Search This Blog

Thursday, May 29, 2025

Metaepistemology

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Metaepistemology
 
Metaepistemology is the study of the underlying assumptions of epistemology. As the "theory of knowledge", epistemology is concerned with questions about what knowledge is and how much people can know. Metaepistemology, by contrast, investigates what the aims and methods of epistemology should be, whether there are objective facts about what people know, and related issues.

Epistemology is typically viewed as a normative field focused on reflective thought rather than empirical evidence. It is usually seen as methodologically distinct from the sciences, with methods including the use of intuitions, thought experiments, conceptual analysis, and explication. Other views include naturalism, which holds that epistemology should be scientifically-informed; experimental philosophy, which argues against intuitions and for the use of empirical studies; pragmatism, which argues for the reconstruction of epistemic concepts to achieve practical goals; and feminism, which criticises gendered bias in epistemology.

Metaepistemology investigates epistemic facts, for example, facts about what people know. According to epistemic realists, facts about knowledge are objective and depend on the way the world is rather than subjective opinion. Anti-realists deny the existence of such facts. Error theorists deny the existence of epistemic facts altogether while instrumentalists and relativists simply deny that they are objective. Expressivism argues that statements about knowledge do not aim to represent facts in the first place, but instead express attitudes like "this belief is good enough". Views such as quasi-realism and constitutivism attempt to derive some of the benefits of realism without accepting the existence of objective epistemic facts. Constitutivism, for example, explains epistemic facts in terms of the nature of belief. Within the epistemology of epistemology, views include epistemic internalism and externalism as well as metaepistemological scepticism.

A number of questions arise from the normativity of epistemology. For example, metaepistemologists investigate whether people have obligations to hold the right beliefs and if this implies that they have voluntary control over what they believe. Other questions include what the source of epistemic normativity is or how to characterise epistemic value. The connection between normative judgements and epistemic motivation is another line of investigation. As a twin metanormative discipline, metaepistemology's relationship with metaethics is a matter of debate. Some theorists view the disciplines as strictly analogous whilst others see important distinctions between the two.

Background

Terminology

Metaepistemology is the branch of epistemology focused on the fundamental assumptions of epistemology. As a form of metaphilosophy, it is a reflective or higher-order discipline that takes ordinary epistemology as its subject matter, which itself is a first-order or substantive discipline. Although there is a general agreement that metaepistemology reflects on epistemology in some sense, its exact definition is contested. Some sources define it narrowly as the epistemology of epistemology, including The Blackwell Dictionary of Western Philosophy which states that the role of metaepistemology is in comparing different epistemologies and analysing epistemic concepts. Others emphasise the role of metaepistemology in examining epistemology's goals, methods and criteria of adequacy. Metaepistemology is also sometimes characterised as the study of epistemic statements and judgements, including their semantic, ontological and pragmatic status, or as the study of epistemic facts and reasons.

Metaepistemology is a relatively modern term and probably originated at some point in the 20th century. Dominique Kuenzle identifies its first use as a 1959 article by Roderick Firth discussing the views of Roderick Chisholm on the ethics of beliefRichard Brandt used the term in the 1967 edition of the Encyclopedia of Philosophy, defining it as a higher-order discipline, analogous to metaethics, that attempts to explain epistemic concepts and to understand the underlying logic of epistemic statements. In 1978, also inspired by the work of Roderick Chisholm, William Alston released "Meta-Ethics and Meta-Epistemology", the first paper with the explicit aim of defining the distinction between metaepistemology and substantive epistemology, in which he defined metaepistemology as the study of "the conceptual and methodological foundations of [epistemology]." Kuenzle notes only a few uses prior to 2017, but Christos Kyriacou and Robin McKenna state that increasing interest in the field arose around the beginning of the 21st century due to a growing recognition that epistemology is a normative field like ethics.

Relationship between epistemology and metaepistemology

The division between metaepistemology and the other branches of epistemology—as well as their connections with one another—is debated by metaepistemologists. For example, the Internet Encyclopedia of Philosophy divides epistemology into three branches analogously to the three branches of ethics: metaepistemology, normative epistemology and applied epistemologyRichard Fumerton instead divides epistemology into metaepistemology and applied epistemology. According to Fumerton, the idea of a branch of normative epistemology is problematic because, in his view, epistemic normativity is inherently different in character to moral normativity.

Views about the relationship between metaepistemology and the other branches of epistemology fall into two groups: autonomy and interdependency. According to the autonomy view, metaepistemology is an entirely independent branch of epistemology that neither depends on the other branches nor entails any particular position in them. For example, according to this view, a person being an epistemic realist, anti-realist, or relativist has no implications for whether they should be a coherentist, foundationalist, or reliabilist, and vice versa. According to the interdependency view, on the other hand, there are strong theoretical interdependencies between the branches and a normative epistemological view may even be fully derivable from a metaepistemological one. Furthermore, according to the latter view, metaepistemology may have relevance to issues of practical importance like climate change scepticism.

Nature and methodology of epistemology

W. V. Quine challenged traditional epistemology with his philosophy of naturalised epistemology.

Epistemology is commonly defined as the "theory of knowledge". In this sense, it investigates the nature of knowledge and how far it extends, but epistemologists also investigate other concepts such as justification, understanding and rationality. To account for this diversity of interests, epistemology is sometimes characterised as two connected projects: gnoseology concerned with the theory of knowledge, and intellectual ethics concerned with guiding inquiry according to proper intellectual norms. Epistemology is traditionally viewed as an a priori discipline focused on reflective thought rather than empirical evidence, and as autonomous from the results and methods of the sciences. It is also generally seen as a normative discipline, evaluating beliefs as either justified or unjustified and prescribing the proper way to form beliefs. As the central focus of epistemology, knowledge is generally understood in terms of determinate beliefs, but degrees of belief or credences are also important concepts, and metaepistemologists have debated which is more fundamental to epistemology.

