Kunst, Wissen und Zeugnis

In this paper we want to explore different epistemological benefits that we gain by dealing with some artworks, and our focus is on narrative arts. We claim that there is a sense in which narrative arts (e.g. literature, film and possibly even some expressions of visual art) can be similar to testimony, in that they provide information which can be epistemologically valuable for cognitive agents such as we are. We identify at least two broad categories of these epistemological benefits, the first one includes ‘facts stating’ and in that sense is parallel to the paradigmatic case of testimony in which what the testifier says can be a source of knowledge as mere acquisition of facts for his audience (this is the first case when we speak of artworks as ‘tellings’). This, however, is not the most peculiar and distinctive kind of epistemological benefits we can gain from art. The other one has to do with raising awareness, of deepening our understanding about some issues either by a specific, powerful and involving way of providing us facts (this is the second way in which we speak of artworks as ‘tellings’), or by presenting us the stance, the attitude, the opinion of the artist that can be enlightening, or challenging for us (in this case, we speak of ‘sayings’).U ovom radu želimo istražiti različite epistemološke koristi koje dobivamo putem nekih umjetničkih djela, pri čemu smo primarno usredotočeni na narativne umjetnosti. Tvrdimo da u određenom smislu, narativne umjetnosti (primjerice književnost, film a i neka djela vizualne umjetnosti) mogu biti slične svjedočanstvu, utoliko što pružaju informacije koje mogu biti epistemološki vrijedne za kognitivne djelatnike kakvi smo mi. Razlikujemo barem dvije šire kategorije tih epistemoloških vrijednosti, od kojih prva uključuje ‘navođenje činjenica’ i u tom je smislu pandan paradigmatskom slučaju svjedočanstva u kojem ono što informator govori može biti izvor znanja za publiku koja time naprosto dobiva činjenice (ovo je prvi slučaj, kada govorimo o umjetničkim djelima kao o ‘tellings’). Međutim, to nije najsvojstvenija i najznačajnija vrsta epistemoloških vrijednosti koje dobijemo iz umjetnosti. Druga kategorija tiče se povećavanja svijesti ili produbljivanja razumijevanja o nekom fenomenu, koji se može odvijati na dva načina: ili pružanjem činjenica na specifično snažan i prožimalački način (ovo je drugi smisao u kojem o umjetničkom djelu možemo govoriti kao o ‘tellings’), ili prezentiranjem stajališta, stava ili mišljenja umjetnika koji nam može biti prosvjetljujući ili pak predstavljati izazov našem stajalištu.Dans cet article, nous souhaitons étudier les différents avantages épistémologiques qu’on tire de certains ouvrages artistiques, en nous focalisant sur les arts narratifs. Nous affirmons que, dans un certain sens, les arts narratifs (ex. lettres, cinéma, mais aussi certaines formes d’expressions de l’art visuel) peuvent ressembler au témoignage, dans la mesure où ils fournissent des informations susceptibles d’être épistémologiquement précieuses aux acteurs cognitifs que nous sommes. Nous distinguons au moins deux catégories larges de ces avantages épistémologiques. La première comprend « l’énoncé des faits » et dans ce sens représente le pendant du cas paradigmatique de témoignage où, ce que le témoin dit, peut être source de connaissance pour le public qui de cette manière reçoit simplement les faits (il s’agit du premier cas, celui où nous parlons des ouvrages artistiques comme « tellings »). Cependant, cette sorte d’avantage épistémologique n’est pas la plus originale ou la plus pertinente qu’on puisse tirer de l’art. L’autre catégorie concerne l’accroissement de la conscience ou l’approfondissement de la compréhension de certains phénomènes, soit en rapportant les faits d’une façon spécifique, puissante et engageante (ceci est la deuxième façon dont nous considérons les ouvrages d’art comme « tellings »), soit en présentant la position, l’attitude ou l’opinion de l’artiste, qui puissent nous être révélateurs ou provocateurs.In diesem Paper möchten wir den unterschiedlichen epistemologischen Vorzügen auf den Grund gehen, die wir in der Arbeit mit einigen Kunstwerken erlangen, wobei unser Schwerpunkt in der narrativen Kunst liegt. Wir behaupten, die narrativen Künste (z. B. Literatur, Film und möglicherweise überdies einzelne Ausdrücke der visuellen Kunst) könnten in gewissem Sinne dem Zeugnis ähneln, insofern sie Informationen besorgten, die epistemologisch wertvoll für kognitive Agenten wie uns seien. Wir identifizieren zumindest zwei breite Kategorien dieser epistemologischen Vorzüge, die Erste schließt „Tatsachenangaben“ ein und ist in diesem Sinne vergleichbar mit dem paradigmatischen Fall des Zeugnisses, wo die Aussagen des Zeugen als Wissensquelle, als bloße Faktenaneignung für sein Publikum zu dienen vermögen (dies repräsentiert den ersten Fall, welcher von den Kunstwerken als den „Tellings“ handelt). Dies dagegen ist nicht die eigenartigste und distinktivste Art der epistemologischen Werte, die uns die Kunst verschafft. Die andere hat es mit der Bewusstseinssteigerung sowie Verständnisvertiefung bezüglich gewisser Fragestellungen zu tun, entweder durch spezifische, kraftvolle und involvierende Art der Tatsachenvermittlung (dies repräsentiert den zweiten Fall, wo die Rede von den Kunstwerken als den „Tellings“ ist), oder eben durch die Präsentierung der Haltung, Einstellung oder Ansicht des Künstlers, welche sich für uns als erhellend oder herausfordernd herausschälen könnten (diesfalls reden wir von den „Sayings“)

