The thesis that observation necessarily fails to determine theory is false in the sense that observation can provide overwhelming evidence for a particular theory or even a hypothesis within the theory. The saga of quantum discontinuity illustrates the power of evidence to determine theory and shows how that power can be underestimated by inadequate caricatures of the evidential case. That quantum discontinuity can save the phenomena of black body radiation is the widely known result, but it leaves open the (...) possibilities of other accounts. That these phenomena, with the aid of minimal assumptions, entail quantum discontinuity is the crucial but now largely forgotten result. It was first demonstrated by Ehrenfest and Poincaré in 1911 and 1912. (shrink)

We propose that whatever quantity controls the Heisenberg uncertainty relations it should be identified with an effective Planck parameter. With this definition it is not difficult to find examples where the Planck parameter depends on the region under study, varies in time, and even depends on which pair of observables one focuses on. In quantum cosmology the effective Planck parameter depends on the size of the comoving region under study, and so depends on that chosen region and on time. With (...) this criterion, the classical limit is expected, not for regions larger than the Planck length, \, but for those larger than \^{1/3}\), where H is the Hubble parameter. In theories where the cosmological constant is dynamical, it is possible for the latter to remain quantum even in contexts where everything else is deemed classical. These results are derived from standard quantization methods, but we also include more speculative cases where ad hoc Planck parameters scale differently with the length scale under observation. Even more speculatively, we examine the possibility that similar complementary concepts affect thermodynamical variables, such as the temperature and the entropy of a black hole. (shrink)

Are African and African-American Studies, as defined and practiced in the USA, tools of US cultural imperialism? Are discussions of race, racial inequality or racial oppression in other societies, when carried out by North Americans, to be viewed as `brutal ethnocentric intrusions'? These are among the central propositions of a vigorous polemic by two French sociologists, Pierre Bourdieu and Loïc Wacquant, in a 1999 article entitled `On the Cunning of Imperialist Reason'. As proof, Bourdieu and Wacquant call attention to the (...) recent transnational scholarly dialogue regarding race in Brazil and denounce the `imposition' of an `American tradition', `model' and `dichotomy' of race on Brazil. In particular, they attack as `ethnocentric poison' a 1994 monograph by Michael Hanchard on Brazilian `Black Consciousness' movements, Orpheus and Power: The Movimento Negro of Rio de Janeiro and São Paulo, Brazil, 1945-1988. This article dissects Bourdieu and Wacquant's mischaracterization of the current US-Brazilian dialogue on the African diaspora in the New World. It identifies their fundamental missteps and misjudgments, offers a critique of the schematic model of transnational intellectual circulation they offer in the article, and demonstrates their radical misrepresentation of Michael Hanchard's treatment of questions of race, color and nation in Brazil. (shrink)

“Old Black Joe still picking cotton for your ribbons and bows. And everybody knows.” - Leonard Cohen, “Everybody Knows.” African-Americans and other minorities are suffering disproportionately duri...