Alternative views of epistemology may deny some or all of the traditional features of epistemology. For example, naturalistic epistemology denies the autonomy of epistemology, holding that epistemology should be informed by either the methods or ontology of science. In its most radical form, associated in particular with the naturalised epistemology of W. V. Quine, it claims that epistemology should be replaced with empirical disciplines such as psychology or cognitive science. Advocates of experimental philosophy claim that epistemology should use a posteriori methods such as experiments and empirical data, either replacing traditional philosophical methods or merely supplementing them. More traditional methods include the use of intuitions about particular cases or thought experiments to support epistemological theories or ideas. A prominent example in epistemology is the use of intuitions regarding Gettier cases to test theories of knowledge. These are hypothetical cases in which candidate conditions for knowledge are met but intuitively do not appear to count as knowledge due to luck being involved. Intuitions are also used in the process of reflective equilibrium, in which conflicting intuitions are brought into alignment by modifying or removing intuitions until they form a coherent system of beliefs.

A number of issues in the methodology of epistemology have been influenced by Gettier cases originating with Edmund Gettier.

Related to the use of intuitions is the method of analysis to clarify epistemic terms. Traditionally, analysis in epistemology has been seen as conceptual analysis, which attempts to clarify concepts such as knowledge by providing necessary and sufficient conditions for their use. A similar view sees analysis as semantic or linguistic analysis, in which the way terms are actually used is tracked to try and reveal their meaning. However, the problems posed to the conceptual analysis of knowledge by Gettier cases have led some philosophers including Timothy Williamson to become pessimistic about such approaches. Williamson and naturalists like Hilary Kornblith have also argued that epistemologists should be concerned with actual epistemic phenomena and states rather than words and concepts. According to an alternative viewpoint, analysis in epistemology is metaphysical analysis, which aims at understanding the nature of the thing being investigated.

An alternative methodology to philosophical analysis is explication. Explication aims to clarify a term by replacing it with a more precisely defined technical term. The technical term should remain close in meaning to the original term but can deviate from intuitions to fulfil theoretical or practical goals. For example, the scientific term "fish" excludes whales to better capture the facts of biology, even if whales may be included in the colloquial or pre-scientific meaning of the word. Practical explication, also known as a function-first approach, identifies the purpose or function of a term to clarify its meaning. Proposed functions of the term knowledge, for example, include its role in identifying reliable sources of information and in marking an end-point for inquiry. This approach is associated with the pragmatism of Charles Sanders Peirce and neopragmatists such as Mark Kaplan and Edward Craig. Inspired by Craig, Jonathan Weinberg has proposed an explicitly metaepistemological pragmatism that allows epistemic concepts to be redesigned to fulfil practical goals, resulting in a method of "analysis-by-imagined-reconstruction".

Another methodological issue in epistemology is the debate between particularists and generalists. According to particularists, particular cases of knowledge need to be identified before the general principles underlying knowledge can be understood. Generalists, on the other hand, argue that the principles underlying knowledge are required to reliably identify cases. This debate is made more complicated by the fact that each question seems to depend on the other; a general theory of knowledge is needed to know if particular cases count as knowledge, but a theory of knowledge is potentially arbitrary without being tested against particular cases. This is known as the problem of the criterion. Generalism was popular in modern philosophy, but by the middle of the 20th century, particularism was the dominant view. In the 21st century, particularism became less dominant after a period driven by responses to Gettier cases, and epistemic methodology widened to include considerations regarding the value of knowledge and the relationships between knowledge and related concepts such as assertion.

Sally Haslanger has argued that epistemic concepts should be reformulated from a feminist lens to remove androcentric bias.

According to feminist epistemology, epistemology has been historically rooted in androcentric bias. An example cited by some feminist philosophers is epistemology's focus on propositional knowledge, which they argue is due to femininity being associated with emotional and practical forms of knowledge while being devalued compared to stereotypes of masculine rationality and theoreticity. At the same time, feminists typically argue against a value-free or "disinterested" methodology, holding that epistemology is inherently value-laden. The problem of reconciling feminist epistemology's criticism of androcentric bias and simultaneous acceptance that feminism has its own biases is called the "bias paradox". Louise Antony has embraced feminist naturalised epistemology to solve this problem, arguing that feminists should try to show that feminist values produce empirically better theories. Other feminist approaches to epistemology can also be viewed as in conversation with different viewpoints, and as extending criticisms of traditional epistemology from a feminist lens. For example, Sally Haslanger has argued from a pragmatist feminist perspective that epistemic concepts should be reformed to remove androcentric biases so they can better serve their purposes within epistemology.

Epistemic realism and anti-realism

As in metaethics, views about the metaphysics of epistemology can be divided into epistemic realism and anti-realism. In its most minimal form, epistemic realism claims that there are mind-independent epistemic facts. This means that statements about what a person knows, for example, are objectively true or false, and their truth or falsity depends on the way the world is rather than personal opinion or cultural consensus. Epistemic realism generally takes these epistemic facts to be normative and to provide categorical reasons for belief. In other words, these facts have authority over what a person should believe, regardless of their goals or desires. Epistemic realists can be divided into reductionists, who believe that epistemic facts can be reduced to descriptive or natural facts, and antireductionists, who believe that epistemic facts are irreducibly normative.

G. E. Moore's open question argument has been influential in metaepistemology.

Epistemic reductionists are generally naturalist realists while antireductionists tend to be non-naturalists. That is, reductionists tend to believe that epistemic facts can be identified with natural facts while antireductionists take them to be a sui generis type of fact. Reductionists can be further divided into analytic reductionists, who accept conceptual analysis, and synthetic reductionists, who think that epistemic reductions can only be found empirically. For example, Hilary Kornblith argues that knowledge is a natural kind and should therefore be investigated empirically, akin to other natural kinds like gold. An argument for non-naturalism and against analytic reductionism is G. E. Moore's open question argument in metaethics, which has been adapted for epistemology. It claims that statements such as "this belief is reliably produced, but is it knowledge?" are open questions, which shows that knowledge is not identical in meaning to any natural property.

