by Jeroen Bouterse
Steven Pinker’s 2018 book Enlightenment Now is a reasoned defense of the values of the Enlightenment: of reason, science, humanism and progress. Pinker uses most of his space to demonstrate, positively, how the attitudes and institutions associated with Enlightenment thought have done good in the world. However, he has also woven through his book a clear motif of defense against ‘counter-Enlightenments’: the opponents of Enlightenment values.
These opponents are, among others, religious faith and some radical kinds of environmentalism. The anti-Enlightenment sentiments that Pinker deals with most extensively, however, are those of the so-called ‘Second Culture’: “the world-view of many literary intellectuals and cultural critics”, who have been criticizing the Enlightenment specifically for its devotion to the sciences. Pinker devotes an entire chapter to this Second Culture and its “high-brow war on science” (mostly overlapping with this article in The Chronicle of Higher Education). Treatment of science in liberal-arts curricula is
“pernicious […]. Students can graduate with only a trifling exposure to science, and what they do learn is often designed to poison them against it.” (395)
Pinker complains that science gets blamed for all kinds of crimes, such as 19th-century racism – which, if anything, is “the brainchild not of science but of the humanities” (398). Also, students are made to read Thomas Kuhn. Kuhn famously coined the notion of ‘paradigms’ in order to make the case that the assessment of progress in science depends on a shared set of assumptions. This way of thinking leads to the cynical conclusion that science does not converge upon the truth at all, says Pinker.
Intellectually, this is far from the best part of Enlightenment Now: Pinker’s definition of the other side is imprecise, his supporting data uncharacteristically anecdotal and one-sided. (Kuhn had a PhD in physics, and it is hard to find in his work any hostile remarks about science.) The reason Pinker can get away with this is that he seems to be stating the obvious: the existence of a divide between the sciences and the humanities that is not institutional but cultural has been accepted wisdom in Western culture for decades. Read more »


The 2020s will have a name. In the nursing homes of the future, Millennials’ grandchildren will hear all about the coming decade. Gran will remove her headset, loaded out with VR-entertainment and the latest in biometric tech, and she’ll tell the kids about the world as it was in the third decade of the 21st Century. For now, we look ahead to the Twenties, a decade certain to be charged with meaning, roaring in one way or another.
One of my favorite quotes about artificial intelligence is often attributed to pioneering computer scientists Hans Moravec and Marvin Minsky. To paraphrase: “The most important thing we have learned from three decades of AI research is that the hard things are easy and the easy things are hard”. In other words, we have been hoodwinked for a long time. We thought that vision and locomotion and housework would be easy and language recognition and chess and driving would be hard. And yet it has turned out that we have made significant strides in tackling the latter while hardly making a dent in the former. The lower-level skills seem to require significantly more understanding and computational power than seemingly more sophisticated, higher-level skills.


As a child, I feared dogs. A neighbor kept his German Shepherds, Heidi and Sarge, in a large pen along the alley. The yard and house, his parents’, were the biggest for many blocks. On the alley side, the chain link fence stood 10 feet. The dogs would charge out of their houses silently and hurl their bodies at the fence snarling and barking. I was caught unaware at the fence a few times. My stomach curdled and legs buckled. My mother’s family are dog people. My grandparents cared for a series of large overfed dogs who cavorted in the swamps surrounding their Massachusetts home and otherwise slumped under the kitchen table waiting for my grandmother to put together meals of breakfast scraps bound with maple syrup or for treats from a cookie jar on her counter. My uncles had shambling dogs who would leap into rough water off Cape Cod to retrieve balls from seaweed choked waves. As their fur dried, they smelled of sour salt water and general funk. At the rented house, they showed a gentle deference to humans and lolled on the grass or carpet while my cousins and I ate and talked.
Having taught Philosophy for 46 years in three Universities—two State and one private—and never taught a Critical Thinking course one might have some questions about my choice of topic. My response is two-fold. First, there is a sense in which no matter what the topic of a particular course philosophy is always about critical thinking. One’s lectures are intended to model careful, reflective thought, sensitive to both the considerations favoring one’s views as well as the strongest objections. Second, because it is always going to be essential to use and define essential logical terminology.
For a Baptist, the Bible exists like gravity. Not believing in gravity will not change the outcome if you step off a building; not believing the Bible will not change the consequences if you ignore its precepts and commands. Both are laws of nature, fixed and unchanging.
Few topics have captured the attention of the internet literati more than the topic of Jordan B. Peterson. Peterson, 

What follows is part of a collaborative project between a historian and a student of medicine called “The Temperature of Our Time.” In forming diagnoses, historians and doctors gather what Carlo Ginzburg has called “small insights”—clues drawn from “concrete experience”—to expose the invisible: a forensic assessment of condition, the origins of an idiopathic illness, the trajectory of an idea through time. Taking the temperature of our time means reading vital signs and symptoms around a fixed theme or metaphor—in this case, the circus.
Beauty has long been understood as the highest form of aesthetic praise sharing space with goodness, truth, and justice as a source of ultimate value. But in recent decades, despite calls for its revival, beauty has been treated as the ugly stepchild banished by an art world seeking forms of expression that capture the seedier side of human existence. It is a sad state of affairs when the highest form of aesthetic praise is dragged through the mud. Might the problem be that beauty from the beginning has been misunderstood?
There is a famous exchange in Casablanca between Rick (Humphrey Bogart) and Captain Renault (Claude Rains):