In this paper, I focus on the Armchair Access Problem for E=K as presented by Nicholas Silins (2005), and I argue, contra Silins, that it does not represent a real threat to E=K. More precisely, I put forward two lines of response, both of which put pressure on the main assumption of the argument, namely, the Armchair Access thesis. The first line of response focuses on its scope, while the second line of response focuses on its (...) nature. The second line of response is the most interesting one, for it represents the framework within which I develop a novel account of second-order knowledge, one that involves evaluation of counterfactual conditionals and the employment of our imaginative capacities, i.e., an imagination-based account of second-order knowledge. The two lines of response are shown to be jointly compatible and mutually supportive. I then conclude that the Armchair Access Problem is not a challenge for E=K, yet it relies on the ambiguity of the notion of armchair knowledge underpinning the Armchair Access thesis. (shrink)

In this paper, I shall discuss a problem that arises when you try to combine an attractive account of what constitutes evidence with an independently plausible account of the kind of access we have to our evidence. According to E = K, our evidence consists of what we know. According to the principle of armchair access, we can know from the armchair what our evidence is. Combined, these claims entail that we can have armchair knowledge (...) of the external world. Because it seems that the principle of armchair access is supported by widely shared intuitions about epistemic rationality, it seems we ought to embrace an internalist conception of evidence. I shall argue that this response is mistaken. Because externalism about evidence can accommodate the relevant intuitions about epistemic rationality, the principle of armchair access is unmotivated. We also have independent reasons for preferring externalism about evidence to the principle of armchair access. (shrink)

Jaegwon Kim relied principally on armchair methods in approaching problems in philosophy of mind. This paper is concerned with the nature of such methods and their prospects of success. Identifying the main armchair methods as introspection, modal reasoning involving conceivability tests, and conceptual analysis, the paper argues that insofar as the first two members of this trio aim to reveal the constitutive metaphysical natures of mental states, they are unable to reach their objective. In contrast, it defends conceptual (...) analysis, arguing that Quine’s attempt to discredit it fails. More specifically, it maintains that a certain form of conceptual role semantics is immune to Quine’s strictures against meaning, and that this conception of meaning allows room for armchair discoveries about the meanings of our words (though it has no tendency to provide access to deep facts about the constitutive metaphysical natures of extralinguistic entities). (shrink)

Standard philosophical methodology which proceeds by appeal to intuitions accessible "from the armchair" has come under criticism on the basis of empirical work indicating unanticipated variability of such intuitions. Loose constitutivity---the idea that intuitions are partly, but not strictly, constitutive of the concepts that appear in them---offers an interesting line of response to this empirical challenge. On a loose constitutivist view, it is unlikely that our intuitions are incorrect across the board, since they partly fix the facts in question. (...) But we argue that this ratification of intuitions is at best rough and generic, and can only do the required methodological work if it operates in conjunction with some sort of further criteria of theory selection. We consider two that we find in the literature: naturalness (Brian Weatherson, borrowing from Lewis) and charity (Henry Jackman, borrowing from Davidson). At the end of the day, neither provides the armchair philosopher complete shelter from extra-armchair inquiry. (shrink)

He then argues that (1), (2) and (3) constitute an inconsistent triad as follows (1991, p. 15): Suppose (1) that Oscar knows a priori that he is thinking that water is wet. Then by (2), Oscar can simply deduce E, using premisses that are knowable a priori, including the premiss that he is thinking that water is wet. Since Oscar can deduce E from premisses that are knowable a priori, Oscar can know E itself a priori. But this contradicts (3), (...) the assumption that E cannot be known a priori. Hence (1), (2), and (3) are inconsistent. McKinsey’s conclusion is that ‘anti-individualism is inconsistent with privileged access’ (ibid.). (shrink)

I look at incompatibilist arguments aimed at showing that the conjunction of the thesis that a subject has privileged, a priori access to the contents of her own thoughts, on the one hand, and of semantic externalism, on the other, lead to a putatively absurd conclusion, namely, a priori knowledge of the external world. I focus on arguments involving a variety of externalism resulting from the singularity or object-dependence of certain terms such as the demonstrative ‘that’. McKinsey argues that (...) incompatibilist arguments employing such externalist theses are at their strongest, and conclusively show that privileged access must be rejected. While I agree on the truth of the relevant externalist theses, I show that all plausible versions of the incompatibilist reductio argument as applied to such theses are fundamentally flawed, for these versions of the argument must make assumptions that lead to putatively absurd knowledge of the external world independently of the thesis of privileged access. (shrink)

This paper reassesses the case against Evidential Externalism, the thesis that one's evidence fails to supervene on one's non-factive mental states, focusing on two objections to Externalism due by Nicholas Silins: the armchair access argument and the supervenience argument. It also examines Silins's attempt to undermine the force of one major source of motivation for Externalism, namely that the rival Internalist picture of evidence is implicated in some central arguments for scepticism. While Silins concludes that the case against (...) Evidential Externalism is surprisingly strong, reassessing the arguments supports the opposite conclusion; the objections to Externalism are weak, and for all Silins has shown it may well have unmatched advantages when it comes to resisting scepticism. (shrink)

Epistemic two-dimensional semantics, advocated by Chalmers and Jackson, among others, aims to restore the link between necessity and a priority seemingly broken by Kripke, by showing how armchair access to semantic intensions provides a basis for knowledge of necessary a posteriori truths. The most compelling objections to E2D are that, for one or other reason, the requisite intensions are not accessible from the armchair. As we substantiate here, existing versions of E2D are indeed subject to such (...) class='Hi'>access-based objections. But, we moreover argue, the difficulty lies not with E2D but with the typically presupposed conceiving-based epistemology of intensions. Freed from that epistemology, and given the right alternative—one where inference to the best explanation provides the operative guide to intensions—E2D can meet access-based objections, and fulfill its promise of restoring the desirable link between necessity and a priority. This result serves as a central application of Biggs and Wilson, according to which abduction is an a priori mode of inference. (shrink)

In this paper, I defend the compatibility of externalism and privileged access and argue that the warrant transmission succeeds in cases of armchair knowledge, but that it does not have the anti-sceptical consequences that it is typically thought to have.