Epistemic anti-realists deny the existence of mind-independent epistemic facts. Epistemic error theorists agree with realists that the truth or falsity of epistemic statements depend on epistemic facts. But they argue that there are no epistemic facts, so all epistemic statements are false. Some forms of anti-realism accept the existence of epistemic facts, but deny they are independent of human desires or customs. For example, epistemic instrumentalism takes epistemic facts to depend on goals or desires—such as the desire to only believe the truth—and hence denies categorical reasons for belief in favour of hypothetical or instrumental reasons. Epistemic relativism holds that epistemic truths are relative to some other factor such as culture.

Some epistemologists view epistemic contextualism as a form of relativism. It asserts that the accuracy of knowledge claims can vary depending on the context in which they are used. In other words, it is possible for a knowledge claim to be true in a scenario with low standards but false in one with high standards, even if the evidence is the same. For example, according to contextualism, whether someone knows that a flight has a connection in a certain city depends not just on their evidence but also on the context. So, a person might know about the connection on the basis of an overheard conversation if it has no practical importance to them. But if they need to know whether there is a connection—if they urgently need to meet someone in that city say—then they would need to do further checks before they can confidently say they know one way or the other. A view sometimes called new age relativism goes even further by claiming that knowledge claims can be assessed in many different ways, even if the standards are the same. In opposition to all forms of contextualism and relativism is invariantism. It states that knowledge claims are absolutely true or false and do not change from context to context.

Another view is expressivism. It denies the existence of epistemic facts, like error theory, but also denies that epistemic statements have any representational content. In other words, it denies that epistemic statements even attempt to accurately describe facts. It follows from this that epistemic statements cannot be true or false, since they do not represent the world as being a particular way. This denial that epistemic statements have a representational content capable of being true or false is called epistemic non-cognitivism. It constitutes a major departure from the realist's semantic framework of cognitivism, which claims that epistemic statements attempt to accurately represent facts. According to non-cognitivist semantics, epistemic statements are instead used to express desires or attitudes like approval or disapproval. For example, some expressivists interpret knowledge claims as expressing the attitude that one's belief is "good enough".

One form of expressivism is called quasi-realism. It attempts to recover aspects of realism from within an expressivist framework. In particular, it adopts minimal or deflationary views about truth, facts and properties. According to this approach, truth and facthood are linguistic devices; to say "it is a fact that S knows that p" is not to assert there are facts, it is just to emphasise one's confidence that "S knows that p". In this way, quasi-realists attempt to recover the language of realism without accepting realist metaphysics. A view that seeks to find a middle ground between realism and anti-realism is constitutivism, sometimes called constructivism. It argues that normative facts are grounded by facts about agents, such as facts about their desires or about the pre-conditions of their agency. Within metaepistemology, this view generally argues that it is a constitutive part of the concept of belief that it aims at the truth. Proponents argue this view retains some benefits of both realism and anti-realism; it generates epistemic objectivity and categorical reasons for belief without the metaphysical costs of realism.

The debate between realism and anti-realism includes a number of different arguments. Epistemic realism has been the default presupposition of mainstream epistemology and so has not received many explicit defences. Those that exist generally focus on the alleged incoherence of anti-realism. For instance, some realists argue error theory is self-defeating since it entails that there are no reasons for belief, and therefore no reasons to believe error theory. A similar argument against expressivism states that it depends on taking a perspective external to epistemic inquiry, but to argue for expressivism requires engaging in epistemic inquiry. Realism has its own challenges though. For example, evolutionary debunking arguments due to Sharon Street claim that people's epistemic attitudes can be explained by Darwinian evolution and that evolution has no reason to track epistemic facts. Some philosophers also argue that epistemic realism cannot account for widespread disagreement about epistemology.

Epistemology of epistemology

The epistemology of epistemology asks how there is knowledge about epistemic facts and reasons. An important distinction related to this question is between epistemic internalism and externalism.  According to a common characterisation, internalism is the view that justification consists in having cognitively accessible reasons for a belief. Another internalist view, called mentalism, claims that justification depends on mental states; for example, an agent must have a mental state that counts as evidence for a belief for it to be justified. Externalism is the denial of internalism. It holds that justification does not always need cognitively accessible reasons and may not always depend on mental states. A common externalist view is reliabilism, which views justification as a question of whether a belief was formed through a reliable process.

Since internalism explains epistemic reasons as reflectively accessible mental states, it entails that epistemic facts can in principle be known through reflection. Externalism rejects this focus on reasons and reflection as an overly intellectualised account of everyday knowledge. It usually holds that access to reasons is not required for knowledge and places focus instead on reliable cognitive processes. However, the rejection of reasons as central to knowledge is sometimes seen as a dismissal of epistemic normativity altogether. Some externalist accounts such as Ernest Sosa's take a more moderate approach by supplementing a basic form of reliabilist knowledge with a reflective knowledge concerned with reasons and the coherence of beliefs.

Also related to the internalism–externalism debate is the position of metaepistemological scepticism, defended most prominently by Richard Fumerton and Barry Stroud. Metaepistemological scepticism claims that it is impossible to form a satisfying response to the problem of scepticism. It claims that whilst externalism provides an account of how we could have knowledge, it is not a philosophically satisfying account. For Fumerton, this is because it allows people to know things even if they do not have direct cognitive access to them. However, metaepistemological sceptics also view direct acquaintance as a problematic answer to scepticism. In particular, they find such responses problematically circular or think that it is impossible to have direct acquaintance with the external world. So for metaepistemological scepticism, all possible responses fail to solve the problem of scepticism. Opponents of metaepistemological scepticism include Michael Williams, who argues that the questions raised by metaepistemological sceptics are ill-formed or unnatural in some way.

Another issue relevant to the epistemology of epistemology is the reliability of intuitions about epistemic facts. Some philosophers argue that intuitions can be unreliable and often differ from person to person. For example, some empirical studies from experimental philosophers have indicated that intuitions are unstable and are influenced by philosophically irrelevant factors such as personality or cultural background, although these results are disputed. According to more traditional epistemologists, scepticism of intuitions is self-defeating since it leaves no way to evaluate the strength of arguments or evidence.

