Susan Haack's Evidence and Inquiry

Susan Haack is a British philosopher who was born in 1945 in Burnham, England. (She is a citizen of the United Kingdom, but has been a permanent U.S. resident since 1990). She studied at the University of Oxford and the University of Cambridge, earning her PhD in philosophy at Cambridge in 1972, with a dissertation that later became her first book, Deviant Logic. She served as Fellow of New Hall, Cambridge, and later as Professor of Philosophy at the University of Warwick. Since 1990, she has been a professor of philosophy at the University of Miami, where she is currently Distinguished Professor in the Humanities, Cooper Senior Scholar in Arts and Sciences, Professor of Philosophy, and Professor of Law. 

      She has written on many subjects, including philosophy of logic, epistemology, metaphysics, philosophy of science, philosophical and legal pragmatism, feminism, and social philosophy.

      Her many books have included Deviant Logic (1974), Philosophy of Logics (1978), Evidence and Inquiry (1993), Defending Science--Within Reason: Between Scientism and Cynicism (2003), Pragmatism, Old and New (2006), Putting Philosophy to Work: Inquiry and its Place in Culture (2008), and Evidence Matters: Science, Proof and Truth in the Law (2014).

      In Evidence and Inquiry (1993), she offers a theory of epistemic justification that is neither foundationalist nor coherentist, but "foundherentist." She seeks to transcend what she calls the false dichotomies of foundationalism vs. coherentism, externalism vs, internalism, evidentialism vs. reliabilism, and apriorism vs. scientism.¹ She also aims to show that satisfaction of foundherentist criteria is an indication of the truth of beliefs.² She uses the analogy of a crossword puzzle to describe the true structure of relations of evidential support, and to indicate that beliefs can mutually support one another without being logically circular.³ Below is a brief outline of the first chapter.

      Haack describes foundationalism as the theory that (1) some justified beliefs are basic (justified independently of the support of other beliefs), and (2) all other justified beliefs are derived (justified via the direct or indirect support of basic beliefs).⁴ Coherentism is the theory that a belief is justified if and only if it belongs to a coherent set of beliefs.⁵ Foundationalism is a one-directional model of justification (basic beliefs are required to support derived beliefs, and never vice versa), while coherentism is not. Coherentism holds that justification is exclusively a matter of relations, while foundationalism does not.⁶

      Varieties of foundationalism include experientialist (or empirical) foundationalism, which holds that basic beliefs are justified, not by being supported by other beliefs, but by being supported by experience. The extrinsic version of empirical foundationalism holds that basic beliefs are justified by being causally connected to the state of affairs that makes them true, while the intrinsic version holds that basic beliefs are justified by their intrinsic nature and content.⁷

      Strong foundationalism, which holds that basic beliefs are decisively, conclusively, or completely justified, independently of the support of other beliefs, may be distinguished from weak foundationalism, which holds that basic beliefs are only prima facie, defeasibly, or to some degree justified, independently of the support of other beliefs.⁸

      Pure foundationalism, which holds that derived beliefs are justified wholly via the support of basic beliefs, may also be distinguished from impure foundationalism, which holds that derived beliefs are justified at least in part via the support of basic beliefs.⁹

      Haack notes that contextualism (which she describes as the theory that justification is a matter of conformity to the standards of an epistemic community) may be a third alternative theory of epistemic justification. Contextualism, like foundationalism, may posit certain basic beliefs by which all other justified beliefs are supported, but rather than seeing those beliefs as being supported in some other way than via the support of other beliefs, it may see them as not standing in need of justification at all for the epistemic community in question.¹⁰ A weakness of contextualism, however, is that it may lead to the impression that epistemic standards are merely conventional rather than objective, which may undermine the legitimacy of the project of ratifying certain beliefs as justified.¹¹

      Haack describes and evaluates some of the arguments for and against foundationalism and coherentism. According to the infinite regress argument for foundationalism, a belief can't be justified if it requires support via other beliefs, which then require support via other beliefs, which then require support via other beliefs, in an infinite regression. Some beliefs must be justified, independently of the support of other beliefs. But she contends that this argument makes the false assumption that the reasons for a belief must constitute a chain, rather than a pyramid or some other supporting structure.

