. If our instruments of observation do not derive their meaning from theories, whence comes that meaning? Surely - in science - we have nothing else but theories to tell us what to try to observe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

I argue that sentences ascribing beliefs to non-human animals have the same logical form as sentences of the "perceives that" variety. Pace D.M. Armstrong, I argue that animal belief sentences can be referentially opaque, just as perception sentences containing a propositional clause are. In both cases, referential opacity requires our assuming that the animal believer and the human perceiver has each identified the object of the belief or perception.

I argue that the time-gap argument poses no objection to Direct Realism. In the case of exploded stars many light years from us, what we see is no longer the star, but its light. I argue that in all cases of seeing we see light, but only when physical objects exist at the time of our seeing do we see them.

Bd. 1. A-B -- Bd. 2. C-F -- Bd. 3. G-Inn -- Bd. 4. Ins-Loc.

Agnotology concerns the creation and preservation of confusion and ignorance. Certain positions are advocated in science in order to promote sociopolitical interests with the result of launching mock controversies or epistemically unjustified dissent. I propose to identify agnotological ploys by the discrepancy between the conclusions suggested by the design of a study and the conclusions actually drawn or intimated. This mechanism of “false advertising” serves to implement agnotological endeavors and helps identify them without having to invoke the intentions of the (...) relevant agents. I discuss three agnotological cases, i.e., studies on bisphenol A, Bt-maize/Roundup, and Oslo’s airport Gardermoen. Pinpointing agnotological endeavors is a means for weeding out approaches that look fitting at first glance, but are blatantly inappropriate, in fact. (shrink)

A brief self-report scale was developed to assess everyday performance failures arising directly or primarily from brief failures of sustained attention . The ARCES was found to be associated with a more direct measure of propensity to attention lapses and to errors on an existing behavioral measure of sustained attention . Although the ARCES and MAAS were highly correlated, structural modelling revealed the ARCES was more directly related to SART errors and the MAAS to SART RTs, which have been hypothesized (...) to directly reflect the lapses of attention that lead to SART errors. Thus, the MAAS and SART RTs appear to directly reflect attention lapses, whereas the ARCES and SART errors reflect the mistakes these lapses are thought to cause. Boredom proneness was also assessed by the BPS, as a separate consequence of a propensity to attention lapses. Although the ARCES was significantly associated with the BPS, this association was entirely accounted for by the MAAS, suggesting that performance errors and boredom are separate consequences of lapses in attention. A tendency to even extraordinarily brief attention lapses on the order of milliseconds may have far-reaching consequences not only for safe and efficient task performance but also for sustaining the motivation to persist in and enjoy these tasks. (shrink)

No detailed description available for "Mind, Brain, Behavior".

The fundamental question whether, or in which sense, science informs us about the real world has pervaded the history of thought since antiquity. Is what science tells us about the world determined unambiguously by facts or does the content of any scientific theory in some way depend on the human condition? "Sokal`s hoax" added a new dimension to this controversial debate, which very quickly came to been known as "Science Wars". "Knowledge and the World" examines and reviews the broad range (...) of philosophical positions on this issue, stretching from realism to relativism, to expound the epistemic merits of science, and to address the central question: in which sense can science justifiably claim to provide a truthful portrait of reality? This book addresses everyone interested in the philosophy and history of science, and in particular in the interplay between the social and natural sciences. (shrink)

The paper discusses modelling uncertainties in climate models and how they can be addressed based on physical principles as well as based on how the models perform in light of empirical data. We ar...

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Duhem—Quine underdetermination plays a constructive role in epistemology by pinpointing the impact of non-empirical virtues or cognitive values on theory choice. Underdetermination thus contributes to illuminating the nature of scientific rationality. Scientists prefer and accept one account among empirical equivalent alternatives. The non-empirical virtues operating in science are laid open in such theory choice decisions. The latter act as an epistemological test tube in making explicit commitments to how scientific knowledge should be like.

In their self-understanding, expert committees solely draw on scientific knowledge to provide policy advice. However, we try to show, first, on the basis of material related to the German Radiation Protection Commission that much of their work consists in active model building. Second, expert advice is judged by criteria that diverge from standards used for judging epistemic research. In particular, the commitment to generality or universality is replaced by the criterion of specificity, and the value of precision gives way to (...) epistemic robustness. Third, non-epistemic considerations are included in the reasoning—albeit hesitantly. Manageability and social robustness, understood as compatibility with widespread value attitudes in society, affect the content of the recommendations. (shrink)