Normativity and reasons for belief

Epistemology is widely agreed to be a normative discipline. It investigates what ought to be believed and when beliefs are justified or unjustified. A common way to understand justification is in terms of deontic concepts like permission and obligation. For example, some epistemologists hold that there is an obligation to only form beliefs based on evidence. Opponents of a deontic understanding of justification such as William Alston argue that there is no voluntary control over belief, so it is inappropriate to apply concepts like ought or obligation to it. Proponents of a deontic conception have responded in a number of ways. Some argue that at least some beliefs are under direct voluntary control while others argue that indirect influence is enough to support deontic concepts.

Deeply related to the notion of normativity are reasons. Epistemic reasons are usually identified as reasons for belief as opposed to reasons for actions, which are in the domain of practical reason. Furthermore, epistemic reasons are reasons for belief from an epistemic point of view – that is, reasons deriving from an epistemic aim like knowledge rather than a purely pragmatic aim like self-enrichment. Normative reasons are generally distinguished from explanatory reasons, which explain why somebody holds a belief. They are also distinguished from motivational reasons, which are the subjective reasons that moved a person to have a certain belief. Normative reasons are concerned not with why a person holds a belief, but the things that favour that belief over another and make it the correct thing to believe.

One question in metaepistemology concerns what the source of epistemic normativity is. According to instrumentalists, epistemic reasons depend on agents' goals or desires and are hence instrumental reasons. Intrinsicalists, by contrast, hold that epistemic reasons are brutely or intrinsically normative and on this basis generally accept categorical reasons for belief. One challenge to instrumentalism is the problem of accounting for evidence of trivial or counterproductive beliefs. For example, if a person learns the ending to a movie that they had hoped to watch without foreknowledge of the plot, they have good reasons to believe how it will end despite not having a corresponding goal or desire. Instrumentalists have responded to this challenge by arguing that gaining true beliefs always serves some epistemic interest or that the reasons in such cases are not truly normative reasons.

T. M. Scanlon argues for a "buck-passing" account of value.

Another question is what it means for something to be epistemically valuable. Some philosophers like T. M. Scanlon think that value can be defined in terms of properties that elicit pro- or con-attitudes. So-called "buck-passing accounts" deny the view that some properties are intrinsically valuable, instead "passing the buck" to more basic attitude-providing properties. In particular, the buck-passing account of epistemic value claims that something is epistemically valuable if it has properties that provide reasons to believe it. One objection to buck-passing accounts is the "wrong kind of reasons" problem. According to this problem, there can be reasons to have an attitude towards something that is unrelated to its value. For example, somebody may have reason to believe something because they find it comforting, but this is unrelated to its epistemic value.

The connection between normativity and motivation in metaepistemology is debated. Judgement internalists argue that normative epistemic judgements (like "p is justified") always involve motivation (like being motivated to believe that p), while externalists believe they can sometimes fail to motivate beliefs. However, most agree there is usually a connection, which requires an explanation. Some theorists explain epistemic motivation in terms of moral or pragmatic concerns, while others see it as intrinsic to belief itself. The issue also intersects with the debate between cognitivism and non-cognitivism. Non-cognitivists view epistemic statements as expressions of desires, which are inherently motivational, whereas cognitivists see them merely as representations. Hence, cognitivists face a challenge of explaining how epistemic facts can motivate beliefs.

With the increasing focus on normativity in epistemology, philosophers have come to question how deep the connections are between metaepistemology and other metanormative disciplines such as metaethics. According to the parity thesis, metaethics and metaepistemology are structurally equivalent to one another so that any positions taken in one should carry over to the other. Normative realists like Terence Cuneo have used this idea as part of "companions in guilt" arguments to extend arguments for epistemic realism to moral realism. Meanwhile, anti-realists like Sharon Street, Allan Gibbard and Matthew Chrisman have taken the reverse approach, extending arguments for moral anti-realism to epistemic anti-realism. In opposition to the parity thesis is the disparity thesis, which claims that there are important disanalogies between metaethics and metaepistemology. For example, philosophers such as Chris Heathwood, Jonas Olson, and James Lenman have argued that moral facts are irreducibly normative while epistemic facts are reducible to descriptive facts.

Anti-realism

From Wikipedia, the free encyclopedia

In analytic philosophy, anti-realism is the position that the truth of a statement rests on its demonstrability through internal logic mechanisms, such as the context principle or intuitionistic logic, in direct opposition to the realist notion that the truth of a statement rests on its correspondence to an external, independent reality. In anti-realism, this external reality is hypothetical and is not assumed.

There are many varieties of anti-realism, such as metaphysical, mathematical, semantic, scientific, moral and epistemic. The term was first articulated by British philosopher Michael Dummett in an argument against a form of realism Dummett saw as 'colorless reductionism'.

Anti-realism in its most general sense can be understood as being in contrast to a generic realism, which holds that distinctive objects of a subject-matter exist and have properties independent of one's beliefs and conceptual schemes. The ways in which anti-realism rejects these type of claims can vary dramatically. Because this encompasses statements containing abstract ideal objects (i.e. mathematical objects), anti-realism may apply to a wide range of philosophical topics, from material objects to the theoretical entities of science, mathematical statements, mental states, events and processes, the past and the future.

Varieties

Metaphysical anti-realism

One kind of metaphysical anti-realism maintains a skepticism about the physical world, arguing either: 1) that nothing exists outside the mind, or 2) that we would have no access to a mind-independent reality, even if it exists. The latter case often takes the form of a denial of the idea that we can have 'unconceptualised' experiences (see Myth of the Given). Conversely, most realists (specifically, indirect realists) hold that perceptions or sense data are caused by mind-independent objects. But this introduces the possibility of another kind of skepticism: since our understanding of causality is that the same effect can be produced by multiple causes, there is a lack of determinacy about what one is really perceiving, as in the brain in a vat scenario. The main alternative to this sort of metaphysical anti-realism is metaphysical realism.

On a more abstract level, model-theoretic anti-realist arguments hold that a given set of symbols in a theory can be mapped onto any number of sets of real-world objects—each set being a "model" of the theory—provided the relationship between the objects is the same (compare with symbol grounding.)