Platonism is the most pervasive philosophy of mathematics. Indeed, it can be argued that an inarticulate, half-conscious Platonism is nearly universal among mathematicians. The basic idea is that mathematical entities exist outside space and time, outside thought and matter, in an abstract realm. In the more eloquent words of Edward Everett, a distinguished nineteenth-century American scholar, "in pure mathematics we contemplate absolute truths which existed in the divine mind before the morning stars sang together, and which will continue to exist (...) there when the last of their radiant host shall have fallen from heaven." In What is Mathematics, Really?, renowned mathematician Rueben Hersh takes these eloquent words and this pervasive philosophy to task, in a subversive attack on traditional philosophies of mathematics, most notably, Platonism and formalism. Virtually all philosophers of mathematics treat it as isolated, timeless, ahistorical, inhuman. Hersh argues the contrary, that mathematics must be understood as a human activity, a social phenomenon, part of human culture, historically evolved, and intelligible only in a social context. Mathematical objects are created by humans, not arbitrarily, but from activity with existing mathematical objects, and from the needs of science and daily life. Hersh pulls the screen back to reveal mathematics as seen by professionals, debunking many mathematical myths, and demonstrating how the "humanist" idea of the nature of mathematics more closely resembles how mathematicians actually work. At the heart of the book is a fascinating historical account of the mainstream of philosophy--ranging from Pythagoras, Plato, Descartes, Spinoza, and Kant, to Bertrand Russell, David Hilbert, Rudolph Carnap, and Willard V.O. Quine--followed by the mavericks who saw mathematics as a human artifact, including Aristotle, Locke, Hume, Mill, Peirce, Dewey, and Lakatos. In his epilogue, Hersh reveals that this is no mere armchair debate, of little consequence to the outside world. He contends that Platonism and elitism fit well together, that Platonism in fact is used to justify the claim that "some people just can't learn math." The humanist philosophy, on the other hand, links mathematics with geople, with society, and with history. It fits with liberal anti-elitism and its historical striving for universal literacy, universal higher education, and universal access to knowledge and culture. Thus Hersh's argument has educational and political ramifications. Written by the co-author of The Mathematical Experience, which won the American Book Award in 1983, this volume reflects an insider's view of mathematical life, based on twenty years of doing research on advanced mathematical problems, thirty-five years of teaching graduates and undergraduates, and many long hours of listening, talking to, and reading philosophers. A clearly written and highly iconoclastic book, it is sure to be hotly debated by anyone with a passionate interest in mathematics or the philosophy of science. (shrink)

Philosophy is a discipline that makes no observations, conducts no experiments, and needs no input from experience. It is an armchair subject, requiring only thought. Yet that thought can advance knowledge in unexpected directions, not only through the discovery of new facts but also through the enhancement of what we already know. Philosophy can clarify our vision of the world and provide exciting ways to interpret it. Of course, philosophy's unified purpose hasn't kept the discipline from splintering into warring (...) camps. Departments all over the world are divided among analytical and continental schools, Heidegger, Hegel, and other major thinkers, challenging the growth of the discipline and obscuring its relevance and intent. Having spent decades teaching in American, Asian, African, and European universities, Michael Dummett has felt firsthand the fractured state of contemporary practice and the urgent need for reconciliation. Setting forth a proposal for renewal and reengagement, Dummett begins with the nature of philosophical inquiry as it has developed for centuries, especially its exceptional openness and perspective-which has, ironically, led to our present crisis. He discusses philosophy in relation to science, religion, morality, language, and meaning and recommends avenues for healing around a renewed investigation of mind, language, and thought. Employing his trademark frankness and accessibility, Dummett asks philosophers to resolve theoretical difference and reclaim the vital work of their practice. (shrink)

One of the most fruitful interdisciplinary boundaries in contemporary scholarship is that between philosophy and cognitive science. Now that solid empirical results about the activities of the human mind are available, it is no longer necessary for philosophers to practice armchair psychology. In this short, accessible, and entertaining book, Alvin Goldman presents a masterly survey of recent work in cognitive science that has particular relevance to philosophy. Besides providing a valuable review of the most suggestive work in cognitive and (...) social psychology, Goldman demonstrates conclusively that the best work in philosophy in a surprising number of different fields―including philosophy of science, epistemology, metaphysics, and ethics as well as philosophy of mind―must take into account empirical breakthroughs in psychology. One of those rare texts that will also be useful for professionals, Philosophical Applications of Cognitive Science is appropriate for students in a wide range of philosophy courses. It will also interest researchers and students in psychology who are intrigued by the wider theoretical implications of their work. (shrink)

Incisive and engaging, The Free Market Existentialist proposes a new philosophy that is a synthesis of existentialism, amoralism, and libertarianism. Argues that Sartre’s existentialism fits better with capitalism than with Marxism Serves as a rallying cry for a new alternative, a minimal state funded by an equal tax Confronts the “final delusion” of metaphysical morality, and proposes that we have nothing to fear from an amoral world Begins an essential conversation for the 21st century for students, scholars, and armchair (...) philosophers alike with clear, accessible discussions of a range of topics across philosophy including atheism, evolutionary theory, and ethics. (shrink)