In lieu of an abstract, here is a brief excerpt of the content:Whoa! JOHN SHOPTAW ONE A young man with gold hair in a coal-black robe and slippers was off to confront the Sun. But as he paced the hotel corridors, Ray could feel his step losing its jaunt. At this rate, he’d make it to nowhere in nothing flat. Just then, he noticed his old wall map thumbtacked over some double doors. How’d his Boys’ Life get out (...) here? He looked it over, the big fat world, cut open and stretched flat, like an elephant hide. The properties were green, purple and red, and the waters whitish blue. The Mercator-projected bottom was jagged with ice. The whole place was crawling with letters, like ants on a cake. The best part was the creatures: a long-armed squid suctioning a whale, sea lions sunning themselves. No. Seals. He bunched his brows. No. Hills. And game big as states, as nations: hippos in Africa’s watering holes, a beauty of a cheetah, its sights trained. Untacking and folding the map, Ray tucked it into his pocket and slid open the doors. He found himself in a dim cavern facing a motionless escalator. Its stairs were gold-plated, its balustrades brushed aluminum and its handrails hand-rubbed ostrich skin. He could see no end of stairs. It must be arion 27.1 spring/summer 2019 one unbroken flight to the Sun’s penthouse. But where was the down escalator? Beats him. He planted his slippers and clasped the rails. With a little lurch the escalator began its quickening glide. Now this was first-class. No huffing required. Simply the assumption of an attitude. Up ahead, the horizon gleamed ivory. 2 whoa! TWO The stairway teeth clamped shut and Ray was thrown into a hard glare. Sunblock and goggles— they’ll let you look into things—on your right, came a voice positively sunny. Ray slathered and goggled himself, and beheld by a high stone robed in emerald moss a trim figure in a sea-snail-purple sweatsuit and a broad-brimmed straw hat puttering about a humid sundial of wide-waking annuals and perennials— snowdrops, crocuses, daisies and daylilies, rice in flower and maize in silk, woozy jasmine and heady grapevines, a temperamental winter daphne, and tall in the motley midst the polar gnomon, an Indian turnsole or heliotrope, sweeping its shaft of shadow from one to the next minute marigold dot as the ambling photosynthesizer passed the fragrant hours of the zodiac. Batting away hummingbirds and honeybees, Ray waded through the flower bed toward Sol. Am I your heir? Can I have what I want? Sure, kid, name it. Ray glanced toward the honey-scented manure. A joyride? Sol sighed. It’s your funeral. Taking his time, he led Ray out to the dayport. What a letdown! Ray’d expected a futuristic heliumpowered sports coupe, or at least a souped-up solar Mustang. Not this gold-rimmed, pyrite-axled backward half-bucket with footpads! John Shoptaw 3 Dawn, meanwhile, with her practiced blush arched her horizon, and her pomegranate interiors yawned wide. The stars dispersed. Venus, her shell-blue and egg-white gauzes aswirl, gave Dawn a last long look above her handmirror’s crescent rim. Sol was watching moonshine evanesce from his glowing barndoors, which cracked in a spewing welding arc and then opened wide to reveal a dozen prompt and close-cropped Hours, coaxing a team of four mammoth pegasi yoked neck and neck and neck and neck, stoked with thick ambrosial plasma and snorting flame. As the nymphs hitched the tack to the chariot pole, the Sun, shaking his head, untied his flaring sunhat and knotted it under Ray’s chin. Lay off the whip and draw rein with a firm hand. They’ll fly by themselves with no help from you. But they’ll answer to Clover, Crocus, Peony, Sage. Steer clear of the straightaway. Bank the rig into a circumbendibus. But don’t, whatever you do... But Ray’s attention had drifted. The rampant quadrupeds hooved trails of sparks down the dayport door, their heavy fog blankets slid off, and they shook out their shoulder-wings. A pliant breeze sprang up from the East... (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S83-S88, March‐April 2022.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 306-309 [Access article in PDF] Philippe Rouet. Approaches to the Study of Attic Vases: Beazley and Pottier. Trans. Liz Nash. Oxford Monographs on Classical Archaeology. Oxford: Oxford University Press, 2001. xiii + 167 pp. 21 black and white plates. Cloth, $74. This monograph examines the development of two major approaches in the study of Greek vase painting by focusing on a comparison (...) of the work of Sir John D. Beazley with that of Edmond Pottier. Beazley, an English scholar, spent his scholarly life attributing vases to various formerly unnamed artists based on [End Page 306] their style of drawing, thereby ascertaining for the first time the artistic history and stylistic development of Attic black-figure and red-figure vase painting. Pottier, a French scholar, founded the Corpus Vasorum Antiquorum, an international series whose original goal was to publish all ancient clay vases. Each scholar's interests contrasted with the other's in many ways. Beazley's work focused more on the object and Athens, while Pottier was opposed to the study of individual artists and was particularly interested in the relationship of the origins of Greek civilization to the East and the broader context of the vessels.The book's introduction sets the historical and intellectual background of Beazley and Pottier. Areas covered include the early history of collecting, initial attempts at defining the works of individual Greek vase painters, some influential early catalogues of Greek vases (e.g., those of Hamilton's collection), and the role that the copying of motifs from ancient pottery had in spreading the interest in Greek vase painting in the late eighteenth and early nineteenth centuries, particularly the part played by the Wedgwood workshop. I miss here any reference to the fine work of Brian A. Sparkes on these subjects (The Red and the Black: Studies in Greek Pottery[London and New York, 1996] 34-63).The first chapter considers the most influential, immediate predecessors of Beazley and shows how their work formed the intellectual framework for his accomplishment. They are Wilhelm Klein, whose important study of and signatures on Attic vases still serves as the basis for our interpretation of them; Paul Hartwig, who was the first to attribute vases to an anonymous master; and Adolph Furtwängler, who in collaboration with Karl Reichhold initiated the monumental three-volume work, Griechische Vasenmalerei, which featured exceptionally accurate drawings of vase paintings. The author astutely notes that Furtwängler's work on attributing Roman copies of Greek sculpture to artists was likewise influential in augmenting the interest in style and artistic personalities. The intertwined relationship between connoisseurship, collectors, and the art market is touched on briefly in the discussions of Hartwig and Edward Warren. It might also have been noted here that the wording and style of Beazley's earliest work on the Kleophrades Painter clearly owes its inspiration to Hartwig.Pottier's early life and career are the focus of the next chapter. This was the time when museum catalogues and encyclopedic dictionaries were for many the signs of significant national scholarship. Indeed, after France's loss in 1870 in the Franco-Prussian War, Pottier and many of his contemporary compatriots sought to affirm the intellectual vitality of their nation by initiating and completing such projects. Pottier's contribution was to publish Vases antiques du Louvre, in which photography was used for the first time on a large scale to illustrate the vases, and to serve as one of the editors of the Dictionnaire des antiquités grecques et romaines, in which he was also responsible for many of the entries on vases.Chapter 3 returns to the subject of connoisseurship and the two non-classical archaeologists whose methodology bear clear resemblances to Beazley's. The first of them, Giovanni Morelli, was the first to attempt a scientific methodology for attributing paintings to unknown artists by examining the minor details [End Page 307] of drawings in order to discover the artistic language of the painters. Rouet concludes that Morelli paved the way for Beazley's work, for... (shrink)