In ancient Greek philosophy, nominalist (anti-realist) doctrines about universals were proposed by the Stoics, especially Chrysippus. In early modern philosophy, conceptualist anti-realist doctrines about universals were proposed by thinkers like René Descartes, John Locke, Baruch Spinoza, Gottfried Wilhelm Leibniz, George Berkeley, and David Hume. In late modern philosophy, anti-realist doctrines about knowledge were proposed by the German idealist Georg Wilhelm Friedrich Hegel. Hegel was a proponent of what is now called inferentialism: he believed that the ground for the axioms and the foundation for the validity of the inferences are the right consequences and that the axioms do not explain the consequence. Kant and Hegel held conceptualist views about universals. In contemporary philosophy, anti-realism was revived in the form of empirio-criticism, logical positivism, semantic anti-realism and scientific instrumentalism (see below).

Mathematical anti-realism

In the philosophy of mathematics, realism is the claim that mathematical entities such as 'number' have an observer-independent existence. Empiricism, which associates numbers with concrete physical objects, and Platonism, in which numbers are abstract, non-physical entities, are the preeminent forms of mathematical realism.

The "epistemic argument" against Platonism has been made by Paul Benacerraf and Hartry Field. Platonism posits that mathematical objects are abstract entities. By general agreement, abstract entities cannot interact causally with physical entities ("the truth-values of our mathematical assertions depend on facts involving platonic entities that reside in a realm outside of space-time"). Whilst our knowledge of physical objects is based on our ability to perceive them, and therefore to causally interact with them, there is no parallel account of how mathematicians come to have knowledge of abstract objects.

Field developed his views into fictionalism. Benacerraf also developed the philosophy of mathematical structuralism, according to which there are no mathematical objects. Nonetheless, some versions of structuralism are compatible with some versions of realism.

Counterarguments

Anti-realist arguments hinge on the idea that a satisfactory, naturalistic account of thought processes can be given for mathematical reasoning. One line of defense is to maintain that this is false, so that mathematical reasoning uses some special intuition that involves contact with the Platonic realm, as in the argument given by Sir Roger Penrose.

Another line of defense is to maintain that abstract objects are relevant to mathematical reasoning in a way that is non causal, and not analogous to perception. This argument is developed by Jerrold Katz in his 2000 book Realistic Rationalism. In this book, he put forward a position called realistic rationalism, which combines metaphysical realism and rationalism.

A more radical defense is to deny the separation of physical world and the platonic world, i.e. the mathematical universe hypothesis (a variety of mathematicism). In that case, a mathematician's knowledge of mathematics is one mathematical object making contact with another.

Semantic anti-realism

The term "anti-realism" was introduced by Michael Dummett in his 1963 paper "Realism" in order to re-examine a number of classical philosophical disputes, involving such doctrines as nominalism, Platonic realism, idealism and phenomenalism. The novelty of Dummett's approach consisted in portraying these disputes as analogous to the dispute between intuitionism and Platonism in the philosophy of mathematics.

According to intuitionists (anti-realists with respect to mathematical objects), the truth of a mathematical statement consists in our ability to prove it. According to Platonic realists, the truth of a statement is proven in its correspondence to objective reality. Thus, intuitionists are ready to accept a statement of the form "P or Q" as true only if we can prove P or if we can prove Q. In particular, we cannot in general claim that "P or not P" is true (the law of excluded middle), since in some cases we may not be able to prove the statement "P" nor prove the statement "not P". Similarly, intuitionists object to the existence property for classical logic, where one can prove , without being able to produce any term of which holds.

Dummett argues that this notion of truth lies at the bottom of various classical forms of anti-realism, and uses it to re-interpret phenomenalism, claiming that it need not take the form of reductionism.

Dummett's writings on anti-realism draw heavily on the later writings of Ludwig Wittgenstein, concerning meaning and rule following, and can be seen as an attempt to integrate central ideas from the Philosophical Investigations into the constructive tradition of analytic philosophy deriving from Gottlob Frege.

Scientific anti-realism

In philosophy of science, anti-realism applies chiefly to claims about the non-reality of "unobservable" entities such as electrons or genes, which are not detectable with human senses.

One prominent variety of scientific anti-realism is instrumentalism, which takes a purely agnostic view towards the existence of unobservable entities, in which the unobservable entity X serves as an instrument to aid in the success of theory Y and does not require proof for the existence or non-existence of X.

Anti-representationalism

Anti-representationalism rejects the idea that thought and language function by mirroring or representing an independent reality. Instead, it adopts a deflationary view of truth and reference, treating them as pragmatic tools within discourse rather than robust semantic relations. Anti-representationalists like Richard Rorty and Huw Price argue that all ontological commitments are framework-dependent, denying any privileged "external" perspective to judge which claims (including scientific ones) correspond to reality.

Moral anti-realism

In the philosophy of ethics, moral anti-realism (or moral irrealism) is a meta-ethical doctrine that there are no objective moral values or normative facts. It is usually defined in opposition to moral realism, which holds that there are objective moral values, such that a moral claim may be either true or false. Specifically the moral anti-realist is committed to denying at least one of the following three statements:

  1. The Semantic Thesis: Moral statements have meaning, they express propositions, or are the kind of things that can be true or false.
  2. The Alethic Thesis: Some moral propositions are true.
  3. The Metaphysical Thesis: The metaphysical status of moral facts is robust and ordinary, not importantly different from other facts about the world.

Different version of moral anti-realism deny different statements: specifically, non-cognitivism denies the first claim, arguing that moral statements have no meaning or truth content, error theory denies the second claim, arguing that all moral statements are false, and ethical subjectivism denies the third claim, arguing that the truth of moral statements is mind dependent.

Examples of anti-realist moral theories might be:

There is a debate as to whether moral relativism is actually an anti-realist position. While many versions deny the metaphysical thesis, some do not, as one could imagine a system of morality which requires you to obey the written laws in your country. Such a system would be a version of moral relativism, as different individuals would be required to follow different laws, but the moral facts are physical facts about the world, not mental facts, so they are metaphysically ordinary. Thus, different versions of moral relativism might be considered anti-realist or realist.

