Srinivasan, Amia. Are we luminous?
2015, Philosophy and Phenomenological Research: 90 (2): 294-319.
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Added by: Jie Gao
Abstract: Since its appearance over a decade ago, Timothy Williamson's anti-luminosity argument has come under sustained attack. Defenders of the luminous overwhelmingly object to the argument's use of a certain margin-for-error premise. Williamson himself claims that the premise follows easily from a safety condition on knowledge together with his description of the thought experiment. But luminists argue that this is not so: the margin-for-error premise either requires an implausible interpretation of the safety requirement on knowledge, or it requires other equally implausible assumptions. In this paper I bolster the margin-for-error premise against these attacks by recasting Williamson's own two-part defence, the first part intended to work on the assumption that there is no constitutive connection between the phenomenal and the doxastic, and the second intended to work without this assumption. Pace various luminists, I argue that the appeals to safety needed for Williamson's two-part defence are plausible. I also argue that all that is needed to generate the margin-for-error premise from these safety conditions is an empirical assumption about the kinds of creatures we are: that is, creatures whose beliefs are structured by certain dispositions. By recasting the anti-luminosity argument in this way, we can understand what is really at stake in the debate about luminosity: that is, whether we are luminous.Srinivasan, Amia. Normativity without Cartesian Privilege2015, Philosophical Issues: 25 (1): 273-299.-
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Added by: Jie Gao
Summary: This paper aims to explore the implication of rejecting Cartesianism for our relationship to the normative realm. It is argued that it implies that this relationship is more fraught than many would like to think. Without privileged access to our own minds, there are no norms that can invariably guide our actions, and no norms that are immune from blameless violation. This will come as bad news to those normative theorists who think that certain central normative notions - e.g. the ethical ought or epistemic justification - should be cashed out in terms of subjects' mental states precisely in order to generate norms that are action-guiding and immune from blameless vi- olation. Meanwhile Anti-Cartesianism might come as good news to those normative theorists who resist cashing out norms in terms of mental states. For Anti-Cartesnianism implies that no norms - however closely tied to the mental - can be perfectly action-guiding or totally immune from blameless violation. More generally, once we have accepted that our relationship to our own minds lacks the perfect intimacy promised by Cartesianism, we are, for better or worse, left with the view that the normative realm is suffused with ignorance and bad luck.Comment: This is a good paper for teachings on epistemic normativity, more specifically on normative externalism. Having pre-knowledge on epistemic internalism and extermalism would be helpful in understanding this paper, but not necessarily required.
Freeland, Cynthia. But is it Art?: An Introduction to Art Theory2001, Oxford: Oxford University Press.-
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Added by: Simon Fokt
Publisher's note: From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.Comment: Chapters 2,3 and 5 of But is it art? can serve as a good basic introduction to art theory. The book is written in a light, narrative style and does not focus on the details of particular theories; instead, it is arranged in a useful historical narrative which presents theories in their contexts, showing the types of art they were inspired by. This text is best used in introductory teaching, as a background reading, or as a pre-read for higher level courses where it should be followed by more focused and specialised texts.
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Comment: In this paper, Sirinivasan defends Williamson's anti-luminosity argument against a general criticism having to do with a certain margin-for-error premise. It is good for teaching upper-level undergraduate or Masters courses on topics of self-knowledge, epistemic externalism or luminosity.