We examined the affective consequences of everyday attention lapses and memory failures. Significant associations were found between self-report measures of attention lapses , attention-related cognitive errors , and memory failures , on the one hand, and boredom and depression , on the other. Regression analyses confirmed previous findings that the ARCES partially mediates the relation between the MAAS-LO and MFS. Further regression analyses also indicated that the association between the ARCES and BPS was entirely accounted for by the MAAS-LO and (...) MFS, as was that between the ARCES and BDI-II. Structural modeling revealed the associations to be optimally explained by the MAAS-LO and MFS influencing the BPS and BDI-II, contrary to current conceptions of attention and memory problems as consequences of affective dysfunction. A lack of conscious awareness of one’s actions, signaled by the propensity to experience brief lapses of attention and related memory failures, is thus seen as having significant consequences in terms of long-term affective well-being. (shrink)

In their self-understanding, expert committees solely draw on scientific knowledge to provide policy advice. However, we try to show, first, on the basis of material related to the German Radiation Protection Commission that much of their work consists in active model building. Second, expert advice is judged by criteria that diverge from standards used for judging epistemic research. In particular, the commitment to generality or universality is replaced by the criterion of specificity, and the value of precision gives way to (...) epistemic robustness. Third, non-epistemic considerations are included in the reasoning—albeit hesitantly. Manageability and social robustness, understood as compatibility with widespread value attitudes in society, affect the content of the recommendations. (shrink)

This work argues for a Direct Realist view of the perception of public objects. It argues against the need for special intermediary sensory objects, or sense impressions, requiring only stages in a physical process beginning with events at the surface of a physical object, the resultant stimulation of one's sense organs, and finally the excitation of the sensory portions of one's brain.

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)

One of the arguments advanced in favor of scientific realism is the 'miracle argument'. It says that for the anti-realist the predictive success of science appears as an utter miracle. This argument indeed has some prima facie plausibility, provided that it is sharpened by construing "predictive success" as prediction of previously unknown laws and the occurrence of a consilience of inductions. Still, the history of science teaches us that it is possible to arrive at predictive success in this sense by (...) employing radically non-referring theoretical mechanisms. The 'miracle argument' is thus unsound. Rather, the capacity of a theory to generate predictive success can be traced back to its "classificativity correspondence.". (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

Duhem—Quine underdetermination plays a constructive role in epistemology by pinpointing the impact of non-empirical virtues or cognitive values on theory choice. Underdetermination thus contributes to illuminating the nature of scientific rationality. Scientists prefer and accept one account among empirical equivalent alternatives. The non-empirical virtues operating in science are laid open in such theory choice decisions. The latter act as an epistemological test tube in making explicit commitments to how scientific knowledge should be like.

My intention is to cast light on the characteristics of epistemic or fundamental research (in contrast to application-oriented research). I contrast a Baconian notion of objectivity, expressing a correspondence of the views of scientists to the facts, with a pluralist notion, involving a critical debate between conflicting approaches. These conflicts include substantive hypotheses or theories but extend to values as well. I claim that a plurality of epistemic values serves to accomplish a non-Baconian form of objectivity that is apt to (...) preserve most of the intuitions tied to the objectivity of science. For instance, pluralism is the only way to cope with the challenge of preference bias. Furthermore, the plurality of epistemic values cannot be substantially reduced by exploring the empirical success of scientific theories distinguished in light of particular such values. However, in addition to pluralism at the level of theories and value-commitments alike, scientific research is also characterized by a joint striving for consensus which I trace back to a shared epistemic attitude. This attitude manifests itself, e.g., in the willingness of scientists to subject their claims to empirical scrutiny and to respect rational argument. This shared epistemic attitude is embodied in rules adopted by the scientific community concerning general principles of dealing with knowledge claims. My contention is that pluralism and consensus formation can be brought into harmony by placing them at different levels of consideration: at the level of scientific reasoning and at the level of social conventions regarding how to deal with claims put forward within the scientific community. (shrink)

The traditional mutual support of scientific progress and social advancement has given way to public reservation. Research is no longer considered worthwhile in general. Parts of the public have come to fear both scientific error and scientific success. This raises the question of how to deal with findings that could have a detrimental impact on society. In a different vein, fake research poses a serious challenge to science in that it could undermine the credibility of scientific accounts. Fake research actively (...) produces ignorance rather than knowledge (agnotology). The question is how such actively misleading approaches are to be identified and separated from usual scientific error. (shrink)

I address options for providing scientific policy advice and explore the relation between scientific knowledge and political, economic and moral values. I argue that such nonepistemic values are essential for establishing the significance of questions and the relevance of evidence, while, on the other hand, such social choices are the prerogative of society. This tension can be resolved by recognizing social values and identifying them as separate premises or as commissions while withholding commitment to them, and by elaborating a plurality (...) of policy packages that envisage the implementation of different social goals. There are limits to upholding the value-free ideal in scientific research. But by following the mentioned strategy, science can give useful policy advice by leaving the value-free ideal largely intact. Such scientific restraint avoids the risk of appearing to illegitimately impose values on the public and could make the advice given more trustworthy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

Agnotology concerns the creation and preservation of confusion and ignorance. Certain positions are advocated in science in order to promote sociopolitical interests with the result of launching mock controversies or epistemically unjustified dissent. I propose to identify agnotological ploys by the discrepancy between the conclusions suggested by the design of a study and the conclusions actually drawn or intimated. This mechanism of “false advertising” serves to implement agnotological endeavors and helps identify them without having to invoke the intentions of the (...) relevant agents. I discuss three agnotological cases, i.e., studies on bisphenol A, Bt-maize/Roundup, and Oslo’s airport Gardermoen. Pinpointing agnotological endeavors is a means for weeding out approaches that look fitting at first glance, but are blatantly inappropriate, in fact. (shrink)