      Another argument against extrinsic foundationalism is the evidentialist objection, that this theory of justification seems to claim that a basic belief is justified if there's an appropriate connection between a belief-state and a state of affairs that makes it true, even when the subject has no other evidence for the belief or has evidence against it.¹²

      An argument against coherentism is the too much to ask objection, that consistency is assumed to be a necessary condition of coherence, and that a subject who has inconsistent beliefs can't therefore be justified in any of their beliefs (which makes consistency seem like too demanding a requirement).¹³

      Another argument against coherentism, however, is the consistent fairy story objection, which says, not that consistency is too strong a requirement for epistemic justification, but that it's too weak.¹⁴

      Still another argument against coherentism is what Haack calls the drunken sailors argument, which takes its name from an observation by C.I. Lewis that the coherentist claim that empirical beliefs can be justified by nothing other than relations of mutual support is like suggesting that two drunken sailors can support each other by leaning against each other, even when they have nothing to stand on.¹⁵ According to the drunken sailors argument, justification can't depend solely on relations between beliefs, and unless there's some role for empirical testing of our beliefs, we can't have any guarantee that our beliefs are justified.

      Haack describes foundherentism as the theory that (1) "a subject's experience is relevant to the justification of their beliefs, but there need be no privileged class of beliefs justified exclusively by the support of experience, independently of the support of other beliefs," and (2) "justification is not exclusively one-directional, but involves pervasive relations of mutual support."¹³ Since beliefs are seen to be justified partly by experience and partly by other beliefs, justification is gradational rather than categorical.¹⁶ Foundherentism may therefore be a middle ground between foundationalism and coherentism.

      Haack explains that foundherentism survives the decisive argument against coherentism, the drunken sailors argument. It also survives the evidentialist objection to extrinsic foundationalism, and "its superiority to even weak and impure forms of experientialist foundationalism is exhibited by its ability, and their inability, to accommodate the up and back all the way down arguments" for abandoning the one-directionality of justification. So foundherentism survives the strongest arguments against both foundationalism and coherentism.¹⁷

FOOTNOTES

¹Susan Haack, "Not One of the Boys: Memoir of an Academic Misfit," Against Professional Philosophy, August 3, 2020, online at https://againstprofphil.org/2020/08/03/susan-haacks-not-one-of-the-boys-memoir-of-an-academic-misfit/.

²Haack, Evidence and Inquiry: Towards Reconstruction in Epistemology (Oxford: Blackwell, 1993), p. 7.

³Ibid., p. 2.

⁴Ibid., p. 14.

⁵Ibid., p. 17.

⁶Ibid., p. 19.

⁷Ibid., p. 15.

⁸Ibid., p. 16.

⁹Ibid., p. 17.

¹⁰Ibid., p. 20.

¹¹Ibid., p. 20.

¹²Ibid., p. 28.

¹³Ibid., p. 25.

¹⁴Ibid., p. 26.

¹⁵Ibid., p. 19.

¹⁶Ibid., p. 20.

¹⁷Ibid., p. 33.

Baltimore 10 Miler, 2023

The Baltimore 10 Miler was held June 3rd, 2023. The start and finish were at Druid Hill Park, near the Maryland Zoo in Baltimore. The weather was perfect, 68 degrees at 7 am. But the temperature quickly climbed to 75 degrees by 9 am. Fortunately, there were plenty of water stations along the course, and the sun was behind us during the second half of the race, since we were running west back toward the park.

      The course was the same as in previous years, with the exception that, since there was a construction project at Lake Montebello, runners went halfway around the lake before making a U-turn and coming back along the bike lane to the entrance of the lake (and then back down 33rd Street). 

      I've been battling various leg injuries over the last two years, so I wasn't sure whether I'd be able to run. I even thought of calling it quits as I was trying to get warmed up at 4 or 5 am that morning. Leg stiffness has become a real problem as I get older, leading to greater susceptibility to muscle strains and other injuries.

      This year's overall winners were Jeremy Ardanuy, in the men's division, who had a time of 54:05, and Meaghan Murray, in the women's division, who had a time of 1:02. Jeremy Ardanuy was also the men's winner in 2019 and 2021. Meaghan Murray was the second place finisher in 2022, and third place finisher in 2021.

