Three classic distinctions specify that truths can be necessary versus contingent,analytic versus synthetic, and a priori versus a posteriori. The philosopher reading this article knows very well both how useful and ordinary such distinctions are in our conceptual work and that they have been subject to many and detailed debates, especially the last two. In the following pages, I do not wish to discuss how far they may be tenable. I shall assume that, if they are reasonable and non problematic (...) in some ordinary cases, then they can be used in order to understand what kind of knowledge the maker’s knowledge is. By this I mean the sort of knowledge that Alice enjoys when she holds the information that Bob’s coffee is sweetened because she just put two spoons of sugar in it herself. The maker’s knowledge tradition is quite important but it is not mainstream in modern and analytic epistemology and lacks grounding in terms of exactly what sort of knowledge one is talking about. My suggestion is that this grounding can be provided by a minimalist approach, based on an information-theoretical analysis. In the article, I argue that we need to decouple a fourth distinction, namely informative versus uninformative, from the previous three and, in particular, from its implicit association with analytic versus synthetic and a priori versus a posteriori; such a decoupling facilitates, and is facilitated by, moving from a monoagent to a multiagent approach: the distinctions qualify a proposition, a message, or some information not just in themselves but relationally, with respect to an informational agent; the decoupling and the multiagent approach enable a re-mapping of currently available positions in epistemology on these four dichotomies; within such a re-mapping, two positions, capturing the nature of a witness’ knowledge and of a maker’s knowledge, can best be described as contingent, synthetic, a posteriori, and uninformative and as contingent, synthetic, weakly a priori, and uninformative respectively. In the conclusion, I indicate why the analysis of the maker’s knowledge has important consequences in all those cases in which the poietic intervention on a system determines the truth of the model of that system. (shrink)

This article offers an account and defence of constructionism, both as a metaphilosophical approach and as a philosophical methodology, with references to the so-called maker's knowledge tradition. Its main thesis is that Plato's “user's knowledge” tradition should be complemented, if not replaced, by a constructionist approach to philosophical problems in general and to knowledge in particular. Epistemic agents know something when they are able to build (reproduce, simulate, model, construct, etc.) that something and plug the obtained information into the correct (...) network of relations that account for it. Their epistemic expertise increases with the scope and depth of the questions that they are able to ask and answer. Thus, constructionism deprioritises mimetic, passive, and declarative knowledge that something is the case, in favour of poietic, interactive, and practical knowledge of something being the case. Metaphilosophically, constructionism suggests adding conceptual engineering to conceptual analysis as a fundamental method. (shrink)

Long before Prospect Theory and Loss Aversion Theory, Thomas Hobbes’s account of self-interest and risk assessment formed the basis of a powerful argument for the benefits of negative appeals. Dismissing the pursuit of highest and final goods as inherently incapable of yielding collective action, Hobbes proposed a method focusing instead on the highest evil, something that individuals with different goals could agree on as a barrier to their respective pursuits. In his own theory, that evil was violent death in the (...) dystopian setting of his notorious state of nature. The staying power of Hobbes’s memorable image itself validates Hobbes’s rationale and offers important reminders regarding the limits of utopian appeals to collective action. (shrink)

Experimental archaeology is often understood both as testing hypotheses about processes shaping the archaeological record and as generating tacit knowledge. Considering lithic technologies, I examine the relationship between these conceptions. Experimental archaeology is usefully understood via “maker’s knowledge”: archaeological experiments generate embodied know-how enabling archaeological hypotheses to be grasped and challenged, and further, well-positioning archaeologists to generate integrated interpretations. Finally, experimental archaeology involves “material speculation”: the constraints and affordances of archaeologists and their materials shape productive exploration of the capacities of (...) objects and human skill in ways relevant to archaeological questions. (shrink)

I offer an alternative account of the relationship of Hobbesian geometry to natural philosophy by arguing that mixed mathematics provided Hobbes with a model for thinking about it. In mixed mathematics, one may borrow causal principles from one science and use them in another science without there being a deductive relationship between those two sciences. Natural philosophy for Hobbes is mixed because an explanation may combine observations from experience (the ‘that’) with causal principles from geometry (the ‘why’). My argument shows (...) that Hobbesian natural philosophy relies upon suppositions that bodies plausibly behave according to these borrowed causal principles from geometry, acknowledging that bodies in the world may not actually behave this way. First, I consider Hobbes's relation to Aristotelian mixed mathematics and to Isaac Barrow's broadening of mixed mathematics in Mathematical Lectures (1683). I show that for Hobbes maker's knowledge from geometry provides the ‘why’ in mixed-mathematical explanations. Next, I examine two explanations from De corpore Part IV: (1) the explanation of sense in De corpore 25.1-2; and (2) the explanation of the swelling of parts of the body when they become warm in De corpore 27.3. In both explanations, I show Hobbes borrowing and citing geometrical principles and mixing these principles with appeals to experience. (shrink)

A new form of skepticism is described, which holds that objectivity and understanding are incompossible ideals of modern science. This is attributed to Weyl, hence its name: Weylean skepticism. Two general defeat strategies are then proposed, one of which is rejected.

An agent’s knowledge of her own intentional actions (agential knowledge) is non-observational. Yet, intentional actions typically consist of happenings external to the agents. A theory is needed to explain how agents are warranted to form such beliefs independent of observation. This paper first argues for three desirable features of an ideal theory about agential knowledge. After showing that no existing theories possess all three, a novel theory that does is presented. According to this theory, agential knowledge is the same kind (...) of knowledge as the Kripkean contingent a priori: they are knowledge justified a priori by stipulation. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)