Suggests that the recent emphasis on Benacerraf's access problem locates the peculiarity of mathematical knowledge in the wrong place. Instead we should focus on the sense in which mathematical concepts are or might be "armchair concepts" – concepts about which non-trivial knowledge is obtainable a priori.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 124-137 [Access article in PDF] Katz's Problematic Dualism and Its "Seismic" Effects on His Theory Wayne Ouderkirk There is much to admire in Eric Katz's Nature as Subject. 1 Many aspects of his theory strongly resonate with dominant themes in environmental ethics and with my own theoretical predilections. In addition, he applies his theory to several major environmental issues (ecological restoration and (...) the Amazon rainforest, to name two), simultaneously testing it against other views and tracing out its implications. Impressive, non-ivory tower philosophizing. The array of issues he covers is impressive too, from the place of animal rights in an environmental ethic to the relation between environmental destruction and genocide; from the tension between holism and the rights of individuals to intrinsic value; from anthropo- centrism to Judaism and the environment; from the history of environmental thought to the convergence hypothesis. And more.In light of this tremendous range and of my own attraction to such of his major themes as ecocentrism, it might seem unappreciative to criticize, [End Page 124] to dissent. But despite all the positives I find in Katz's writings, I also find faults there, faults which, when pressed, cause major fissures in the whole. The central, major problem is Katz's dualism; and I think it ultimately undoes his whole theory, since it is so intimately connected with the other parts. Within Katz's own essays, there are, I think, resources to begin a reconstruction; but as with any other such effort, the first task is to discard the parts that are no longer useable. Before doing so, however, I want to review some positive aspects of Katz's theory, lest I convey the mistaken impression that my initial praise for his work is mere courtesy. The Solid Geological Features To begin with the most general: Katz's concern for, commitment to the natural world is obvious to any reader. He suffuses every essay with a determination to seek out clear and cogent philosophical rationales for its protection. More important perhaps is his obvious personal connection to that world. His references to Fire Island's deer and beaches, for example, amply demonstrate what the rest of his writings imply: that his theoretical efforts are more than armchair musings about a current philosophical issue. Katz's efforts are both professional and passionate.On a more specifically philosophical level, I regard his anti-anthropocentrism as a significant strength. Though one can, of course, be an anthropocentrist and be an environmental philosopher—Bryan Norton (1984) and Eugene Hargrove (1989) come to mind—I think Katz's arguments showing that anthropocentric views can only offer contingent justifications for protecting the environment are cogent and valid (3-11). An important part of those arguments is Katz's demonstration that different theories in environmental philosophy do indeed result in different environmental policies. In other words, Katz offers a strong counterargument to Norton's convergence hypothesis (Norton 1991), the idea that, given environmentalists' shared commitment to the environment, the various philosophical theories offered in justification of that commitment will converge on similar policy recommendations (149 ff.). I agree with Katz's refutation of that hypothesis, and I offer my critique of his theory because I think that theory's faults will ultimately undermine sound policies.Another big asset of Katz's theory is his communitarianism, the idea that we are part of an ecological community, an ecosystem, to which we have moral obligations. Not surprisingly to anyone familiar with environmental ethics, the source of this idea is Aldo Leopold's Land Ethic (Leopold 1966), [End Page 125] which has been debated, analyzed, praised, and critiqued more than extensively in the literature. Katz pretends to no originality here; he simply adopts and vigorously defends an ecocentric ethic that counts the integrity, stability, and beauty of the system—including, not incidentally, abiotic components—as central criteria limiting human interference with nature. Unlike, for example, the total ecocentrism of J. Baird Callicott's (1980) early writing, however, Katz tempers his communitarianism with another dimension, qualifying his holistic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 124-137 [Access article in PDF] Katz's Problematic Dualism and Its "Seismic" Effects on His Theory Wayne Ouderkirk There is much to admire in Eric Katz's Nature as Subject. 1 Many aspects of his theory strongly resonate with dominant themes in environmental ethics and with my own theoretical predilections. In addition, he applies his theory to several major environmental issues (ecological restoration and (...) the Amazon rainforest, to name two), simultaneously testing it against other views and tracing out its implications. Impressive, non-ivory tower philosophizing. The array of issues he covers is impressive too, from the place of animal rights in an environmental ethic to the relation between environmental destruction and genocide; from the tension between holism and the rights of individuals to intrinsic value; from anthropo- centrism to Judaism and the environment; from the history of environmental thought to the convergence hypothesis. And more.In light of this tremendous range and of my own attraction to such of his major themes as ecocentrism, it might seem unappreciative to criticize, [End Page 124] to dissent. But despite all the positives I find in Katz's writings, I also find faults there, faults which, when pressed, cause major fissures in the whole. The central, major problem is Katz's dualism; and I think it ultimately undoes his whole theory, since it is so intimately connected with the other parts. Within Katz's own essays, there are, I think, resources to begin a reconstruction; but as with any other such effort, the first task is to discard the parts that are no longer useable. Before doing so, however, I want to review some positive aspects of Katz's theory, lest I convey the mistaken impression that my initial praise for his work is mere courtesy. The Solid Geological Features To begin with the most general: Katz's concern for, commitment to the natural world is obvious to any reader. He suffuses every essay with a determination to seek out clear and cogent philosophical rationales for its protection. More important perhaps is his obvious personal connection to that world. His references to Fire Island's deer and beaches, for example, amply demonstrate what the rest of his writings imply: that his theoretical efforts are more than armchair musings about a current philosophical issue. Katz's efforts are both professional and passionate.On a more specifically philosophical level, I regard his anti-anthropocentrism as a significant strength. Though one can, of course, be an anthropocentrist and be an environmental philosopher—Bryan Norton (1984) and Eugene Hargrove (1989) come to mind—I think Katz's arguments showing that anthropocentric views can only offer contingent justifications for protecting the environment are cogent and valid (3-11). An important part of those arguments is Katz's demonstration that different theories in environmental philosophy do indeed result in different environmental policies. In other words, Katz offers a strong counterargument to Norton's convergence hypothesis (Norton 1991), the idea that, given environmentalists' shared commitment to the environment, the various philosophical theories offered in justification of that commitment will converge on similar policy recommendations (149 ff.). I agree with Katz's refutation of that hypothesis, and I offer my critique of his theory because I think that theory's faults will ultimately undermine sound policies.Another big asset of Katz's theory is his communitarianism, the idea that we are part of an ecological community, an ecosystem, to which we have moral obligations. Not surprisingly to anyone familiar with environmental ethics, the source of this idea is Aldo Leopold's Land Ethic (Leopold 1966), [End Page 125] which has been debated, analyzed, praised, and critiqued more than extensively in the literature. Katz pretends to no originality here; he simply adopts and vigorously defends an ecocentric ethic that counts the integrity, stability, and beauty of the system—including, not incidentally, abiotic components—as central criteria limiting human interference with nature. Unlike, for example, the total ecocentrism of J. Baird Callicott's (1980) early writing, however, Katz tempers his communitarianism with another dimension, qualifying his holistic... (shrink)