      I finished with a time of 1:52, 8th out of 19 men in my age group (1476th out of 2285 runners overall). Two of the eleven women in my age group had faster times. (The first place women's finisher had a time of 1:42, and she finished faster than all but three of the nineteen men. The first place men's finisher in my age group had a time of 1:27.) I was very happy with my time!

Baseball Card Aesthetics

Are baseball cards works of art? Are they aesthetic objects or are they merely pieces of cardboard with images of baseball players on them, supporting a hobby that is shared by kids and adults alike, who enjoy trading, sharing, buying, and selling them? What makes (or would make) an object such as a baseball card a work of art? How is the experience of looking at a baseball card (or holding it in your hand) changed when you view it as a work of art?

      Baseball cards may have many aesthetic qualities (such as beauty, symmetry, evenness of layout or configuration, vibrancy or clarity of color, captivating imagery or photography, emotional appeal, and evocative portrayals of grace, prowess, and power), and they may be designed according to aesthetic conventions (e.g. a baseball card company may have a different design for its cards each year). Baseball cards may elicit an aesthetic response in the viewer, and the viewer may adopt an aesthetic attitude toward them.

      Clean edges, sharp corners, unflawed surfaces, centering of the image, and excellent condition are all aesthetically appealing qualities of baseball cards.

      Sports cards can be graded by such companies as Professional Sports Authenticator (PSA), Sportscard Guaranty Corporation (SGC), Beckett Grading Service (BGC), and Certified Sports Guaranty (CSG). Cards are graded from 1-10, based on such factors as centering of the image, sharpness of the corners and edges, cleanness of the surface, and overall condition. Graded cards are encased in slabs (rigid plastic containers that protect them). The grade assigned to a card is based on both objective factors (such as centering, sharpness of focus of the image, sharpness of the corners and edges, and absence of such defects as faded colors, worn or rounded corners, surface wrinkles or creases, pen or pencil marks, stains, and general wear) and subjective factors (such as overall eye appeal).

      Valuable sports cards may sell for millions of dollars (e.g. a 1909 T206 Honus Wagner card sold for $7.25 million in 2022, and a 1952 Topps Mickey Mantle card sold for $12.6 million in 2022), so their monetary value may be comparable to that of prized artworks.

      Some of the most valuable baseball cards in history have included the 1909 T206 Honus Wagner, the 1952 Topps Mickey Mantle, the 1914 Baltimore News Babe Ruth (which sold for $6 million in 2021), the 1933 Goudey #53 Babe Ruth (which sold for $4.2 million in 2021), and a unique 2009 Bowman Chrome Mike Trout Superfractors rookie card (which sold for $3.8 million in 2020).

1960 Topps Willie Mays All-Star Card.

      Baseball card collections may be found in museums of fine art. The Metropolitan Museum of Art in NYC has a collection of more than 30,000 baseball cards that were donated to the museum by Jefferson R. Burdick (1900-1963), an American electrician who collected baseball cards, trading cards, postcards, posters, and other printed ephemera. The collection includes cards dating from the 1860's to 1963, among them many 1888 Old Judge Cigarettes cards, including one of Buck Ewing, many 1909-1911 T206 cards, including one of Honus Wagner, many 1933 Goudey cards, including cards of Babe Ruth and Lou Gehrig, many 1948 Leaf cards, including cards of Babe Ruth, Honus Wagner, Joe DiMaggio, Stan Musial, Warren Spahn, and Phil Rizzuto, and many 1950 Bowman cards, including cards of Jackie Robinson, Yogi Berra, and Ted Williams.

2002 Fleer Tradition #4 Brad Radke

2001 Topps #665 Nomar Garciaparra

      Baseball cards have design features that may be aesthetically appealing and distinctive. If they are particularly attractive or distinctive, then they may elicit the same kind of response in the viewer that a work of fine art may elicit. Although a baseball card may not be unique in the sense that a painting or sculpture may be unique (since there may be hundreds or thousands of copies of a single baseball card in circulation among buyers, sellers, and collectors), baseball cards may be considered as examples of mass art (they are mass-produced and mass-distributed). Does that make them kitsch (tacky, lowbrow, trivial, banal, or lacking in aesthetic value)? Not at all! They are certainly not lacking in aesthetic or monetary value for collectors and investors who may pay thousands of dollars for them and may seek the most perfect, highest graded, and most pristine cards they can find!