Epistemic anti-realism

Just as moral anti-realism asserts the nonexistence of normative facts, epistemic anti-realism asserts the nonexistence of facts in the domain of epistemology. Thus, the two are now sometimes grouped together as "metanormative anti-realism". Prominent defenders of epistemic anti-realism include Hartry Field, Simon Blackburn, Matthew Chrisman, and Allan Gibbard, among others.

Realism (arts)

From Wikipedia, the free encyclopedia
Eilif Peterssen Summer Night (1886)

Realism in the arts is generally the attempt to represent subject-matter truthfully, without artificiality, exaggeration, or speculative or supernatural elements. The term is often used interchangeably with naturalism, although these terms are not necessarily synonymous. Naturalism, as an idea relating to visual representation in Western art, seeks to depict objects with the least possible amount of distortion and is tied to the development of linear perspective and illusionism in Renaissance Europe. Realism, while predicated upon naturalistic representation and a departure from the idealization of earlier academic art, often refers to a specific art historical movement that originated in France in the aftermath of the French Revolution of 1848. With artists like Gustave Courbet capitalizing on the mundane, ugly or sordid, realism was motivated by the renewed interest in the commoner and the rise of leftist politics. The realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century.

In 19th-century Europe, "Naturalism" or the "Naturalist school" was somewhat artificially erected as a term representing a breakaway sub-movement of realism, that attempted (not wholly successfully) to distinguish itself from its parent by its avoidance of politics and social issues, and liked to proclaim a quasi-scientific basis, playing on the sense of "naturalist" as a student of natural history, as the biological sciences were then generally known.

There have been various movements invoking realism in the other arts, such as the opera style of verismo, literary realism, theatrical realism and Italian neorealist cinema.

Visual arts

When used as an adjective, "realistic" (usually related to visual appearance) distinguishes itself from "realist" art that concerns subject matter. Similarly, the term "illusionistic" might be used when referring to the accurate rendering of visual appearances in a composition. In painting, naturalism is the precise, detailed and accurate representation in art of the appearance of scenes and objects. It is also called mimesis or illusionism and became especially marked in European painting in the Early Netherlandish painting of Robert Campin, Jan van Eyck and other artists in the 15th century. In the 19th century, Realism art movement painters such as Gustave Courbet were not especially noted for fully precise and careful depiction of visual appearances; in Courbet's time that was more often a characteristic of academic painting, which very often depicted with great skill and care scenes that were contrived and artificial, or imagined historical scenes.

Resisting idealization

Francisco Goya, Charles IV of Spain and His Family, 1800–01

Realism, or naturalism as a style depicting the unidealized version of the subject, can be used in depicting any type of subject without commitment to treating the typical or every day. Despite the general idealism of classical art, this too had classical precedents, which came in useful when defending such treatments in the Renaissance and Baroque. Demetrius of Alopece was a 4th-century BCE sculptor whose work (all now lost) was said to prefer realism over ideal beauty, and during the Ancient Roman Republic, politicians preferred a truthful depiction in portraits, though the early emperors favored Greek idealism. Goya's portraits of the Spanish royal family represent a sort of honest, unflattering portrayal of important people.

A recurring trend in Christian art was "realism" that emphasized the humanity of religious figures, above all Christ and his physical sufferings in his Passion. Following trends in devotional literature, this developed in the Late Middle Ages, where some painted wooden sculptures in particular strayed into the grotesque in portraying Christ covered in wounds and blood, with the intention of stimulating the viewer to meditate on the suffering that Christ had undergone on their behalf. These were especially found in Germany and Central Europe. After abating in the Renaissance, similar works re-appeared in the Baroque, especially in Spanish sculpture.

Renaissance theorists opened a debate, which was to last several centuries, as to the correct balance between drawing art from the observation of nature and from idealized forms, typically those found in classical models, or the work of other artists generally. Some admitted the importance of the natural, but many believed it should be idealized to various degrees to include only the beautiful. Leonardo da Vinci was one who championed the pure study of nature and wished to depict the whole range of individual varieties of forms in the human figure and other things. Leon Battista Alberti was an early idealizer, stressing the typical, with others such as Michelangelo supporting the selection of the most beautiful – he refused to make portraits for that reason.

Henri Biva, Matin à Villeneuve, c. 1905–06

In the 17th century, the debate continued. In Italy, it usually centered on the contrast between the relative "classical-idealism" of the Carracci and the "naturalist" style of the Caravaggisti, or followers of Caravaggio, who painted religious scenes as though set in the back streets of contemporary Italian cities and used "naturalist" as a self-description. Bellori, writing some decades after Caravaggio's early death and no supporter of his style, refers to "Those who glory in the name of naturalists" (naturalisti).

During the 19th century, naturalism developed as a broadly defined movement in European art, though it lacked the political underpinnings that motivated realist artists. The originator of the term was the French art critic Jules-Antoine Castagnary, who in 1863 announced that: "The naturalist school declares that art is the expression of life under all phases and on all levels, and that its sole aim is to reproduce nature by carrying it to its maximum power and intensity: it is truth balanced with science". Émile Zola adopted the term with a similar scientific emphasis for his aims in the novel. Many Naturalist paintings covered a similar range of subject matter as that of Impressionism, but using tighter, more traditional brushwork styles.

The term "continued to be used indiscriminately for various kinds of realism" for several decades, often as a catch-all term for art that was outside Impressionism and later movements of Modernism and also was not academic art. The later periods of the French Barbizon School and the Düsseldorf School of painting, with its students from many countries, and 20th-century American Regionalism are movements that are often also described as "naturalist", although the term is rarely used in British painting. Some recent art historians claimed either Courbet or the Impressionists for the label.

Illusionism

Lord Leighton's Cimabue's Celebrated Madonna of 1853–55 is at the end of a long tradition of illusionism in painting, but is not Realist in the sense of Courbet's work of the same period.