In A Priori Justification, Albert Casullo argues that extant attempts to explicate experiential justification—by stipulation, introspection, conceptual analysis, thought experimentation, and/or appeal to intuitions about hypothetical cases—are unsuccessful. He draws the following conclusion: “armchair methods” such as these are inadequate to the task. Instead, empirical methods should be used to investigate the distinction between experiential and non-experiential justification and to address questions concerning the nature, extent, and existence of the a priori. In this essay, I show that Casullo has (...) not refuted armchair explications of experiential justification, in particular those that appeal to introspectively accessible phenomenology. I do this by presenting a phenomenal theory of experiential justification that (a) has a significant degree of initial plausibility and (b) survives Casullo’s general attack on such theories. As a result, a premise in the central argument for Casullo’s signature proposal concerning the a priori is undermined. (shrink)

Goldberg (2003) defends externalism from Boghossian's (1998) version of the "armchair knowledge" objection. I argue here that, while Goldberg's challenge blocks a different version of this objection, it does not directly block Boghossian's version. And Goldberg's approach is not promising as a response to Boghossian's version of the armchair knowledge objection.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 141-156 [Access article in PDF] Music Education as Critical PracticeA Naturalist View Lauri Väkevä University Of Oulu, Finland I This essay defends naturalism as a framework for philosophy of music education. I have three general reasons for supporting naturalism. First, by taking naturalism seriously we can keep our philosophies up-to-date with scientific inquiry. Second, naturalism can emancipate us from transcendental pseudo-questions (...) and instead help us to deal with the empirical problems of everyday life. Third, with naturalism, we can free ourselves from a priori theories of morals and aesthetics and thus view the active part that normative and aesthetic concerns play in human praxis. Even if I endorse naturalism, I do not subscribe to scientism. 1 Rather, I submit to a pragmatist view that stresses the role of philosophy (and science) in dealing with the questions of our life practices. Of the recent perspectives in the philosophy of music education my approach comes closest to the critical praxialism discussed in the MayDay group. 2All in all, I find a lot in common with the praxialist discussion (within or outside the MayDay group) and the kind of pragmatism that follows John Dewey's mature philosophy. 3 However, it seems to me that the naturalist bent of Deweyan pragmatism has not been thoroughly analyzed in our field. 4 One reason for this [End Page 141] might be the bad report that 'hard' or reductive naturalism has been given in connection with the experimental paradigm of music education research. 5 I want to argue that the critical potential of Deweyan pragmatism should not (and cannot) be separated from a naturalist approach. Taken together, critical and naturalist views can contribute to any philosophy, especially in fields that have a long tradition of leaning on otherworldly explanations.In what follows, I begin by outlining (in broad brushstrokes) the historical position of pragmatism and its status in present day philosophy. Next, I focus on the implications of Deweyan naturalist pragmatism and the possibility of maintaining a critical pragmatist attitude with naturalist presumptions in a pedagogical context. In the final part of the essay, I outline an interpretative framework for a critical pragmatism of music education that takes advantage of the naturalizing tendencies in contemporary philosophy without losing its grasp on the things that matter musically. II For a while, pragmatism had a bad name in academic philosophy. This was especially true after the linguistic turn in the first half of the last century. 6 By making the linguistic turn, many philosophers hoped to disassociate themselves from the speculative tradition(s) once and for all. Logical analysts also made it more difficult for philosophers to ignore the findings of scientists. Thus they paved the way for contemporary reductive naturalism that takes science as the measure of what can be known. 7However, analytic philosophers were not alone in their attempt to provide philosophy with scientific rigor. Classical pragmatists, too, had integrated a naturalist penchant in their output. Embracing naturalism with an open-ended experimental spirit, they wanted to focus on "the problems of men" as the chief subject matter of philosophy. 8 To many analytic philosophers, this seemed like a return to armchair speculation with an ingredient of sentimental ethics thrown in for good measure. Worse still, it looked as though the classical pragmatists were giving in to the spirit of the corporate West: speaking of the truth as "cash-value" surely seemed like a blasphemy to intellectuals who sought from formal logic and mathematics a purity of mind to clear up the messiness of everyday experience. 9Logical analysis also had its shortcomings. While many mainstream philosophers turned to logical analysis for clarity and certainty, at the same time they submitted to Cartesian-Kantian mind-body dualism with its problematic epistemology. Thus, they kept supporting the tensions between the rationalist and empiricist or analytic and synthetic domains of knowledge that haunted modernist neo-Kantian arguments.These distinctions turned out to be easy targets for postanalytic critics. 10 [End Page 142]Classical pragmatists anticipated this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 181-196 [Access article in PDF] Bookmarks What is Genius? Denis Dutton There's a school of thought which holds that there's nothing much of interest that can be said about genius. The root idea is older than Kant, but it was well summarized by him: genius is a natural endowment, deep, strange, and mysterious, at least with respect to putative explanations. Schubert can get (...) up in the morning and before lunch knock off five songs that captivate us hundreds of years later. There's no way for us to account for this, and we ought not to expect, Kant claims, that genius can explain itself either: Schubert doesn't have a clue how he does it.Yet trying to figure out how creative geniuses do it remains a permanent source of fascination, most of it fairly naïve. When the ingénue reporter is sent out by the City Editor to interview the famous, crusty old novelist, the first question is normally, "Where do you get your ideas?" Of course, if the novelist knew that, he'd not be likely to blab it in the press. Kant's point is that he cannot really know; no one can. Monroe Beardsley relays a story about Picasso, who claimed to suffer from "an indigestion of greenness" from walking in the woods on a summer's day: "I must empty this sensation into a picture," Picasso said. "Green dominates it. The painter paints as if in urgent need to discharge himself of his sensations and his visions." Beardsley observes that green indigestion could have been even more plausibly used to "explain" a red painting ("I needed an antidote to all that green"), or a pen-and-ink drawing ("I needed to get away from color"), or anything else. There is in this a general point about why we are so often disappointed by interviews with artists. The artist can do; the artist can't explain how. [End Page 181]It does not follow, however, that nothing of interest can be learned, at least at a descriptive level, about genius. Dean Keith Simonton has spent most of a career looking at the subject as a psychologist, and his Origins of Genius: Darwinian Perspectives on Creativity (Oxford University Press, $27.50) ties together much of his research and that of others in a way that extends thinking on genius far beyond armchair meditations or mere platitudes. At