In examining the visual culture of Victorian London during the years 1855–1870, Lynda Nead in her book Victorian Babylon explores the difficult and restless narrative of modernization that any of us who have read D. G. Rossetti's “The Burden of Nineveh” will recognize as crucial to the Victorian imagination. As Nead promptly establishes, Babylon for the Victorians was a trope evoking gain and loss, triumph and hubris, future and past ruination. Taking this ancient city as her titular image, then, Nead (...) aims to rearticulate urbanism and modernity, indeed challenging us to reconceive what we mean by “modernity.” Positioning her own arguments against the influential architectonics of Marshall Berman's All That Is Solid Melts into Air and favoring instead the writings of Michel Foucault, Walter Benjamin, and Michel de Certeau, Nead recasts modernity as an “untidy experience,” a “constant struggle with history” . Near her book's end, Nead provocatively claims: “Ruin is the resolution of the contradictory impulses of modernity” .Victorian Babylon explores the spaces of mid‐Victorian London and, more important, the experience of inhabiting those very spaces. This textual tour is divided tidily into three sections: a first on mapping and water, a second devoted to gas and light, and a third on obscenity, which Nead calls “improvement's other” . As Nead herself claims about the metropolitan travel literature she examines, her book speaks well to the eye. Victorian Babylon is a vicarious tour of London thanks to Nead's deft and abundant use of fresh images, which she has culled assiduously from private collections, archives, and especially illustrated nineteenth‐century periodicals. Her study thus takes us to fascinating places: readers travel along with John Hollingshead on his journey down to London's sewers; we are invited into Joseph Paxton's dreamscape of the Great Victorian Way; and we play for a night at Cremorne Pleasure Gardens, witnessing Madame Poitevin's balloon ride. We hesitantly enter the haunted and obscene Holywell Street.The catalogic abundance of Victorian Babylon works both to Nead's advantage and disadvantage. Surely the sheer range of Nead's material proves her points about the frenzy and incomprehensibility of modernity and the promiscuity of Victorian commercial culture. But invariably the variety of topics results in too much cursory analysis—a paragraph on photography followed by a paragraph on the International Health Exhibition; brief excursions into the realms of advertising, illustrated sheet music, and music halls. Subsequently, a reader might grow eager instead for book‐length studies of these issues. Yet the most egregious omission of an adequate treatment is the two‐page cursory overview of the picturesque. Here, Nead misses an opportunity to offer a more extended, theoretical treatment of the “metropolitan picturesque” and how this aesthetic category relates—or not—to the other psycho‐aesthetic touchstones for her work, which are the sublime and the urban uncanny. One might also rue the absence of an extended treatment of the relic versus the ruin at the book's close.The analysis of the book does grow stronger as it unfolds. The Cremorne Gardens in the second section make for interesting reading, and Nead is best at discussing London at night, the uncanny, and what she calls a poetics of gas. The final section on obscenity is most promising, for here the Babylonic polyphony of Victorian London—what Nead calls the twin mission, to build and destroy—hits the reader with full force. One might wish that Nead had spent a bit more time on obscenity before extending her treatment to the more symbolic, architectural expression of obscenity‐cum‐obsolescence, the Temple Bar. However, the fate of the Temple Bar is nicely evocative of the ruin and, thus, takes the reader full circle back to the ambiguities of modernity. (shrink)