The development of increasingly accurate representations of the visual appearances of things has a long history in art. It includes elements such as the accurate depiction of the anatomy of humans and animals, the perspective and effects of distance, and the detailed effects of light and color. The art of the Upper Paleolithic in Europe achieved remarkably lifelike depictions of animals. Ancient Egyptian art developed conventions involving both stylization and idealization. Ancient Greek art is commonly recognized as having made great progress in the representation of anatomy. No original works on panels or walls by the great Greek painters survive, but from literary accounts and the surviving corpus of derivative works (mostly Graeco-Roman works in mosaic), illusionism seems to be highly valued in painting. Pliny the Elder's famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend.

As well as accuracy in shape, light, and color, Roman paintings show an unscientific but effective knowledge of representing distant objects smaller than closer ones and representing regular geometric forms such as the roof and walls of a room with perspective. This progress in illusionistic effects in no way meant a rejection of idealism; statues of Greek gods and heroes attempt to represent with accuracy idealized and beautiful forms, though other works, such as heads of the famously ugly Socrates, were allowed to fall below these ideal standards of beauty. Roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects, called verism.

Bas-de-page of the Baptism of Christ, "Hand G" (Jan van Eyck?), Turin–Milan Hours. An illusionistic work for c. 1425, with the dove of the Holy Ghost in the sky.

The art of Late Antiquity famously rejected illusionism for expressive force, a change already well underway by the time Christianity began to affect the art of the elite. In the West, classical standards of illusionism did not begin to be reached again until the Late medieval and Early Renaissance periods and were helped first in the Netherlands in the early 15th century, and around the 1470s in Italy by the development of new techniques of oil painting which allowed very subtle and precise effects of light to be painted using several layers of paint and glaze. Scientific methods of representing perspective were developed in Italy in the early 15th century and gradually spread across Europe, with accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm.

The accurate depiction of landscape in painting had also been developing in Early Netherlandish/Early Northern Renaissance and Italian Renaissance painting and was then brought to a very high level in 17th-century Dutch Golden Age painting, with very subtle techniques for depicting a range of weather conditions and degrees of natural light. After being another development of Early Netherlandish painting, 1600 European portraiture subjects were often idealized by smoothing features or giving them an artificial pose. Still life paintings and still life elements in other works played a considerable role in developing illusionistic painting, though in the Netherlandish tradition of flower painting they long lacked "realism", in that flowers from all seasons were typically used, either from the habit of assembling compositions from individual drawings or as a deliberate convention; the large displays of bouquets in vases were atypical of 17th-century habits; the flowers were displayed one at a time.

Depiction of ordinary subjects

Woodcutting, miniature from a set of Labours of the Months by Simon Bening, c. 1550

The depiction of ordinary, everyday subjects in art also has a long history, though it was often squeezed into the edges of compositions or shown at a smaller scale. This was partly because art was expensive and usually commissioned for specific religious, political or personal reasons, which allowed only a relatively small amount of space or effort to be devoted to such scenes. Drolleries in the margins of medieval illuminated manuscripts sometimes contain small scenes of everyday life, and the development of perspective created large background areas in many scenes set outdoors. Medieval and Early Renaissance art usually showed non-sacred figures in contemporary dress by convention.

Early Netherlandish painting brought the painting of portraits as low down the social scale as the prosperous merchants of Flanders, and some of these, notably the Arnolfini Portrait by Jan van Eyck (1434) and more often in religious scenes such as the Merode Altarpiece by Robert Campin and his workshop (circa 1427), include very detailed depictions of middle-class interiors full of lovingly depicted objects. However, these objects are at least largely there because they carry layers of complex significance and symbolism that undercut any commitment to realism for its own sake. Cycles of the Labours of the Months in late medieval art, of which many examples survive from books of hours, concentrate on peasants laboring on different tasks through the seasons, often in a rich landscape background, and were significant both in developing landscape art and the depiction of everyday working-class people.

Annibale Carracci, The Butcher's Shop, early 1580s

In the 16th century, there was a fashion for the depiction in large paintings of scenes of people working, especially in food markets and kitchens; in many, the food is given as much prominence as the workers. Artists included Pieter Aertsen and his nephew Joachim Beuckelaer in the Netherlands, working in an essentially Mannerist style, and in Italy the young Annibale Carracci in the 1580s, using an unpolished style, with Bartolomeo Passerotti somewhere between the two. Pieter Bruegel the Elder pioneered large panoramic scenes of peasant life. Such scenes acted as a prelude for the popularity of scenes of work in genre painting in the 17th century, which appeared all over Europe, with Dutch Golden Age painting sprouting several different subgenres of such scenes, the Bamboccianti (though mostly from the Low Countries) in Italy, and in Spain the genre of bodegones, and the introduction of unidealized peasants into history paintings by Jusepe de Ribera and Velázquez. The Le Nain brothers in France and many Flemish artists including Adriaen Brouwer and David Teniers the Elder and Younger painted peasants, but rarely townsfolk. In the 18th century, small paintings of working people remained popular, mostly drawing on the Dutch tradition and featuring women.

Much art depicting ordinary people, especially in the form of prints, was comic and moralistic, but the mere poverty of the subjects seems relatively rarely to have been part of the moral message. From the mid-19th century onwards, the difficulties of life for the poor were emphasized. Despite this trend coinciding with large-scale migration from the countryside to cities in most of Europe, painters still tended to paint poor rural people. Crowded city street scenes were popular with the Impressionists and related painters, especially ones showing Paris.

Medieval manuscript illuminators were often asked to illustrate technology, but after the Renaissance, such images continued in book illustrations and prints, with the exception of marine painting which largely disappeared in fine art until the early Industrial Revolution, scenes from which were painted by a few painters such as Joseph Wright of Derby and Philip James de Loutherbourg. Such subjects probably failed to sell very well, and there is a noticeable absence of industry, other than a few railway scenes, in painting until the later 19th century, when works began to be commissioned, typically by industrialists or for institutions in industrial cities, often on a large scale, and sometimes given a quasi-heroic treatment.

American realism, a movement of the early 20th century, is one of many modern movements to use realism in this sense.