the heart of Simonton's project are two very different ideas: first, he argues that evolution and processes of natural selection provide illuminating models to explain the existence and operation of creative genius in the sciences and the arts. Second, he propounds a rather more dubious thesis, that the process of natural selection itself is an adequate model for understanding genius at work, that the history of human ideas demonstrates a kind of secondary evolution. To these hypotheses, Simonton adds a further Darwinian overlay: he returns repeatedly to the personality and biography of Charles Darwin himself as the paradigm of a life of creative genius. While this has the advantage of anchoring the discussion, giving it a kind of ostinato ground, it diverts Simonton from the manifestations of genius, especially artistic genius, which do not resemble Darwin's personal example.Creative genius is defined by Simonton as the capacity to originate scientific discoveries, artistic works, technical inventions, or engage in political leadership, in a manner that achieves what is conventionally termed eminence. The eminent person creates, discovers, or invents something that passes the test of time and, like the similar test devised by Hume to mark out artistic greatness, appeals to cultures beyond that of the original act of creation. It is not hard for the philosophically trained reader to devise counter-examples to Simonton's general theses, but the value of his book does not require a rigorous definition at the outset. Whatever genius is, and however we might dispute it, there is no doubting that Leonardo Da Vinci, Shakespeare, Newton, and Einstein count as creative geniuses in Simonton's sense. High raw IQ is frequently associated with genius... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 141-156 [Access article in PDF] Music Education as Critical PracticeA Naturalist View Lauri Väkevä University Of Oulu, Finland I This essay defends naturalism as a framework for philosophy of music education. I have three general reasons for supporting naturalism. First, by taking naturalism seriously we can keep our philosophies up-to-date with scientific inquiry. Second, naturalism can emancipate us from transcendental pseudo-questions (...) and instead help us to deal with the empirical problems of everyday life. Third, with naturalism, we can free ourselves from a priori theories of morals and aesthetics and thus view the active part that normative and aesthetic concerns play in human praxis. Even if I endorse naturalism, I do not subscribe to scientism. 1 Rather, I submit to a pragmatist view that stresses the role of philosophy (and science) in dealing with the questions of our life practices. Of the recent perspectives in the philosophy of music education my approach comes closest to the critical praxialism discussed in the MayDay group. 2All in all, I find a lot in common with the praxialist discussion (within or outside the MayDay group) and the kind of pragmatism that follows John Dewey's mature philosophy. 3 However, it seems to me that the naturalist bent of Deweyan pragmatism has not been thoroughly analyzed in our field. 4 One reason for this [End Page 141] might be the bad report that 'hard' or reductive naturalism has been given in connection with the experimental paradigm of music education research. 5 I want to argue that the critical potential of Deweyan pragmatism should not (and cannot) be separated from a naturalist approach. Taken together, critical and naturalist views can contribute to any philosophy, especially in fields that have a long tradition of leaning on otherworldly explanations.In what follows, I begin by outlining (in broad brushstrokes) the historical position of pragmatism and its status in present day philosophy. Next, I focus on the implications of Deweyan naturalist pragmatism and the possibility of maintaining a critical pragmatist attitude with naturalist presumptions in a pedagogical context. In the final part of the essay, I outline an interpretative framework for a critical pragmatism of music education that takes advantage of the naturalizing tendencies in contemporary philosophy without losing its grasp on the things that matter musically. II For a while, pragmatism had a bad name in academic philosophy. This was especially true after the linguistic turn in the first half of the last century. 6 By making the linguistic turn, many philosophers hoped to disassociate themselves from the speculative tradition(s) once and for all. Logical analysts also made it more difficult for philosophers to ignore the findings of scientists. Thus they paved the way for contemporary reductive naturalism that takes science as the measure of what can be known. 7However, analytic philosophers were not alone in their attempt to provide philosophy with scientific rigor. Classical pragmatists, too, had integrated a naturalist penchant in their output. Embracing naturalism with an open-ended experimental spirit, they wanted to focus on "the problems of men" as the chief subject matter of philosophy. 8 To many analytic philosophers, this seemed like a return to armchair speculation with an ingredient of sentimental ethics thrown in for good measure. Worse still, it looked as though the classical pragmatists were giving in to the spirit of the corporate West: speaking of the truth as "cash-value" surely seemed like a blasphemy to intellectuals who sought from formal logic and mathematics a purity of mind to clear up the messiness of everyday experience. 9Logical analysis also had its shortcomings. While many mainstream philosophers turned to logical analysis for clarity and certainty, at the same time they submitted to Cartesian-Kantian mind-body dualism with its problematic epistemology. Thus, they kept supporting the tensions between the rationalist and empiricist or analytic and synthetic domains of knowledge that haunted modernist neo-Kantian arguments.These distinctions turned out to be easy targets for postanalytic critics. 10 [End Page 142]Classical pragmatists anticipated this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Timothy Williamson's new book, The Philosophy of Philosophy, has a number of central themes. The very idea that philosophy has a method which is different in kind from the sciences is one Williamson rejects. “… the common assumption of philosophical exceptionalism is false. Even the distinction between the a priori and the a posteriori turns out to obscure underlying similarities”. Although Williamson sees the book as “a defense of armchair philosophy”, he also argues that “the differences in subject matter (...) between philosophy and the other sciences are also less deep than is often supposed. In particular, few philosophical questions are conceptual questions in any distinctive sense. …”. In addition, Williamson argues that “the current philosophical mainstream has failed to articulate an adequate philosophical methodology, in part because it has fallen into the classic epistemological error of psychologizing the data. … The picture is wrong; we frequently have better epistemic access to our immediate physical environment than to our own psychology. … Our understanding of philosophical methodology must be rid of internalist preconceptions”. I am tremendously sympathetic with all of these views.In this review, I want to raise a number of questions about philosophical methodology which Williamson does not address. While Williamson is wonderfully forthright on many important issues about philosophical methodology, the view he presents is compatible with a surprisingly wide range of approaches to philosophical questions. This may be precisely what Williamson wants. At this stage in our understanding of the philosophical enterprise, it may be premature to narrow the range of methodological options more than Williamson does. There are some hints, however, that Williamson may favor some of these options more than others, and, if that is so, it would be useful to make that clear and …. (shrink)

