One of the reasons often cited for the renewed interest in Aristotelian virtue theory is its alleged sensitivity to the particular case. In addition to rules and procedures is attention to the variety of individual cases, and a reminder of the shortfalls of misplaced rigour. Often quoted are the passages from the Nicomachean Ethics in which Aristotle warns that we must seek only so much precision as is appropriate for the subject matter. Repeated, too, is the well-known phrase of the (...) Ethics, that “judgment rests in perception”. The spirit of these remarks, in essence, that “practical wisdom is not scientific understanding”, is contrasted with modern views which stress the sufficiency of algorithms for fully determining right action and deliberation based on deduction from rules. (shrink)

Choices can be wise or foolish, and feelings can be apt or off the mark. So we judge, and it would be good to know what content these normative judgements carry. Gibbard offers an answer, and elaborates it. His theory explores what is at issue in narrowly moral questions, and in questions of rational thought and conduct in general.

This book examines some of the deepest questions in philosophy: What is involved in judging a belief, action, or feeling to be rational?

The confirmation process and the virtues of duplicity -- How to be aggressive and passive ... and great -- Recusal and the vices of impartiality -- The use and misuse of the politics of personality -- Fortuna : the role of chance in choosing cases -- When and why to avoid a case -- Carpe diem : when to embrace a case -- Tactical tools : using procedure to one's advantage -- Oral arguments : what to say and how -- (...) When to lose a case and win a cause -- In defense of unprincipled decision making -- How to manipulate the rule of law -- When precedents are to be honored (if only formally) -- When to take command and make demands -- The boldest moves : when and how to make them -- On writing : when style should trump substance -- When it is wise to write a separate opinion -- Law clerks : when and how to use them -- How to play to the media -- Cameras in the courtroom : seizing the future -- On television : the medium is not the message -- On publishing books : when and of what kind -- The threat of impeachment and how best to avoid it -- When it is best to retire -- Directing history : a justice's working papers and what to do with them -- How to best secure an enduring legacy. (shrink)

In this paper I compare two models of expert judgment: the art critic in Hume’s “Of the Standard of Taste” and the “wise man” in “Of Miracles.” The art critic is a true judge of beauty because he has made himself into a person who is optimally receptive to beauty. He possesses the virtues of taste: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice” (“Of the Standard of Taste,” 241). (...) But the virtues of the art critic, I argue, are also those of the “wise man,” the person who consistently “proportions his belief to the evidence” (EHU 10.4; SBN 110). Comparison of these two characters reveals that for Hume the virtues fundamental to the art critic’s critical competence are also epistemic virtues. Hume’s exposition of aesthetic excellences should thus be of interest for virtue epistemology. Because contemporary virtue epistemologists have tended to focus almost exclusively on the relationships between intellectual and moral virtues, Hume offers something new: an account of epistemic virtues based on aesthetic virtues. (shrink)

Certainty : a contemporary question -- Beginnings: questions and debates in the fourteenth and fifteenth centuries -- Abba Father: the certainty of salvation -- The spiritual man judges all things: the certainty of exegetical authority -- Are you alone wise?: the Catholic response -- Experientia: the great age of the Spirit -- Unmasking the angel of light: the discernment of the spirits -- Men should be what they seem: appearances and reality.

Following the argument wherever it leads is a piece of well-known and time-honored advice we give to students in philosophy. Using three instances drawn from the history of philosophy, we look at reasons for both adhering to this principle and for sometimes putting it aside in favor of other considerations. We find that the requirement of following the argument where it leads is not a simple demand of logic, but rather a complex norm that is sensitive to various considerations. Some (...) of these have to do with the fact that consistency may be restored to one’s system of beliefs only at a price that one may judge, on cognitive or moral grounds, as too high. Following the argument wherever it leads is thus a norm about the place of reason in our intellectual and practical lives and is therefore a norm that must be evaluated in the context of various extra-logical considerations. (shrink)

This collection addresses a post-WWII shift in the hierarchy of scientific explanations, where the highest goal moves from reductionism towards some ...

An important Belgian avant-garde poet, Daive's investigations alternate between poetry, narration and reflective prose. In addition to translations of Daive's poetry, van Gerven Oei offers a lush presentation of Daive's poetry and its relationship to the production-analysis of signification.

We report here on an ongoing study of a self-defining community of physicists whose work spans an interestingly diverse set of subjects, typically in the borderland between macroscopic and microscopic description and between quantum and classical domains. Its methods are typically semi-classical. It is this borderland—of people, subject, and methods—in which we are primarily interested and which we will attempt to characterise. For concreteness, we will focus on the subset of ‘quantum chaos’ and more particularly on the work that the (...) physicists Eric Heller and Steven Tomsovic have called ‘postmodern quantum mechanics’, using their characterisation to ground a somewhat more expansive interpretation. (shrink)

The ArgumentThe societal context within which science is pursued generally acts as a productive force in the generation of knowledge. To analyze this action it is helpful to consider particular modes of mediation through which societal concerns are projected into the very local and esoteric concerns of a particular domain of research. One such mode of mediation occurs through material systems. Here I treat two such systems – the steam engine and the electric telegraph – in the natural philosophy of (...) William Thomson (Lord Kelvin).The steam engine illustratesconceptualmediation. It simultaneously instantiates “labor value” in political economy and “work” in engineering mechanics, thereby identifying the two concepts in the region of their common reference. The partial identification carries with it a structural analogy between a network of concepts from political economy and a similar network in natural philosophy, providing a potent heuristic for the reformulation and further development of dynamics.The electric telegraph illustratesmethodologicalmediation. It projects the interests of engineering and industry into the interests of electromagnetic theory and vice versa, thereby establishing, in Thomson's view, a Baconian unity of truth and utility. As the common reference of theory and practice, the telegraph locates the truth of theoretical knowledge in its utility and the utility of practical knowledge in its truth.These particular cases of conceptual and methodological mediation indicate how the local practices, concepts, and interests of a research specialty, or subculture, draw on and are adapted to those of the larger culture within which they develop. Thus the analysis of mediation leads to an ecological model of the social construction of scientific knowledge. (shrink)

ABSTRACT An overview of some of the main modes of making images of natural objects and processes, as they have appeared in the history of science, leads to two main conclusions. First, the dichotomies that have traditionally distinguished, for example, art from science, museums from laboratories, and geometrical from algebraic methods have produced a poverty of understanding of visualization. It is at the intersections of these dichotomies where much of the creative work of science occurs, and it is into those (...) intersections that this Focus section leads us. Second, the section suggests that we need to understand images as arguments. Generalizing, we need to develop a “materialized epistemology” that reunites sensual with ideational knowing. Recent work in the history of science is already pointing the way and producing a dramatically new historiography. (shrink)