In his biography of Isaac Newton, which forms the most recent production in this flourishing genre, Niccolò Guicciardini states as his first point of departure that Newton's work arose not from ‘attempts to answer questions that came to him spontaneously, but [from addressing] those posed by his contemporaries’. Right he is to communicate to the larger audience for which he is writing this principal fruit of by now almost a century of professional history-of-science writing – a deep-seated awareness that every (...) scientific view or finding, even if looking timeless in retrospect, has emerged from some given historical context that shows us where the scientist in question started, and that helps explain how, and in what direction, they managed to venture beyond the original context. Indeed, the same truth applies to every genuine – that is, in some way innovative and also worthwhile – contribution to scholarship. And so it is, therefore, with the three books here under review, which I intend to examine with the following leading question in mind: what in each of them is new and what, in what turns out to be new indeed, has been worth learning? (shrink)

Many pioneers of the Scientific Revolution such as Galileo, Kepler, Stevin, Descartes, Mersenne, and others, wrote extensively about musical theory. This was not a chance interest of a few individual scientists. Rather, it reflects a continuing concern of scientists from Pythagorean times onwards to solve certain quantifiable problems in musical theory. One of the issues involved was technically known as ‘the division of the octave’, the problem, that is, of which notes to make music with. Simon Stevin's contribution to this (...) issue, in his treatise Vande Spiegheling der Singconst , is usually conceived of as a remarkably early plea for equal temperament, which is the tuning system we nowadays all take for granted. In this paper I show that, even though it is true that Stevin calculated the figures for what is now known as equal temperament, in fact the subject of temperament has almost nothing to do with his accompanying considerations, and that, therefore, his calculations served another purpose. A careful analysis of the problem situation in the science of music around 1600, reveals that Stevin's treatise highlights a particular stage in the history of what has always been the core issue of the science of music, namely, the problem of consonance. This is the search for an explanation, on scientific principles, of Pythagoras' law: ‘Why is it that those few musical intervals which affect our ear in a sweet and pleasing manner, correspond to the ratios of the first few integers?’ Through an analysis of the source material available we find that Stevin's theory, which makes no sense if interpreted as an early stage in the ‘evolution’ of equal temperament, was meant as a solution—as freshly original as it was wrongheaded—to this perennial problem of consonance, which has continued to baffle some of the best scientific minds from the very beginning of science to the present day. (shrink)

In a review of recent Newton scholarship, H. Floris Cohen charges that my paper is not a ‘case of worthwhile innovation, or even of any innovation at all’. I beg to differ.

Long ago, George Sarton set down criteria for reviewers. In addition to insisting on the need to compose ‘faithful’ reviews, he cautioned against four types of unfit reviewers: the ‘egoist’, the ‘obscure’ reviewer, the one who is noncommittal, and the pedantic critic. Unfortunately, Cohen's review comes short on several counts. Cohen writes that he intends to examine what is ‘new’ in the three books he reviews, and whether the results therein contained are ‘worth learning’. Cohen denies being (...) given to ‘misplaced hero worship’, insisting that his sole aim is to assess whether ‘scholarly novelty’ has been attained. Nevertheless, given his repeated rebuke of the authors under review for ‘failing to refer back to [Richard] Westfall's work’ on Newton – now nearly half a century old – it seems that he grounded his critique principally on Westfall's interpretation. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions of (...) sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

In classical logic, the proposition expressed by a sentence is construed as a set of possible worlds, capturing the informative content of the sentence. However, sentences in natural language are not only used to provide information, but also to request information. Thus, natural language semantics requires a logical framework whose notion of meaning does not only embody informative content, but also inquisitive content. This paper develops the algebraic foundations for such a framework. We argue that propositions, in order to embody (...) both informative and inquisitive content in a satisfactory way, should be defined as non-empty, downward closed sets of possibilities, where each possibility in turn is a set of possible worlds. We define a natural entailment order over such propositions, capturing when one proposition is at least as informative and inquisitive as another, and we show that this entailment order gives rise to a complete Heyting algebra, with meet, join, and relative pseudo-complement operators. Just as in classical logic, these semantic operators are then associated with the logical constants in a first-order language. We explore the logical properties of the resulting system and discuss its significance for natural language semantics. We show that the system essentially coincides with the simplest and most well-understood existing implementation of inquisitive semantics, and that its treatment of disjunction and existentials also concurs with recent work in alternative semantics. Thus, our algebraic considerations do not lead to a wholly new treatment of the logical constants, but rather provide more solid foundations for some of the existing proposals. (shrink)

In this paper, we present a particular role for abductive reasoning in law by applying it in the context of an argumentation scheme for practical reasoning. We present a particular scheme, based on an established scheme for practical reasoning, that can be used to reason abductively about how an agent might have acted to reach a particular scenario, and the motivations for doing so. Plausibility here depends on a satisfactory explanation of why this particular agent followed these motivations in the (...) particular situation. The scheme is given a formal grounding in terms of action-based alternating transition systems and we illustrate the approach with a running legal example. (shrink)

In the past two decades, African American filmmakers like Spike Lee have made significant contributions to the dialogue about race in the United States by adapting techniques from classic _film noir _to black American cinema. This book is the first to examine these artistic innovations in detail from a philosophical perspective informed by both cognitive film theory and critical race theory. Dan Flory explores the techniques and themes that are used in black _film noir _to orchestrate the audience’s emotions of (...) sympathy and empathy felt toward morally complex characters whom people might not typically find appealing in real life, such as thugs, drug dealers, or murderers. Using an approach that combines the cognitive insights of theorists like David Bordwell, Noël Carroll, and Murray Smith with the reflective Wittgensteinian methods for considering film employed by Stanley Cavell, Stephen Mulhall, and William Rothman, Flory shows how these films scrutinize the state of race in America, induce their viewers to do so as well, and illuminate the ways in which categories of race have defined and continue to direct much of our vision of the moral self and what counts as appropriate moral sensibility. (shrink)

In this paper, I explore the possibility of developing a Kantian account of the ethics of belief by deploying the tools provided by Kant's ethics. To do so, I reconstruct epistemic concepts and arguments on the model of their ethical counterparts, focusing on the notions of epistemic principle, epistemic maxim and epistemic universalizability test. On this basis, I suggest that there is an analogy between our position as moral agents and as cognizers: our actions and our thoughts are subject to (...) the same rational norm. (shrink)

In Mindblindness, Simon Baron-Cohen presents a model of the evolution and development of "mindreading." He argues that we mindread all the time, effortlessly, automatically, and mostly unconsciously. It is the natural way in which we interpret, predict, and participate in social behavior and communication. We ascribe mental states to people: states such as thoughts, desires, knowledge, and intentions. Building on many years of research, Baron-Cohen concludes that children with autism, suffer from "mindblindness" as a result of a selective (...) impairment in mindreading. For these children, the world is essentially devoid of mental things. Baron-Cohen develops a theory that draws on data from comparative psychology, from developmental, and from neuropsychology. He argues that specific neurocognitive mechanisms have evolved that allow us to mindread, to make sense of actions, to interpret gazes as meaningful, and to decode "the language of the eyes." A Bradford Book. (shrink)