Daniel Cohnitz

One of the most basic methods of philosophy is, and has always been, the consideration of counterfactual cases and imaginary scenarios. One purpose of doing so obviously is to test our theories against such counterfactual cases. Although this method is widespread, it is far from being commonly accepted. Especially during the last two decades it has been confronted with criticism ranging from complete dismissal to denying only its critical powers to a cautious defense of the use of thought experiments as counterexamples. One of the strongest criticisms of the method of thought experimentation is "modal skepticism" as explicated and defended by Peter van Inwagen. Van Inwagen argues that the philosopher's notion of logical possibility is confused and that its epistemology is dubious. I argue that van Inwagen's skepticism is unwarranted. There is a sufficiently clear notion of logical possibility and a sufficiently straightforward way of getting to know what is logically possible. In the remainder of the paper I show how that connects with the methodology of thought experimentation in philosophy.

Nelson Goodman's acceptance and critique of certain methods and tenets of positivism, his defence of nominalism and phenomenalism, his formulation of a new riddle of induction, his work on notational systems, and his analysis of the arts place him at the forefront of the history and development of American philosophy in the twentieth-century. However, outside of America, Goodman has been a rather neglected figure. In this first book-length introduction to his work Cohnitz and Rossberg assess Goodman's lasting contribution to philosophy and show that although some of his views may be now considered unfashionable or unorthodox, there is much in Goodman's work that is of significance today. The book begins with the "grue"-paradox, which exemplifies Goodman's way of dealing with philosophical problems. After this, the unifying features of Goodman's philosophy are presented - his constructivism, conventionalism and relativism - followed by an discussion of his central work, The Structure of Appearance and its significance in the analytic tradition. The following chapters present the technical apparatus that underlies his philosophy, his mereology and semiotics, which provides the background for discussion of Goodman's aesthetics.