I explore the possibility and rationality of interpersonal mechanisms of doxastic self-control, that is, ways in which individuals can make use of other people in order to get themselves to stick to their beliefs. I look, in particular, at two ways in which people can make interpersonal epistemic commitments, and thereby willingly undertake accountability to others, in order to get themselves to maintain their beliefs in the face of anticipated “epistemic temptations”. The first way is through the avowal of belief, (...) and the second is through the establishment of collective belief. I argue that both of these forms of interpersonal epistemic commitment can function as effective tools for doxastic self-control, and, moreover, that the control they facilitate should not be dismissed as irrational from an epistemic perspective. (shrink)

David Eso and Kay Burns edition of philosopher Leo Ferraris previously unpublished 1973 manuscript brings to light a long forgotten satirical work, which, in an age of fake news, possesses renewed relevance. The editors contextualize The Earth is Flat! for the reader with a scholarly introduction and a humorous Forewarning. Author, Leo Ferrari, draws on his extensive knowledge of classical thought and its key figures to present a history of ideas that is sometimes accurate, sometimes speculative. Speculative or alternative aspects (...) of this history support his Flat Earth theme, as do a number of scientific experiments outlined, which the reader is encouraged to try. He traces the conflict between Globularist and Planoterrestrial beliefs from antiquity to his contemporary moment of the early 1970s, marked by space exploration. Later chapters chart the activities and philosophies of the Flat Earth Society of Canada, including Ferraris experience on the lecture circuit and in media platforms. The authors method is to blur the line between seriousness and humour and to show that intellectual work can also be good fun. He uses the idea of a spinning, spherical planet to symbolically represent the alienating effects of technological modernity. (shrink)

Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any language. More than ninety years later this work remains, as Vincent Tomas observed, "one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written". Tomas' Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.