The growth of managed care was accompanied by concern about the impact that changes in health care organization would have on the doctor-patient relationship. We now are in a “post-managed care era,” where some of these changes in health care delivery have come to pass while others have not. A re-examination of the DPR in this setting suggests some surprising results. Rather than posing a new and unprecedented threat, managed care was simply the most recent of numerous strains on the (...) DPR that have occurred throughout the century. These strains are a constant, inevitable consequence of the varying needs and concerns of patient and physicians as they seek to balance their desires for a certain type of DPR with their simultaneous desire for other aspects of care such as lower costs, greater technological sophistication, and improved outcomes. (shrink)

Living things can be classified by taxonomic similarity (lions and lynx), or shared ecological habitat (ducks and turtles). The present studies used card-sorting and triad tasks to explore developmental and experiential changes in conceptual flexibility–the ability to switch between taxonomic and ecological construals of living things–as well as two processes underlying conceptual flexibility: salience (i.e., the ease with which relations come to mind outside of contextual influences) and availability (i.e., the presence of relations in one’s mental space) of taxonomic and (...) ecological relations. We were also interested in the extent to which salience and availability of taxonomic and ecological relations predicted inductive inferences. Participants were 452 six to ten-year-olds from urban, suburban, and rural communities in New England. Across two studies, taxonomic relations were overwhelmingly more salient than ecological relations, although salience of ecological relations was higher among children from rural environments (Study 1) and those who engaged in unstructured exploration of nature (Study 2). Availability of ecological relations, as well as conceptual flexibility, increased with age, and was higher among children living in more rural environments. Notably, salience, but not availability, of ecological relations predicted ecological inferences. These findings suggest that taxonomic relations are a default way to organize intuitive biological knowledge and that environmental richness and relevant experience contribute to the salience and availability of ecological knowledge, and thereby, conceptual flexibility in biological thinking. More generally, they highlight important linkages between domain-specific knowledge and domain-general cognitive abilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Invention of Art History in Ancient Greece: Religion, Society, and Artistic RationalisationJohn C. McEnroeJeremy Tanner. The Invention of Art History in Ancient Greece: Religion, Society, and Artistic Rationalisation. Cambridge Classical Studies. Cambridge: Cambridge University Press, 2006. xvi + 331 pp. 62 black-and-white ills. Cloth, $99.In his introductory chapter, Jeremy Tanner quotes J. J. Winckelmann's eighteenth-century description of the Apollo Belvedere: "Among all the works of antiquity (...) which have escaped destruction, the statue of Apollo is the highest ideal of art... In the presence of this miracle of art, I forget all else, and I myself take a lofty position for the purpose of looking on it in a worthy manner" (6). Tanner makes it clear that Winckelmann, widely regarded as the founder of modern art history, was not simply recording a personal reaction. Instead, Winckelmann's notion of artworks as autonomous objects of aesthetic experience was deeply rooted in the transformation of the basic institutions of art during [End Page 423] the Enlightenment. These included changes in patronage and production, and the introduction of the new philosophy of aesthetics. The new conception of art as a form of individual expression was tied not only to the notion of personal liberty but also to the growing obsession with national identities. Winckelmann's rapturous response to the Apollo Belvedere is understandable only as a part of this broader set of social and intellectual currents.The kinds of art history that Tanner is concerned with in this book are quite distinct from Winckelmann's and belonged to profoundly different cultural networks. Tanner lays out three goals for the book: first, to analyze art as a form of material culture that was both shaped by society and, in turn, helped to shape society; second, to develop an analytic framework for comparing classical and modern art history without conflating the two; third, to move art history to the explanatory level, exploring not only how classical art developed over the long term, but why. Tanner's approach is sociological, drawing especially on the work of the once influential American sociologist, Talcott Parsons (1902–1979) and the semiotics of Charles Sanders Peirce (1839–1914). As a result, Tanner shifts from the traditional focus on artists to the interaction of artists, patrons, and viewers.In chapter 2 ("Rethinking the Greek Revolution," 31–96) Tanner addresses one of the central problems in art history, the apparently sudden transformation from abstraction to naturalism in Greek art in the beginning of the fifth century B.C.E., famously described by E. H. Gombrich as "the Greek Revolution." Why, after generations of continuity within the Archaic style, did Greek artists, alone among the artists working in the broader Middle Eastern tradition, develop the naturalistic style of art represented in, for example, Polykeitos's Doryphoros? For Gombrich, the "Greek Revolution" was fundamentally a matter of artists breaking from ingrained