      On the other hand, maybe baseball cards are a little bit kitsch! They may often be found at flea markets, sidewalk sales, antique shops, and shopping malls. They may be handed down as family heirlooms or serendipitously discovered among other forgotten items in closets and attics.

      Although baseball cards are mass-produced and mass-distributed, there are an increasing number of one-of-a-kind cards. Major League Baseball (MLB) has partnered with Fanatics Collectibles, with the Major League Baseball Players Association (MLBPA), and with The Topps Company to create one-of-a-kind cards for rookies making their debuts. (Fanatics acquired the rights to make trading cards for MLB in 2021, ending MLB's 70-year partnership with Topps. Topps began producing baseball cards in 1951, and since 2010 has had an exclusive deal with MLB that will end in 2025. Fanatics also acquired Topps in 2022.)

      There is a fascinating variety of types and designs of baseball cards, from the 1909-1911 T206 tobacco cards (Piedmont, Sweet Caporal, American Beauty), to the 1915 Cracker Jack cards, to the 1922 American Caramel cards, to the 1933 Goudey gum cards, to the 1934 Gold Medal Flour cards, to the 1936 Wheaties cards, to the 1952 Topps gum cards, and so on. Indeed, there may be thousands of different types and designs of baseball cards.

      If baseball cards are artworks, then what's the difference between them and memorabilia? Vintage cards may be valuable not only for their aesthetic qualities, but also for their historical interest (when they are rare or are memorable because they belong to highly admired sets or represent highly admired players). Thus, they may be considered as both artworks and memorabilia.

      Other items of baseball memorabilia include autographed baseballs, autographed bats and jerseys, autographed batting helmets, and autographed photos.

      Autographs may have their own aesthetics. Ideally, they should be legible and clear, not smudged or blurry, and they should be written over a lighter part of the background so that they are easily distinguishable. Also, they shouldn't cover up a significant portion of the card or obscure the player's face or upper body. They should be written in blue or black ink (blue sharpie is usually the preferred autograph pen) so that they align with or contrast nicely with the other colors in the background.

Autographed 1988 Donruss Eddie Murray, PSA certified.

      I'm a relatively new baseball card collector. I collected cards when I was seven or eight years old, using my allowance to buy Topps baseball cards at the local five and dime store, when I was growing up in the Hyde Park neighborhood of Chicago, but my cards got lost, and I didn't start collecting again until early 2020 (at the start of the COVID-19 pandemic), when I was living in Baltimore. Since then, I've been collecting mostly vintage cards, signed photo postcards, and autographed photos, although I'm not sure exactly how many I've accumulated.

      Below is one of my favorite cards. It's an example of why I think baseball cards may be considered works of art.

Autographed Brace photo postcard of Joe DiMaggio, PSA certified.

      Joe DiMaggio was a Hall of Fame center fielder who played for the New York Yankees. He played thirteen seasons, from 1936-1951 (he served in the U.S. Army Air Forces from 1943-1945). He had a .325 career batting average, 2214 hits, and 361 home runs. He was a thirteen-time All Star, nine-time World Series champion, three-time American League MVP, two-time American League batting champion, and he still holds the record for baseball's longest hitting streak (56 straight games in 1941). His brothers Vince and Dom were also major league center fielders.

      George Brace (1913-2002) worked as an assistant to the photographer George Burke (1874-1951). They were the official photographers for the Chicago Cubs, the Chicago White Sox, and the National Football League's Chicago Bears from 1929 to 1951. After Burke's death in 1951, Brace continued working as a photographer until he retired in 1994. He was a superb craftsman, and he photographed almost every major league player from 1929 to 1994 (over 250,000 images), including over 200 Hall of Fame players.

      This particular autographed Brace photo of Joe DiMaggio is remarkable for its composition, and for what it reveals about the grace, ease, and power of DiMaggio's swing. It's remarkably beautiful and breathtaking.

      So my answer to the question of whether baseball cards are works of art is that yes, they can be very original, imaginative, attractive, appealing, valuable, and in some cases very rare or unique works of art.