"Photography and travel go hand in hand-landmarks and scenic vistas everywhere are thronged by tourists with their eye to the view finder, trying to capture their memories on film or in megapixel. When the pioneers of photography, Henry Fox Talbot and Louise Daguerre, made their inventions public in 1839, advocates for the new technology immediately recognized photography's capability to vividly present the spectacles of the world and make famous sights accessible to those unable to experience them in person. In this (...) lively account of the partnership between photography and travel, Graham Smith explores the diverse ways mobility and cameras have been partnered from the mid-nineteenth century to today. His subjects range from seaside holidaymakers with a Kodak Brownie to American artists on the road exploring their own country and culture, to the canals of Venice and men on the moon. From France and Italy, to Egypt, Japan, and North America, we see how photography was both influenced and encouraged by new forms of transcontinental travel, including railways, cars, ships, and planes. Then as now, photographers often went to great lengths and faced considerable dangers to record exotic destinations, from the summit of the Great Pyramid of Giza to that of Mount Everest. As travel has become more democratized, the methods and experiences of it have developed in unexpected directions to create new photographic narratives. Packed with images from around the globe, Photography and Travel is the perfect book for intrepid photographers and armchair travellers alike"--Jacket. (shrink)

This paper concerns content externalism and privileged access. I argue that externally-individuated concepts are not just subject to a causal constraint, but are also subject t an epistemic constraint. Their possession requires not merely that certain background presuppositions be true but, further, that the subject be in possession of true justified beliefs concerning their referents.

Once symbolized by a burning armchair, experimental philosophy has in recent years shifted away from its original hostility to traditional methods. Starting with a brief historical review of the experimentalist challenge to traditional philosophical practice, this chapter looks at research undercutting that challenge, and at ways in which experimental work has evolved to complement and strengthen traditional approaches to philosophical questions.

Ethical theory often starts with our intuitions about particular cases and tries to uncover the principles that are implicit in them; work on the ‘trolley problem’ is a paradigmatic example of this approach. But ethicists are no longer the only ones chasing trolleys. In recent years, psychologists and neuroscientists have also turned to study our moral intuitions and what underlies them. The relation between these two inquiries, which investigate similar examples and intuitions, and sometimes produce parallel results, is puzzling. Does (...) it matter to ethics whether its armchair conclusions match the psychologists’ findings? I argue that reflection on this question exposes psychological presuppositions implicit in armchair ethical theorising. When these presuppositions are made explicit, it becomes clear that empirical evidence can (and should) play a positive role in ethical theorising. Unlike recent assaults on the armchair, the argument I develop is not driven by a naturalist agenda, or meant to cast doubt on the reliability of our moral intuitions; on the contrary, it is even compatible with non-naturalism, and takes the reliability of intuition as its premise. The argument is rather that if our moral intuitions are reliable, then psychological evidence should play a surprisingly significant role in the justification of moral principles. (shrink)

We seem to be able to acquire evaluative knowledge by mere reflection, or “from the armchair.” But how? This question is especially pressing for proponents of sentimental perceptualism, which is the view that our evaluative knowledge is rooted in affective experiences in much the way that everyday empirical knowledge is rooted in perception. While such empirical knowledge seems partially explained by causal relations between perceptions and properties in the world, in armchair evaluative inquiry, the relevant evaluative properties are (...) typically not even present. The paper shows how sentimental perceptualists can ultimately provide a broadly causal explanation of our reflective evaluative knowledge. (shrink)

