Dismissing criticisms that Leonard Peikoff's book, The DIM Hypothesis, is unscientific, deterministic, or rationalistic, this essay focuses on problems with the logical framework of Peikoff's study of Western culture. In particular, Peikoff has conflated two different kinds of rationalists and empiricists and has completely overlooked combinations of the Platonist and so-called “Kantian” modes. As a result, his three pure integration “modes” actually produce not just two “mixtures” but a total of six. Furthermore, without absolving Kant of very serious philosophical errors, (...) the author marshals evidence that the real culprit responsible for the culturally disastrous “Disintegration” mode was one of Kant's predecessors. (shrink)

How We Know is intended as a summary of Objectivist epistemology. Binswanger's treatment of a wide range of epistemological issues is examined. Because his theory of propositions is inadequate and his philosophy of mind is an extreme form of dualism, Binswanger has added little to previous efforts by “official” Objectivists. As a work of epistemology in the broad sense, Binswanger's effort is fatally impaired. It is undone by his bifurcation between consciousness and the physics of the brain, which, if accepted, (...) would largely deprive psychology and even computer science of their subject matter. (shrink)

The author contends that the Objectivist epistemology has lacked a viable model of propositional knowledge for nearly fifty years, due to neglect of Rand's unit-perspective view of concepts. This pioneering insight, he says, not only is an essential building block of her concept theory, but also welds together the three levels of logical theory and provides the clearest X-ray picture of our multilayered conceptual knowledge. Using the unit-perspective to expand Rand's theory of concepts, the author then devises a theory of (...) the proposition, giving considerable attention to axioms and statements about nonexistent subjects. (shrink)

The author discusses how Rand’s largely underdeveloped concept of the “dual-aspect objective,” first introduced in the 1960s, is vital for understanding how knowledge is grounded in reality. He defines it, then applies it to perception and introspection, and to concepts, propositions, and syllogisms. The author also defines content of awareness, carefully distinguishing it from both object and form of awareness, and applies those distinctions throughout. In addition, he discusses how truth is both dual-aspect and contextual, and he extends his discussion (...) in Part 1 of Rand’s “unit-perspective,” showing how units, too, have a dual-aspect, even on the level of syllogisms. (shrink)

In this third installment of his series on key, underappreciated ideas in Ayn Rand's epistemology, the author discusses the nature of differentiation and integration as the functional essence of consciousness and applies that insight to various cognitive and noncognitive processes of awareness, with a special emphasis on logic and illogic. He offers an extended analysis of the fallacies of “Frozen Abstraction” and “False Alternative,” as well as critiques of a long-standing Objectivist conflation of falsity and contradiction and a relatively more (...) recent Objectivist error, the fallacy of “genuine awareness.”. (shrink)

The author reprises his review of The DIM Hypothesis by arguing for an expansion and revision of Leonard Peikoff's model to include not three, but four primary positions regarding integration : Integration, Disintegration, Abstract Misintegration, and Concrete Misintegration—and to include not just two mixtures of those primary positions, but twelve. He offers it as a work in progress and a remedy to the over-restrictiveness and resulting misrepresentations of various philosophers by Peikoff's version of the model.

By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of charting a (...) fruitful path for the future of art criticism. (shrink)

The term “objective” has both a metaphysical and an epistemological meaning, and each of these meanings gives rise to a corresponding objective-subjective dichotomy. A formal definition of objectivity is given, and this clarifies the nature of the epistemological dichotomy. These dichotomies are represented by classes of existents, and a Venn-type diagram is used to illustrate the relationship between them. It is shown that the class of all existents can be partitioned into three mutually exclusive and exhaustive classes, which correspond to (...) Rand's intrinsic-subjective-objective trichotomy. (shrink)