Ivanova, Milena, Paternotte, Cedric. Theory Choice, Good Sense and Social Consensus
2013, Erkenntnis 78 (5):1109-1132.
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Added by: Chris Blake-Turner, Contributed by: Milena Ivanova
Abstract: There has been a significant interest in the recent literature in developing a solution to the problem of theory choice which is both normative and descriptive, but agent-based rather than rule-based, originating from Pierre Duhem's notion of 'good sense'. In this paper we present the properties Duhem attributes to good sense in different contexts, before examining its current reconstructions advanced in the literature and their limitations. We propose an alternative account of good sense, seen as promoting social consensus in science, and show that it is superior to its rivals in two respects: it is more faithful to Duhemian good sense, and it cashes out the effect that virtues have on scientific progress. We then defend the social consensus account against objections that highlight the positive role of diversity and division of labour in scienceIrvine, Elizabeth. Explaining What?2014, Topoi 36 (1):95-106.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: The Hard Problem is surrounded by a vast literature, to which it is increasingly hard to contribute to in any meaningful way. Accordingly, the strategy here is not to offer any new metaphysical or 'in principle' arguments in favour of the success of materialism, but to assume a Type Q approach and look to contemporary consciousness science to see how the concept of consciousness fares there, and what kind of explanations we can hope to offer of it. It is suggested that while they will be materialist explanations, they will not be of the form that many scientists and philosophers would have us believe, but instead prompt a very different set of expectations and research projects.Comment:
Hein, Hilde. Refining Feminist Theory: Lessons from Aesthetics2010, In Hilde Hein and Carolyn Korsmeyer (eds.), Aesthetics in Feminist Perspective. Indiana University Press.-
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: Because it embraces a domain that is invincibly pluralistic and dynamic, aesthetic theory can serve as a model for feminist theory. Feminist theory, which takes gender as a constituted point of departure, pluralizes theory, thereby challenging its unicity. This anomalous approach to theory is also implicit in conventional aesthetics, which has for that reason been spurned by centrist philosophy. Whilst aesthetics therefore merits attention from feminists, there is reason to be wary of such classic aesthetic doctrines as the the thesis that art is "autonomous" and properly percevied "disinterestedly". That belief has roots in somatophobic dualism which ultimately leads to consequences as negative for art and the aesthetic as for women. Feminists rightly join with other critics of traditional dominative dualisms; yet they can learn from the expansive tendency in aesthetics toward openness and self-reflexive innovation.Comment:
Herzog, Lisa. Ideal and Non-ideal Theory and the Problem of Knowledge2012, Journal of Applied Philosophy 29 (4):271-288.-
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Added by: Chris Blake-Turner, Contributed by: Jojanneke Vanderveen
Abstract: This article analyses a hitherto neglected problem at the transition from ideal to non‐ideal theory: the problem of knowledge. Ideal theories often make idealising assumptions about the availability of knowledge, for example knowledge of social scientific facts. This can lead to problems when this knowledge turns out not to be available at the non‐ideal level. Knowledge can be unavailable in a number of ways: in principle, for practical reasons, or because there are normative reasons not to use it. This can make it necessary to revise ideal theories, because the principle of 'ought implies can' rules out certain theories, at least insofar as they are understood as action‐guiding. I discuss a number of examples and argue that there are two tendencies that will increase the relevance of this problem in the future: the availability of large amounts of sensitive data whose use is problematic from a normative point of view, and the increasing complexity of an interrelated world that makes it harder to predict the effects of institutional changes. To address these issues, philosophers need to cooperate with social scientists and philosophers of the social sciences. Normative theorising can then be understood as one step in a long process that includes thinkers from different disciplines. Ideal theory can respond to many of the charges raised against it if it is understood along these lines and if it takes the problem of knowledge and its implications seriously.Comment: Helen Reviewing - Topical article engaging with the debate about ideal and non-ideal theory and the relation between these.
Hein, Hilde. What is public art? Time, place, and meaning1996, Journal of Aesthetics and Art Criticism 54 (1):1-7.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Public art is an oxymoron according to the standards of modernist art and aesthetic theory. Modern philosophical aesthetics focuses almost exclusively on subjective experience and a commodified work of art. Art is taken to be the product of an individual and autonomous act of expression, and its appreciation is, likewise, a private act of contemplation. By contrast, as a public phenomenon, art must entail the artist's self-negation and deference to a collective community. It is interesting to observe that the recognized art of nearly all cultures, including that of the western European tradition prior to the late Renaissance, embraces just such a collective model, indulging the differences among individuals as variant manifestations of a common spirit. The celebrated treasures of Greece and Rome, as well as the Christian works of the Middle Ages and the age of the fresco that succeeded them, do not exalt the private vision of individual artists so much as they bespeak the shared values and convictions of cultural communities, and are accordingly to be found in those edifices and open places where people regularly gather to commemorate those same values and convictions. Privacy was for centuries a privative concept, demarcating the dissociated and limited experience of persons cut off from and below the level of full social humanity.Comment:
Hall, Alison. Free enrichment or hidden indexicals?2008, Mind and Language 23 (4):426-456.-
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Added by: Clotilde Torregrossa, Contributed by: Thomas Hodgson
Abstract: A current debate in semantics and pragmatics is whether all contextual effects on truth-conditional content can be traced to logical form, or 'unarticulated constituents' can be supplied by the pragmatic process of free enrichment. In this paper, I defend the latter position. The main objection to this view is that free enrichment appears to overgenerate, not predicting where context cannot affect truth conditions, so that a systematic account is unlikely (Stanley, 2002a). I first examine the semantic alternative proposed by Stanley and others, which assumes extensive hidden structure acting as a linguistic trigger for pragmatic processes, so that all truth-conditional effects of context turn out to be instances of saturation. I show that there are cases of optional pragmatic contributions to the proposition expressed that cannot plausibly be accounted for in this way, and that advocates of this approach will therefore also have to appeal to free enrichment. The final section starts to address the question of how free enrichment is constrained: I argue that it involves only local development or adjustment of parts of logical form, any global developments being excluded by the requirement for the proposition expressed to provide an inferential warrant for the intended implications of the utterance.Comment:
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music1992, Oxford University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.Comment:
Goehr, Lydia. Political music and the politics of music1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.Comment:
1992, Blackwell.-
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Added by: Clotilde Torregrossa
Abstract: Book synopsis: The feminist movement has challenged many of the unstated assumptions on which ethics as a branch of philosophy has always rested - assumptions about human nature, moral agency, citizenship and kinship. The twenty-six readings in this book express the discontent of a succession of fiercely articulate women writers, from Mary Wollstonecraft to the present day, with the masculine bias of `morality'. The editors have contributed an overall introduction, which discusses ethics, feminism and feminist themes in ethics, and have provided introductions to each of the readings, designed to situate in their historical and intellectual context. They have also compiled two lists for further reading: `Ethics: a Feminist Bibliography' and `The Male Tradition'. Ethics: A Feminist Reader is an essential resource for students and teachers of philosophy, political theory and women's studies. For anyone with a stake in progressive sexual politics it is an inspirational guide.Comment:
Farkas, Katalin. What is externalism?2003, Philosophical Studies 112 (3):187-208.-
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Added by: Clotilde Torregrossa, Contributed by: Nora Heinzelmann
Abstract: The content of the externalist thesis about the mind depends crucially on how we define the distinction between the internal and the external. According to the usual understanding, the boundary between the internal and the external is the skull or the skin of the subject. In this paper I argue that the usual understanding is inadequate, and that only the new understanding of the external/internal distinction I suggest helps us to understand the issue of the compatibility of externalism and privileged access
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