Latest Podcast Episode
What is knowledge?
For some time, the answer to this perennial question was thought by many to be “justified true belief”. If I believe X to be true, I have good reason for believing X to be true, and X really is true, then I know X. In 1963, Edmund Gettier published a now legendary three-page paper titled “Is Justified True Belief Knowledge?” in which he gave two examples of justified true belief that did not constitute knowledge. Since then, epistemologists have mostly agreed that there’s some extra ingredient requisite for knowledge but have disagreed about what it is. After drawing out Gettier’s examples, Peter Klein explains that there are two major camps. The first he calls etiology of belief: theories in which the extra ingredient has to do with how the belief was attained. Reliabilists, for example, argue that a justified true belief counts as knowledge if the belief is arrived at via a method that reliably delivers accurate beliefs. Klein belongs to the second camp: quality of evidence theories, which have to do with the strength of the justification, not the cause of the belief. Klein defends his own preferred quality of evidence theory: defeasibility theory, which involves the existence or absence of “defeaters” for the justification.
Featured Blog Post
Dialetheism is the view that some contradictions are true. Put another way, dialetheists claim that there are propositions that are both true and false at the same time and in the same respect. I argue that, despite initial appearances, dialetheism is intuitively compelling and even quite obviously true. I conjure the cases of Timmy the Square Circle and Divaltopian Law to show why this must be.
This is part one of a two-part series. Part two considers the possibility of contradictions about physical reality.
Talia (audiodrama album)
"It all started when I decided to write a self-aware character." A narrative and musical journey into the mind of a writer who fears that a fictional character of his own creation may be plotting to permanently hijack his very identity and agency. The humorous, philosophical, tragic, and absurd story is accompanied by a rich and varied original score, incorporating elements of electronica, prog rock, jazz, hip-hop, chamber, choral, avant-garde, and metal. 96 min. album.