Different sort of people are interested in personal identity. Philosophers frequently ask what it takes to remain oneself. Caregivers imagine their patients’ experience. But both philosophers and caregivers think from the armchair: they can only make assumptions about what it would be like to wake up with massive bodily changes. Patients with a locked-in syndrome suffer a full body paralysis without cognitive impairment. They can tell us what it is like. Forty-four chronic LIS patients and 20 age-matched healthy medical (...) professionals answered a 15-items questionnaire targeting: global evaluation of identity, body representation and experienced meaning in life. In patients, self-reported identity was correlated with B and C. Patients differed with controls in C. These results suggest that the paralyzed body remains a strong component of patients’ experienced identity, that patients can adjust to objectives changes perceived as meaningful and that caregivers fail in predicting patients’ experience. (shrink)

A striking feature of the traditional armchair method of philosophy is the use of imaginary examples: for instance, of Gettier cases as counterexamples to the justified true belief analysis of knowledge. The use of such examples is often thought to involve some sort of a priori rational intuition, which crude rationalists regard as a virtue and crude empiricists as a vice. It is argued here that, on the contrary, what is involved is simply an application of our general cognitive (...) capacity to handle counterfactual conditionals, which is not exclusively a priori and is not usefully conceived as a form of rational intuition. It is explained how questions of metaphysical possibility and necessity are equivalent to questions about counterfactuals, and the epistemology of the former (in particular, the role of conceiving or imagining) is a special case of the epistemology of the latter. A non-imaginary Gettier case is presented in order to show how little difference it makes. (shrink)

In traditional armchair methodology, philosophers attempt to challenge a thesis of the form ‘F iff G’ or ‘F only if G’ by describing a scenario that elicits the intuition that what has been described is an F that isn’t G. If they succeed, then the judgment that there is, or could be, an F that is not G counts as good prima facie evidence against the target thesis. Moreover, if these intuitions remain compelling after further (good faith) reflection, then (...) traditional armchair methodology takes the judgment to be serious (though not infallible) evidence against the target thesis—call it secunda facie evidence—that should not be discounted as long as those intuitions retain their force. Some philosophers, however, suggest that this methodology is incompatible with epistemological naturalism, the view that philosophical inquiry should be sensitive to empirical observations, and argue that traditional armchair methodology must deemphasize the role of intuitions in philosophical inquiry. In my view, however, this would be a mistake: as I will argue, the most effective way to promote philosophical progress is to treat intuitions as having the (prima and secunda) evidential status I’ve described. But I will also argue that philosophical inquiry can produce a theory that is sensitive to empirical observations and the growth of empirical knowledge, even if it gives intuitions the prima- and secunda-facie evidential status that traditional armchair methodology demands—and thus that traditional armchair methodology, if properly practiced, need not be abandoned by naturalists, or even (except for a few exceptions) be much revised. (shrink)

The article presents an anti-exceptionalist view of philosophical methodology, on which it is much closer to the methodology of other disciplines than many philosophers like to think. Like mathematics, it is a science, but not a natural science. Its methods are not primarily experimental, though it can draw on the results of natural science. Like foundational mathematics, its methods are abductive as well as deductive. As in the natural sciences, much progress in philosophy consists in the construction of better models (...) rather than in the discovery of new laws. We should not worry about whether philosophy is a priori or a posteriori, because the distinction is epistemologically superficial. (shrink)

A commonly neglected feature of the so-called Equal Weight View, according to which we should give our peers’ opinions the same weight we give our own, is its prima facie incompatibility with the common picture of philosophy as an armchair activity: an intellectual effort to seek a priori knowledge. This view seems to imply that our beliefs are more likely to be true if we leave our armchair in order to find out whether there actually are peers who, (...) by disagreeing with us, force us to revise our beliefs. This article argues that the Equal Weight View should be spelled out in such a way that not only actual peer disagreement requires us to revise our beliefs, but also merely possible peer disagreement. This result is not a reductio ad absurdum of the view. Quite the opposite: it shows that the view is, contrary to appearance, compatible with our common way of doing philosophy. (shrink)

Experimental philosophers track folk intuitions better than armchair reflection. Yet, many of them are stuck in a controversy: on the one hand they have vividly shown how untrustworthy intuition is. On the other, they depend all their theorising on the intuitions recorded. If intuition is unreliable, though, why does it make it bet- ter to rely on the intuitions of the many? A mistake is not less a mistake if made by many.

Carnap suggests that philosophy can be construed as being engaged solely in conceptual engineering. I argue that since many results of the sciences can be construed as stemming from conceptual engineering as well, Carnap’s account of philosophy can be methodologically naturalistic. This is also how he conceived of his account. That the sciences can be construed as relying heavily on conceptual engineering is supported by empirical investigations into scientific methodology, but also by a number of conceptual considerations. I present a (...) new conceptual consideration that generalizes Carnap’s conditions of adequacy for analytic–synthetic distinctions and thus widens the realm in which conceptual engineering can be used to choose analytic sentences. I apply these generalized conditions of adequacy to a recent analysis of scientific theories and defend the relevance of the analytic–synthetic distinction against criticisms by Quine, Demopoulos, and Papineau. (shrink)