patterns and attempting, as individuals, to match the appearance of their statues with the natural world. Other writers, including several contributors to Diana Buitron-Oliver, ed., The Greek Miracle: Classical Sculpture from the Dawn of Democracy (Washington, D.C., 1992), have described the change in terms even more deeply grounded in Winckelmann: the revolution in style was a product of the birth of individuality and personal freedom that accompanied the birth of democracy in classical Greece.Tanner is specifically concerned with what the "Greek Revolution" meant for cult statues. While he rejects the simplistic equation democracy = naturalism as an explanatory device, Tanner nevertheless holds that political changes, marked by the Kleisthenic reforms, had profound effects on both the makers and the viewers of art. Through most of the sixth century B.C.E., the aristocracy was in firm control of religious art. Through the forms of the kouros and kore, aristocrats merged their identities with those of the gods. Through their sponsorship and control of the sanctuaries, they controlled the access ordinary viewers had to images of the sacred. While the immediate effects of the Kleisthenic reforms may have been more complex than Tanner implies, over the course of a generation the authority of the traditional aristocracy declined, and the sponsorship of cult images was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:554 BOOK REVIEWS though he had carried out a radical interpretation of Thomas Aquinas's esse in his transcendental turn. Thus, Sheehan has brilliantly shown both Rahner's indebtedness to Heidegger (especially his notion of the human person as a bivalent and kinetic being; note the parallels between Rahner's cogitative sense and Heidegger's Temporalitiit, between Rahner's agent intellect and Heidegger's Existentialitiit, between Rahner 's possible intellect and Heidegger's Faktizitiit) and Rahner's (...) profound differences from Heidegger, especially in his understanding of being (see pp. 110-116; 280-291). Finally, Sheehan has provided the clearest exposition to date on Rahner's theory of " inner-worldly efficient causality " (pp. 244-255). The book would have been much more helpful if an index of topics and a bibliography had been provided. There are two omissions. On p. 135, the last line should read: " Chapter VIII concludes the study by laying out the critical difference between Rahner's effort to re-establish the science of metaphysics on a transcendental base and Heidegger's attempt to overcome metaphysics." On p. 186, line 19: "In whatever way we read the content of predicate (Aquinas: quiddities)." There are also a number of minor misprints. Strange that this book was published only in 1987, even though the research was apparently completed before 1982 (see p. 171, note 62). But its many assets will make Sheehan's work a permanent feature among the best Rahnerian studies. The Catholic University of America Washington, D.C. PETER c. PHAN The World and Language in Wittgenstein's Philosophy. By GORDON HUNNINGS. Albany, N.Y.: State University of New York Press, 1989. Pp. xiv +266. $34.50. This book will not find a place among the distinguished commentaries on Wittgenstein's work. Aiming to cover the full sweep of that work, Hunnings devotes three of his eight chapters to the Tractatus, one to the" Notes on Logical Form" (1929) and Philosophical Grammar, one to the transitional material of The Blue and Brown Books, one to writings and lectures on the philosophy of mathematics, and just two to the central themes of the later philosophy. Indeed, of the book's 256 pages of text, 193 are spent before the reader finds himself dealing with Philosophical Investigations. So there is a problem of balance. For a book of this size and scope striving to cover the whole of Wittgenstein's BOOK REVIEWS 555 thought on representation and grammar, there is too much exposition of transitional detail and too little attention to the difficult but fertile work at the heart of the mature later Wittgenstein. There are now many fine expository studies of Wittgenstein's work. This is not to say that all important matters of interpretation are settled. Indeed, there are significant areas of rival interpretation and there are varying assessments of the adequacy of Wittgenstein's views. There is contention over the degree to which his work is assimilable to the philosophical tradition. These facts suggest, not that there is no profit in further investigation of his work, but that new studies-particularly ones attempting a comprehensive survey of Wittgenstein's work from the Notebooks to On Certainty-should situate themselves in a well cultivated terrain of commentary and interpretation. But Hunning's work does little to inform prospective readers of the extent to which scholarly study of Wittgenstein's work has advanced. Eschewing a bibliography, Hunnings makes it somewhat difficult for the reader to discern his command of the scholarship. In construing the Tractatus he relies on Anscombe, Stenius, Griffin, and Black-all standard sources. But in dealing with the later philosophy and the much-debated transitional period between Wittgenstein's resumption of philosophical work in the late 1920's and the period of the Investigations, Hunnings simply does not scratch the surface of the huge body of secondary writing available to serious students of Wittgenstein's work. It would be pointless to list the important commentators whose works are ignored; suffice to say that Hunnings's book is apparently unassisted by a full scholarly command of the available literature. In this regard it suffers by comparison with A. C. Grayling's Wittgenstein in the Oxford University Press... (shrink)