Public reason. The consensus and the convergence view

Jonathan Quong proposes and defends the consensus, shared reasons, view of public reason. The proposal is opposed to the convergence view, defended, among others, by Gerald Gaus. The strong argument that Quong puts forward in opposition to the convergence view is represented by the sincerity argument. The present paper offers an argument that embraces a form of convergence and, at the same time, is engaged in respecting the requirement of sincerity

Sergio Cremaschi su metaetica ed etica applicata

Cremaschi’s book (Normativity within the Bounds of Plural Reasons, Helsingforts, NSU Press, 2007) presents a critical exposition of the development of contemporary moral philosophy. A virtue of the book rarely found in other philosophical survays is the parallel representation of the themes discussed both in the Anglo-Saxon tradition and in the continental one. The final part of the book is devoted to recent developments in applied ethics

Eugenio Lecaldano on Bioethics

Eugenio Lecaldano offers an important contribution to the tradition of italian liberal thought. In his book on bioethics he deals with the subject’s most relevant topics by taking a utilitarian perspective , which clearly demonstrates the influence of J.S. Mill’s philosophy. The indication of some significant analogies and distinction among different moral problems is one of the most interesting and useful aspects of Lecaldano’s work

On Cowley’s Medical Ethics

Two issues in Cowley’s book Medical Ethics, Ordinary Concepts and Ordinary Lives are discussed. The first regards the opposition between the methodological approach based on moral theories and moral principles and that based on ordinary meanings. The discussion is developed through the opposition between the approach based on propositional knowledge and the approach based on experiential knowledge. The second issue regards moral disagreement and change of seeing

Will Kymlicka, Multikulturalno građanstvo

Prikaz knjige Will Kymlicka, Multikulturalno građanstvo, preveo Davor Stipetić, Naklada Jesenski i Turk, Zagreb 2003, 416 str

Humean Scepticism and Moral Philosophy

James Allan’s book A Sceptical Theory of Morality and Law (New York, Peter Lang, 1998) is an interesting and first–rate attempt of using a humean theory as a model for a contemporary sceptical view in ethics and philosophy of law. In presenting Hume’s theory, Allan explicitly declares that he is not interested in an exegeses of Hume’s theory, but he intends to use it as a critical tool for contemporary moral discussions. Allan’s books surely represents a major contribution to contemporary moral discussions, and some of his topics deserves a further discussion, as his discussion of Thomas Nagel, his criticism to moral intuitionism, the fact of whether his naturalistic reduction leads to scepticism or to naturalistic realism

Risk Pricing in Construction Tenders - How, Who, What

Construction projects are most commonlyprocured in Australia by means of atraditional design-tender-build model,whereby design is largely completed thencontractors submit tenders in acompetitive environment. Constructioncontractors must consider risks within theirtenders. This paper reports the researchfindings into pricing for risk in competitivetenders by construction contractors. Theresearch is based on structured interviewswith 10 contracting personnel;supplemented by 23 responses ofconstruction personnel from an onlinesurvey. Two common methods to price forrisk are a trade-by-trade basis or anoverall percentage or lump sum addition tothe base estimate. Experience andintuition plays a significant role in pricingfor risk in tenders and the number andtype of people involved varies with projectsize, with greater involvement as projectsize increases. The most significant riskspriced in tenders were: availability ofresources; design or documentation errors;incomplete design; buildability issues; andinclement weather. The most significantproject factors considered by contractorswhen pricing for risk in tenders are: valueof liquidated damages; type ofcontract/procurement; completeness ofdocumentation; project complexity; and. current workload. These risks and projectfactors are primarily those over which thecontractor has limited or no control