Armchair philosophers have questioned the significance of recent work in experimental philosophy by pointing out that experiments have been conducted on laypeople and undergraduate students. To challenge a practice that relies on expert intuitions, so the armchair objection goes, one needs to demonstrate that expert intuitions rather than those of ordinary people are sensitive to contingent facts such as cultural, linguistic, socio-economic, or educational background. This article does exactly that. Based on two empirical studies on populations of 573 (...) and 203 trained philosophers, respectively, it demonstrates that expert intuitions vary dramatically according to at least one contingent factor, namely, the linguistic background of the expert: philosophers make different intuitive judgments if their native language is English rather than Dutch, German, or Swedish. These findings cast doubt on the common armchair assumption that philosophical theories based on armchair intuitions are valid beyond the linguistic background against which they were developed. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The thought experiment is a seemingly indispensable tool in the armchair philosopher’s toolbox. One wonders, for example, how philosophers could come to think that justified true belief isn’t knowledge, that reference isn’t determined by an expression’s associated description, or that moral responsibility doesn’t require the ability to do otherwise, without the use of thought experiments. But even if thought experiments play an integral role in philosophical methodology, their legitimacy is at least initially puzzling: one would think that significant knowledge (...) of the world requires extensive empirical investigation. But since thought experiments are done from the armchair, how can they tell us about the world? -/- A standard account of the nature and utility of thought experiments provides an answer to this question, and in a way that fits naturally with a standard picture of the nature of the facts philosophers investigate: Philosophers are about the business of investigating the essences of things and kinds. But a thing’s essential and accidental properties are modal properties. Thus, one can discern a thing’s essence by discovering its modal profile. But if so, then thought experiments are naturally suited as tools for the armchair philosopher. For thought experiments shed light on modal facts. Therefore, since philosophers investigate essences, facts about essence are modal facts, and the thought experiment is one of the few tools they have for discerning such facts, thought experiments play a legitimate and indispensable role in philosophical methodology. In my dissertation, I argue that the standard account of the nature and utility of thought experiments is inadequate, and sketch a more promising account. -/- First, I argue that our knowledge of possibility is restricted to the relatively humdrum. And if so, then since the standard account ties the utility of thought experiments to our knowledge of possibility, too many thought experiments will be ruled out as useless, which raises serious concerns about the significance, and perhaps even the legitimacy, of armchair philosophy. Thus, there is pressure for armchair philosophers to reject the standard account. -/- Second, I sketch an alternative picture of the nature of facts philosophers investigate – one that’s more fine-grained than the standard modal-profile picture. Relatedly, I sketch a correspondingly fine-grained semantics for claims about such facts. This alternative picture underwrites the legitimacy of a hitherto underappreciated sort of thought experiment, which I call the non-modal thought experiment. Such thought experiments shed light on facts about the world that are more fine-grained than what can be discerned by merely examining their modal profiles. I argue that non-modal thought experiments often succeed at just the points where the more familiar modal thought experiments fail, and thus that the two are naturally suited to complement one another in the philosopher’s practice. -/- Finally, I exploit the points mentioned above to sketch an account of the variety and utility of thought experiments that’s much more nuanced than that of the standard account. I then illustrate some of its virtues by indicating its ability to account for a wide range of epistemically forceful thought experiments – both humdrum and exotic –, and by demonstrating how it can be used to make progress in debates that have reached a stalemate due to conflicting modal intuitions. -/- . (shrink)

Jones and Felps claim that social welfare would be enhanced, if corporate managers adopted the goal of directly improving the happiness of their stakeholders instead of profit maximization. I argue that their argument doesn’t establish this. They show that a utilitarian case for profit orientation cannot be made from the armchair. But neither can the case for Jones and Felps’ preferred alternative. And their defense of it relies on empirically unsubstantiated assumptions.

A lot of good philosophy is done in the armchair, but is nevertheless a posteriori. This paper clarifies and then defends that claim. Among the a posteriori activities done in the armchair are assembling and evaluating commonplaces; formulating theoretical alternatives; and integrating well-known past a posteriori discoveries. The activity that receives the most discussion, however, is the application of theoretical virtues to choose philosophical theories: the paper argues that much of this is properly seen as a posteriori.

What methodology should philosophers follow? Should they rely on methods that can be conducted from the armchair? Or should they leave the armchair and turn to the methods of the natural sciences, such as experiments in the laboratory? Or is this opposition itself a false one? Arguments about philosophical methodology are raging in the wake of a number of often conflicting currents, such as the growth of experimental philosophy, the resurgence of interest in metaphysical questions, and the use (...) of formal methods. This outstanding collection of specially-commissioned chapters by leading international philosophers discusses these questions and many more. It provides a comprehensive survey of philosophical methodology in the most important philosophical subjects: metaphysics, epistemology, philosophy of language, philosophy of mind, phenomenology, philosophy of science, ethics, and aesthetics. A key feature of the collection is that philosophers discuss and evaluate contrasting approaches in each subject, offering a superb overview of the variety of methodological approaches - both naturalistic and non-naturalistic - in each of these areas. They examine important topics at the heart of methodological argument, including the role of intuitions and conceptual analysis, thought experiments, introspection, and the place that results from the natural sciences should have in philosophical theorizing. The collection begins with a fascinating exchange about philosophical naturalism between Timothy Williamson and Alexander Rosenberg, and also includes contributions from the following philosophers: Lynne Rudder Baker, Matt Bedke, Greg Currie, Michael Devitt, Matthew C. Haug, Jenann Ismael, Hilary Kornblith, Neil Levy, E.J. Lowe, Kirk Ludwig, Marie McGinn, David Papineau, Matthew Ratcliffe, Georges Rey, Jeffrey W. Roland, Barry C. Smith, Amie L. Thomasson, Valerie Tiberius, Jessica Wilson, and David W. Smith. (shrink)

This is a reprint of an article in a collection edited by Cristopher Cowton and Roger Crisp, Business Ethics: Perspectives on the Practice of Theory (1998). The article reflects on (a) the tension between aprioristic applied philosophy --geared to thought experiments constructible in the armchair-- and applied philosophy informed by contact with relevant practitioners; and (b) the tension between the content of business ethics and the receptiveness of a business audience to its moralising messages. The contrast between business ethics (...) and medical ethics in these respects is discussed at some length. (shrink)