Realist movement

The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting. In favor of depictions of 'real' life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works. Its chief exponents were Gustave Courbet, Jean-François Millet, Honoré Daumier and Jean-Baptiste-Camille Corot. According to Ross Finocchio, formerly of the Department of European Paintings at the Metropolitan Museum of Art, Realists used unprettified detail depicting the existence of ordinary contemporary life, coinciding with the contemporaneous naturalist literature of Émile Zola, Honoré de Balzac and Gustave Flaubert.

The French Realist movement had equivalents in all other Western countries, developing somewhat later. In particular the Peredvizhniki or Wanderers group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as Ilya Repin, Vasily Perov and Ivan Shishkin, and had a great influence on Russian art. In Britain, artists such as Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues.

Literature

Broadly defined as "the faithful representation of reality", Realism as a literary movement is based on "objective reality." It focuses on showing everyday activities and life, primarily among the middle- or lower-class society, without romantic idealization or dramatization. According to Kornelije Kvas, "the realistic figuration and re-figuration of reality form logical constructs that are similar to our usual notion of reality, without violating the principle of three types of laws – those of natural sciences, psychological and social ones". It may be regarded as a general attempt to depict subjects as they are considered to exist in third-person objective reality without embellishment or interpretation and "in accordance with secular, empirical rules." As such, the approach inherently implies a belief that such reality is ontologically independent of humankind's conceptual schemes, linguistic practices and beliefs and thus can be known to the artist, who can in turn represent this 'reality' faithfully. As Ian Watt states, modern realism "begins from the position that truth can be discovered by the individual through the senses" and as such, "it has its origins in Descartes and Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century."

While the preceding Romantic era was also a reaction against the values of the Industrial Revolution, realism was in its turn a reaction to Romanticism, and for this reason it is also commonly derogatorily referred as "traditional bourgeois realism". Some writers of Victorian literature produced works of realism. The rigidities, conventions, and other limitations of "bourgeois realism" prompted in their turn the revolt later labeled as modernism; starting around 1900, the driving motive of modernist literature was the criticism of the 19th-century bourgeois social order and world view, which was countered with an anti-rationalist, anti-realist and anti-bourgeois program.

Theatre

A compelling scene from Chekhov's 'Uncle Vanya' captured during a performance at the Moscow Art Theatre. This image reflects the emotional climax of the play in its fourth act.
A photograph taken during the 1922 performance of 'Uncle Vanya' at the Moscow Art Theatre

Theatrical realism is said to have first emerged in European drama in the 19th century as an offshoot of the Industrial Revolution and the age of science. Some also specifically cited the invention of photography as the basis of the realist theater while others view that the association between realism and drama is far older as demonstrated by the principles of dramatic forms such as the presentation of the physical world that closely matches reality.

The achievement of realism in the theatre was to direct attention to the social and psychological problems of ordinary life. In its dramas, people emerge as victims of forces larger than themselves, as individuals confronted with a rapidly accelerating world. These pioneering playwrights present their characters as ordinary, impotent, and unable to arrive at answers to their predicaments. This type of art represents what we see with our human eyes. Anton Chekov, for instance, used camera works to reproduce an uninflected slice of life. Scholars such as Thomas Postlewait noted that throughout the nineteenth and twentieth centuries, there were numerous joining of melodramatic and realistic forms and functions, which could be demonstrated in the way melodramatic elements existed in realistic forms and vice versa.

In the United States, realism in drama preceded fictional realism by about two decades as theater historians identified the first impetus toward realism during the late 1870s and early 1880s. Its development is also attributed to William Dean Howells and Henry James who served as the spokesmen for realism as well as articulator of its aesthetic principles.

The realistic approach to theater collapsed into nihilism and the absurd after World War II.

Cinema

Italian Neorealism was a cinematic movement incorporating elements of realism that developed in post-WWII Italy. Notable Neorealists included Vittorio De Sica, Luchino Visconti, and Roberto Rossellini. Realist films generally focus on social issues. There are two types of realism in film: seamless realism and aesthetic realism. Seamless realism tries to use narrative structures and film techniques to create a "reality effect" to maintain its authenticity. Aesthetic realism, which was first called for by French filmmakers in the 1930s and promoted by Andre Bazin in the 1950s, acknowledges that a "film cannot be fixed to mean what it shows", as there are multiple realisms; as such, these filmmakers use location shooting, natural light and non-professional actors to ensure the viewer can make up her/his own choice based on the film, rather than being manipulated into a "preferred reading". Siegfried Kracauer is also notable for arguing that realism is the most important function of cinema.

Aesthetically realist filmmakers use long shots, deep focus and eye-level 90-degree shots to reduce manipulation of what the viewer sees. Italian neorealism filmmakers from after WWII took the existing realist film approaches from France and Italy that emerged in the 1960s and used them to create a politically oriented cinema. French filmmakers made some politically oriented realist films in the 1960s, such as the cinéma vérité and documentary films of Jean Rouch while in the 1950s and 1960s, British, French and German new waves of filmmaking produced "slice-of-life" films (e.g., kitchen sink dramas in the UK).

Opera

Verismo was a post-Romantic operatic tradition associated with Italian composers such as Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano, Francesco Cilea and Giacomo Puccini. They sought to bring the naturalism of influential late 19th-century writers such as Émile Zola, Gustave Flaubert and Henrik Ibsen into opera. This new style presented true-to-life drama that featured gritty and flawed lower-class protagonists while some described it as a heightened portrayal of a realistic event. Although an account considered Giuseppe Verdi's Luisa Miller and La traviata as the first stirrings of the verismo, some claimed that it began in 1890 with the first performance of Mascagni's Cavalleria rusticana, peaked in the early 1900s. It was followed by Leoncavallo's Pagliacci, which dealt with the themes of infidelity, revenge, and violence.

Verismo also reached Britain where pioneers included the Victorian-era theatrical partnership of the dramatist W. S. Gilbert and the composer Arthur Sullivan (1842–1900). Specifically, their play Iolanthe is considered a realistic representation of the nobility although it included fantastical elements.

Liberal institutionalism

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Liberal_institutionalism Liberal institutio...