This paper discusses the chemistry manuscript collection in an institution that does not readily come to mind when searching for unpublished matter on the history of chemistry, the National Library of Medicine in Bethesda, Maryland. This collection includes personal papers of some twentieth-century American chemists and biochemists, lecture notes of British and American chemistry courses of the eighteenth, nineteenth, and twentieth centuries from a variety of institutional settings, and extended oral histories of some major figures in the history of modern (...) chemistry and biochemistry. Among those represented in this collection are Joseph Black, Louis Pasteur, George B. Wood, Donald D. Van Slyke, and Albert Szent-Györgyi. In addition to illustrating the type of resources available, this paper also suggests some specific ways in which the collection can contribute to research in the history of chemistry. (shrink)

Preface: This volume originated in a conference on "The Place of Thought Experiments in Science and Philosophy" which was organized by us and held at the Center for Philosophy of Science at the University of Pittsburgh, April 18-20, 1986. The idea behind this conference was to encourage philosophers and scientists to talk to each other about the role of thought experiments in their various disciplines. These papers were either written for the conference, or were written after it by commentators and (...) other participants.... We hope that this volume will be of use to other philosophers and scientists who are interested in thought experiments, as well as inspire more work in this area.... (shrink)

My purpose in this chapter is to survey some of the principal approaches to inductive inference in the philosophy of science literature. My first concern will be the general principles that underlie the many accounts of induction in this literature. When these accounts are considered in isolation, as is more commonly the case, it is easy to overlook that virtually all accounts depend on one of very few basic principles and that the proliferation of accounts can be understood as efforts (...) to ameliorate the weaknesses of those few principles. In the earlier sections, I will lay out three inductive principles and the families of accounts of induction they engender. In later sections I will review standard problems in the philosophical literature that have supported some pessimism about induction and suggest that their import has been greatly overrated. In the final sections I will return to the proliferation of accounts of induction that frustrates efforts at a final codification. I will suggest that this proliferation appears troublesome only as long as we expect inductive inference to be subsumed under a single formal theory. If we adopt a material theory of induction in which individual inductions are licensed by particular facts that prevail only in local domains, then the proliferation is expected and not problematic. (shrink)

Part I. Gnosticism and other religious movements of antiquity -- part II. Crossing boundaries : Gnosticism and Platonism.

It is argued that neither the "theory-informity" of observations nor the Quine-Duhem thesis pose any in principle threat to the objectivity of theory evaluation. The employment of exploratory theories does not generate incommensurability, but on the contrary is responsible for the mensurability and commensurability of explanatory theories, since exploratory theories enable scientists to make observations which are critical in the evaluation of explanatory theories. The employment of exploratory theories and other auxiliary hypotheses does not enable a theory to always accommodate (...) recalcitrant observations to preserve evidential equivalence with a rival theory. Explanatory theories become rapidly degenerating if exploratory theories or other auxiliary hypotheses which inform the original confirmation base are modified to accommodate recalcitrant observations. (shrink)

An infinite lottery machine is used as a foil for testing the reach of inductive inference, since inferences concerning it require novel extensions of probability. Its use is defensible if there is some sense in which the lottery is physically possible, even if exotic physics is needed. I argue that exotic physics is needed and describe several proposals that fail and at least one that succeeds well enough.

"This is a remarkable book: wide-ranging, resonant, and well-written; it is also reflective and personable, warm and engaging." —Philosophy and Literature "With this book Caputo takes his place firmly as the foremost American, continental post-modernist... " —International Philosophical Quarterly "One cannot but be impressed by the scope of Radical Hermeneutics." —Man and World "Caputo’s study is stunning in its scope and scholarship." —Robert E. Lauder, St. John’s University, The Thomist For John D. Caputo, hermeneutics means radical thinking without (...) transcendental justification: attending to the ruptures and irregularities in existence before the metaphysics of presence has a chance to smooth them over. Radical Hermeneutics forges a closer collaboration between hermeneutics and deconstruction than has previously been attempted. (shrink)