It is argued that psychological explanations involve psychological generalizations that exhibit the same features as laws of physics. On the basis of the “systematic theory of lawhood”, characteristic features of laws of nature are elaborated. Investigating some examples of explanations taken from cognitive psychology shows that these features can also be identified in psychological generalizations. Particular attention is devoted to the notion of “ccteris‐paribus laws”. It is argued that laws of psychology are indeed ceteris‐paribus laws. However, this feature does not (...) distinguish them from the laws of physics, because such laws are found in physics as well. Moreover, the laws invoked in psychological explanations are genuine laws of psychology; they are not laws of other disciplines that are brought to bear on psychological problems. The conclusion is that if there are laws of physics then laws of psychology exist as well. (shrink)

Translation of: Geist, Gehirn, Verhalten.

Carrier M. Newton's ideas on the structure of matter and their impact on eighteenth-century chemistry: some historical and methodological remarks. _International Studies in the Philosophy of science_. 1986;1:85-105.

Earlier in this century, many philosophers of science (for example, Rudolf Carnap) drew a fairly sharp distinction between theory and observation, between theoretical terms like 'mass' and 'electron', and observation terms like 'measures three meters in length' and 'is _2° Celsius'. By simply looking at our instruments we can ascertain what numbers our measurements yield. Creatures like mass are different: we determine mass by calculation; we never directly observe a mass. Nor an electron: this term is introduced in order to (...) explain what we observe. This (once standard) distinction between theory and observation was eventually found to be wanting. First, if the distinction holds, it is difficult to see what can characterize the relationship between theory :md observation. How can theoretical terms explain that which is itself in no way theorized? The second point leads out of the first: are not the instruments that provide us with observational material themselves creatures of theory? Is it really possible to have an observation language that is entirely barren of theory? The theory-Iadenness of observation languages is now an accept ed feature of the logic of science. Many regard such dependence of observation on theory as a virtue. If our instruments of observation do not derive their meaning from theories, whence comes that meaning? Surely - in science - we have nothing else but theories to tell us what to try to observe. (shrink)

Rising social, political and economic inequality in many countries, and rising protest against it, has seen the restoration of the concept of 'class' to a prominent place in contemporary anthropological debates. A timely intervention in these discussions, this book explores the concept of class and its importance for understanding the key sources of that inequality and of people's attempts to deal with it. Highly topical, it situates class within the context of the current economic crisis, integrating elements from today into (...) the discussion of an earlier agenda. Using cases from North and South America, Western Europe and South Asia, it shows the - sometimes surprising - forms that class can take, as well as the various effects it has on people's lives and societies. (shrink)

Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks (...) which otherwise could not be as fully appreciated. (shrink)

Explanation and knowledge have traditionally been guided by and judged in terms of the ideal of the neutral reflection of reality. Kuhn's work on the sciences, and Bourdieu's and Kenneth Burke's discussions of knowledge and society, suggest that this ideal and the implicit epistemology that goes with it are in error. Their writings suggest instead that such an ideal masks the inadequacy of its own implicit epistemology by misrecognizing the effects of that inadequacy. That is, their writings suggest a sort (...) of collective self-deception by members of the knowledge community. The knowledge of brain damage among culturally deprived children is used to illustrate how this misrecognition and masking take place. (shrink)

This book offers a causal-explanatory account of knowledge as true belief caused by the worldly state of affairs that explains its existence. It also defends a contextual account of epistemic reasons, arguing that both foundationalism and coherentism cannot provide a satisfactory account of such reasons. Skeptical arguments are answered against a historical background from Plato to the present day.

The paper discusses modelling uncertainties in climate models and how they can be addressed based on physical principles as well as based on how the models perform in light of empirical data. We ar...

The fundamental question whether, or in which sense, science informs us about the real world has pervaded the history of thought since antiquity. Is what science tells us about the world determined unambiguously by facts or does the content of any scientific theory in some way depend on the human condition? "Sokal`s hoax" added a new dimension to this controversial debate, which very quickly came to been known as "Science Wars". "Knowledge and the World" examines and reviews the broad range (...) of philosophical positions on this issue, stretching from realism to relativism, to expound the epistemic merits of science, and to address the central question: in which sense can science justifiably claim to provide a truthful portrait of reality? This book addresses everyone interested in the philosophy and history of science, and in particular in the interplay between the social and natural sciences. (shrink)

I argue that the time-gap argument poses no objection to Direct Realism. In the case of exploded stars many light years from us, what we see is no longer the star, but its light. I argue that in all cases of seeing we see light, but only when physical objects exist at the time of our seeing do we see them.

I argue that sentences ascribing beliefs to non-human animals have the same logical form as sentences of the "perceives that" variety. Pace D.M. Armstrong, I argue that animal belief sentences can be referentially opaque, just as perception sentences containing a propositional clause are. In both cases, referential opacity requires our assuming that the animal believer and the human perceiver has each identified the object of the belief or perception.

ISBN-13: 978-0-8229-4317-4 (cloth : alk. paper) ISBN-10: 0-8229-4317-4 (cloth : alk. paper) 1. Science — Philosophy. 2. Science — Social aspects. 3. Values. 4. Science and civilization. I. Carrier, Martin. II. Howard, Don, professor. III. Kourany ...