Fuller carries social constructionism to its bitter end in his theory of the “post-truth condition”—endemic to current life and to the entirety of Western Philosophy. According to Fuller, the gates to the elitist power/knowledge-games have been crashed by the democratic mob. Fuller implicitly extends Popper’s radicalism in the philosophy of science to political and social philosophy. Rather than Popper’s piecemeal social engineering for the purpose of minimizing human suffering, Fuller promotes revolutionary social change in the face of catastrophes. Fuller pushes (...) for a “proactionary” approach because the current vast social change refutes the fragility-assumption of Popper’s “risk-adverse” sociopolitical philosophy. (shrink)
The monopolization of our techno-scientific culture by digital information technology, the Technopoly has unintentionally resulted in the extinction of knowledge or postknowledge, by reducing knowledge to systems of symbols—formalized algorithmic hierarchies of symbol-systems without external reference; a totalistic virtuality, or real virtuality. The extinction of knowledge or post-knowledge has resulted in two mutually reinforcing situations. One situation is the rise of a new elite of technology experts. The other situation is the dummification of people. These two mutually reinforcing situations further (...) result in an illegitimate role reversal between people and their machines. The machines become treated as smart; people become treated as dummies. The role reversal of machines and people reinforces the monopoly of digital technology over everything. The monopoly of digital techno-scientific culture, the Technopoly, becomes accepted without question and without criticism. However, there is a way to retrieve knowledge, and that way is through restoring the tradition of critical discussion within all our institutions. Critical discussion can be restored by increasing democratic participation in our techno-scientific culture, which amounts to implementing a Socratic social architecture. (shrink)
Joseph Agassi is known primarily among fellow academics as an exemplary historian and philosopher of science; an ardent critic and disciple of Karl Popper; a critical admirer of the work of Michael Polanyi; and a Socratic fly with the “sting of a bee” for all those who wear the intellectual fashions of the day. To most of Agassi’s students he is known primarily as an exemplary model of the Socratic teacher. The question of most urgency for educators today who care (...) about the intellectual development of students is: How do we make ready our educational institutions for more Socratic teachers? The philosophical or theoretical question is: Why do we want Socratic teachers? In outline, of the many of Agassi’s educational essays selected for this book, Agassi answers those questions: authoritarianism (or anti-democracy) blocks the democratic reform of educational institutions where Socratic teachers and students could find a safe haven; and, Socratic teaching is the main anti-dote to authoritarianism. The removal of authoritarianism from education also removes the hazard that education has become to students; to their happiness, creativity, and dignity as autonomous individuals. See Less Copyright Year: 2014 E-Book (PDF) Availability: Published ISBN: 978-94-6209-626-4 Publication date: 01 Jan 2014 Hardback Availability: Published ISBN: 978-94-6209-624-0 Publication date: 01 Jan 2014 Paperback Availability: Published ISBN: 978-94-6209-623-3 Publication date: 01 Jan 2014 Login via Institution Prices from (excl. shipping): -/- $56.00 -/- Available formats Add to Cart View PDF Flyer Get Permissions. (shrink)
Computers are supposed to be smart, yet they frustrate both ordinary users and computer technologists. Why are people frustrated by smart machines? Computers don’t fit people. People think in terms of comparisons, stories, and analogies, and seek feedback, whereas computers are based on a fundamental design that does not fit with analogical and feedback thinking. They impose a binary, an all-or-nothing, approach to everything. Moreover, the social world and institutions that have developed around computer technology hide and reinforce the lack (...) of alignment between computers and people. This book suggests a solution: we do not have to accept the way things are now and work around the bad social and technical design of computers. Rather, it proposes a diverse, distributed, critical discussion of how to design and build both computer technology and its social institutions. (shrink)
This book discusses possible paths towards restoring our humanity in today’s global techno-scientific culture. It begins by considering how talking face-to-face develops and improves critical discussion, before moving on to show that observing in both physics and art involves participating with what we are observing. The book then highlights how doing in general involves developing a third-person stance in order to improve our critical self-awareness, and how making in general is intertwined with the making and remaking of our multiple cultures. (...) It also explores how critical discussion allows our thinking both to confront and to keep in touch with reality, and provides six tentative maxims on how to ‘be’ as a human. (shrink)
Spinoza’s metaphysics has returned in the work of Hugh Everett as physics— as a complete and consistent interpretation of Quantum Mechanics that resolves the traditional puzzles of the standard interpretation of Quantum Mechanics.
Der Kunsthistoriker Ernst Hans Josef Gombrich hat einen „wissenschaftlichen“ oder kognitiven Ansatz zur Erforschung der Geschichte und Psychologie der Künste entwickelt, der sehr maßgeblich von der Wissenschaftstheorie seines engen Freundes Karl Popper beeinflusst worden ist. Die geistige Nähe zwischen beiden wird in Gombrichs zentraler Arbeit zur Wiederentdeckung der Repräsentation in der Renaissance und zur Historiografie der Kunst deutlich. Ihre Differenzen verdienen allerdings ebenfalls Beachtung. Gombrichs Ansicht zufolge verändern sich Geschmack und Stil entsprechend der von ihm so genannten „Logik der Mode“. (...) Gombrich hat dargelegt, auf welch vielfältige Weise Veränderungen in der Kunst sich vollziehen. Während sich die Moden in der Kunst auf unvorhersehbare, launenhafte Weise wandeln, tauchen technische Veränderungen als Lösungen für technische Probleme auf und werden im Modus von Versuch und Irrtum ermittelt. Auf diese Weise stieß Gombrich auf eine Antinomie in der Kunsttheorie: Handwerkliche Fähigkeiten und Können wandeln sich durch rationalen Fortschritt, während sich Stile durch den irrationalen Mitläufereffekt verändern. In der Kunst ist der relativistische Pluralismus zur Mode geworden, und diese Mode hat seine Antinomie ignoriert – und zwar, sofern er richtig liegt, recht willkürlich. (shrink)
How do we alleviate the cultural obstacles to dialogue? The answer, we argue, is by using Socratic dialogue as the architecture for the design of social systems, societies can overcome the cultural obstacles to inter-cultural dialogue of imposed insider-outsider social divisions, of imposed social hierarchies, and of imposed social walls around cultures. We elaborate on how Socratic Dialogue removes those cultural obstacles to intercultural dialogue when used as social architecture or as a blueprint for institutions that open the social gates (...) to all “outsiders” through the social levelling of hierarchies, and through the creation of social bridges among all “parallel” cultures. (shrink)
Joseph Agassi develops a humanist world view in his last single-authored book through confronting the challenges facing the humanist world view. The three challenges that Agassi confronts are: 1. how do we rationally choose ways of life, including the life of rationality? 2. is humanity worthwhile? 3. how can we improve liberal democracy in our fractured societies where extremists seek to gain control?
I provide a context for Agassi’s and Jarvie’s discussion of Aesthetics to show how their theory involves a turn to Art Studies. This turn provides a new and interesting focus in Aesthetics that revitalizes traditional aesthetics as the search for values in art. This turn also breaks the illusion of depth and progress in contemporary aesthetics by raising so far unasked critical questions in Aesthetics concerning the social demands placed on artists and the institutions of art.