Diversity Reading List

Summary: Attention to the social dimensions of scientific knowledge is a relatively recent focus of philosophers of science. While some earlier philosophers made contributions to the topic that are still of relevance today, modern interest was stimulated by historians and sociologists of science such as Thomas Kuhn and the growing role played by the sciences in society and, by extension, in the lives of its citizens. There are two main vectors of interest: internal relations within scientific communities, and relations between science and society. This article covers literature in both categories. It starts with work that functions as historical backdrop to current work. As a subfield within philosophy of science, this area is too recent to have dedicated journals and has only a few anthologies. Nevertheless, there are resources in both categories. The remainder of the article lists work in specific subareas.

Abstract: Underdetermination arguments support the conclusion that no amount of empirical data can uniquely determine theory choice. The full content of a theory outreaches those elements of it (the observational elements) that can be shown to be true (or in agreement with actual observations).2 A number of strategies have been developed to minimize the threat such arguments pose to our aspirations to scientific knowledge. I want to focus on one such strategy: the invocation of additional criteria drawn from a pool of cognitive or theoretical values, such as simplicity or gen- erality, to bolster judgements about the worth of models, theories, and hypotheses. What is the status of such criteria? Larry Laudan, in Science and Values, argued that cognitive values could not be treated as self-validating, beyond justification, but are embedded in a three-way reticulational system containing theories, methods, and aims or values, which are involved in mutually supportive relation- ships (Laudan, 1984). My interest in this paper is not the purportedly self- validating nature of cognitive values, but their cognitive nature. Although Laudan rejects the idea that what he calls cognitive values are exempt from rational critic- ism and disagreement, he does seem to think that the reticulational system he identifies is independent of non-cognitive considerations. It is this cognitive/ non-cognitive distinction that I wish to query in this paper. Let me begin by summarizing those of my own views about inquiry in which this worry about the distinction arises.

Abstract: Rationality and reason are topics so fraught for feminists that any useful reflection on them requires some prior exploration of the difficulties they have caused. One of those difficulties for feminists and, I suspect, for others in the margins of modernity, is the rhetoric of reason - the ways reason is bandied about as a qualification differentially bestowed on different types of person. Rhetorically, it functions in different ways depending on whether it is being denied or affirmed. In this paper, I want to explore these rhetorics of reason as they are considered in the work of two feminist philosophers. I shall draw on their work for some suggestions about how to think about rationality, and begin to use those suggestions to develop a constructive account that withstands the rhetorical temptations.

Abstract: Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for cross-cultural studies of art both in anthropology and philosophy.

Publisher's note: This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.

Abstract: The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need.

Publisher's Note: Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'

Abstract:

For the ancient Mexicas, the composition of the human body was similar to that of the cosmos, with both being composed of dense and light substances. The light substance of the human body was divine in nature and formed the different souls of each human being. Some souls were indispensable for human existence while others were unnecessary and often harmful. The dense part of the human body functioned through its union with the souls. Like the different souls, the dense parts of the human body also had specific functions dedicated to different activities. For example, human thought derived primarily from the heart. Souls could be damaged, which could cause them to malfunction and lead to illness and possibly death in the human being. As the souls were divine, each was a conscious being with its own personality; thus there could be disagreements between them. Disharmony could also lead to illness.

Content: Lorand argues against Kivy and others who claim that philosophising about various forms of art needs no theory of art, and suggests that it's time to resume the inquiry into the nature of art. In fact, any satisfactory theorising about any specific issues (such as characteristics of an art form) must be ‘linked to a higher, more general level that functions as its source for basic suppositions and definitions’ (79, such as a theory of art). Lorand then discusses some reasons why one might renounce the classificatory project, including Weitz’s open concept argument. She introduces a distinction between classificatory definitions and the philosophical question. The former depend on the norms, traditions and beliefs present within a given context, and has been the focus of most theories of art. But it only distracts us from the more worthwhile philosophical question about the (elusive) essence of art. A discussion of the distinction between the classificatory and evaluative uses of ‘art’ follows, with Kant, Mothersill and Dickie at its focus. It leads Lorand to arguing for a ‘Platonic’ approach, one focusing on uncovering art’s essence, without the distraction of classification which can merely uncover ‘current social trends’ (93).

Publisher's Note: Baruch Spinoza was born in Amsterdam during a period of unprecedented scientific, artistic, and intellectual discovery. Upon its release, Spinoza's Ethics was banned; today it is the quintessential example of philosophical method. Although acknowledged as difficult, the book is widely taught in philosophy, literature, history, and politics. This introduction is designed to be read side by side with Spinoza's work. As a guide to the style, vocabulary, and arguments of the Ethics, it offers a range of interpretive possibilities to prepare students to become conversant with Spinoza's philosophical method and his challenge to conventional thinking