I argue that Democritus presents a theory of colour in which the predominance of atomic shapes and microstructural arrangements are necessary but not sufficient for colour vision. Focusing primarily on Democritus’ basic colours, I analyse his microstructural account, providing a new analysis of the natural and technological underpinnings of his method of explanation. I argue that the notion of predominance allows Democritus to account for both the variation and the repeatable correspondence of colour perception by setting limits on possible microstructures. (...) This account, however, is complicated by the evidence for a Democritean theory of colour transformation and distorted vision, which arise from a dynamic interplay of features at the level of microstructures and at the level of perception. (shrink)

While Hume is famous for his development and defence of various arguments for radical scepticism, Hume was bothered by the tension between his ‘abstruse’ philosophical reflections and ordinary life: If he often felt intensely sceptical in his study, he nonetheless felt genuinely unable to take these sceptical views seriously when he returned to the concerns and activities of everyday life. Hume's published work shows a deep and ongoing preoccupation with this tension, and I believe it also shows that Hume's view (...) about the ‘durability’ of scepticism (that is, the extent to which sceptical insights can have an abiding impact on our cognitive lives) underwent an evolutionary development throughout the course of his publishing career. In this paper I propose to trace these textual developments in detail. In particular, I will argue that Hume's concern for intellectual stability is what drives the evolution, as he struggled to understand the ‘durable value’ in scepticism. (shrink)

ABSTRACTTwo distinct domains of philosophic enquiry are selected in order to disclose the core dynamics and concerns of a particular mode of “aesthetic skepsis”. Aspects of philosophy of cosmology and philosophy of infinity are considered in ways that serve to discipline the diminution of “belief” and the cultivation of creativity. The journey begins with a skeptic ego that is phenomenologically “empty” but wedded to a rhetoric of “darkness and light.” The result is a skepsis that needs to recapture and reconfigure (...) aesthetics and art in order to represent and communicate itself. “Skepoiesis” is a “subtle knot”: it actively manifests as a “need for art” as well as enquiries into the problematics of philosophical aesthetics from the standpoint of creative skepsis. (shrink)

ABSTRACT It is obvious that Arne Naess had his most important philosophical experience, and quite possibly made his most significant achievement, in confrontation with the variety of philosophical scepticism known as Pyrrhonism. Naess maintained, however, that he did not defend scepticism as a philosophical position, and he was concerned to distinguish Pyrrhonism from the inverse form of dogmatism often associated with the term ?scepticism?. Naess was primarily preoccupied with the practical implications of this radical form of scepticism, in which he (...) thought peace of mind and serious inquisitiveness could be combined. In this article, I introduce some central aspects of Naess's Pyrrhonian scepticism, to illustrate how his philosophy may contribute to a relevant form of anti-dogmatism. (shrink)

My objective in this paper is to compare two philosophical problems, the problem of the criterion and the problem of deep disagreement, and note a core similarity which explains why many proposed solutions to these problems seem to fail along similar lines. From this observation, I propose a kind of skeptical solution to the problem of deep disagreement, and this skeptical program has consequences for the problem as it manifests in political epistemology and metaphilosophy.