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Reconstructivist Art: Kehinde Wiley

Artist Kehinde Wiley as an example of Reconstructivist Art.

Adries Stilte II
From Wiley’s commissioned show at the Columbus Museum of Art, which featured Columbus area subjects in the style of portraits from the museum’s permanent collection

Wiley is an African American visual artist, known primarily for his lush, full-scale portraits of young urban African-American men in poses inspired by well-known paintings from the classical Western canon.  Here’s how his work matches against the four key elements of Reconstructivist Art.

  1. The Nod to Artifice: Although Wiley’s portraits include highly realistic figures, he is known for his highly stylized backgrounds which resemble ornamental wall coverings, and which sometimes interact with the figure in ways that emphasize the artificiality of the portrayal.
  2. A Classic Structure: As noted above, Wiley’s portraits are nearly always based directly on some established work of art from the Western canon.
  3. Transcontextual and/or Iconic Elements: Both the subjects of the portraits (young urban black men in contemporary dress), and the poses taken in the portraits (based on classic portraits from bygone centuries) are iconic elements transcontextualized to the timeless, placeless ornamental space in which Wiley works.
  4. Moments of Genuine Emotion or Significance: In making his juxtapositions, Wiley compels the viewer to look beyond ingrained conceptualizations of race and class.  In doing so, he shows us the common humanity linking his contemporary subjects with their medieval counterparts, and the universality of all human experience.

Reconstructivist Art: Every Day the Same Dream

Molle Industria’s “Every Day the Same Dream” as an example of Reconstructivist Art

A dark, existential humanist parable about an office drone presented in the form of a video game (with a fantastic soundtrack by Jesse Stiles).

Reconstructivist Elements:

  1. Nod to Artifice:  The artificiality of the game experience is heightened by the fact that the player’s range of choices are severely limited.  The character can move forward and backwards, and occasionally interact with other elements of the game, but only in seemingly inconsequential ways.  The typical video game experience of starting a level over again from the start is also emphasized by the way in which forward progress in the game can be hard to measure.  In addition, the use of subtitles to represent dialog adds another level of artificiality.
  2. Classic Structure:  Although it doesn’t play like an ordinary game, the underlying structure is very standard –move a character around the screen, and accomplish a set number of objectives in order to “win.”
  3. Transcontextual and Iconic Elements:  The three main figures in the game –the man, his wife, and his boss –are familiar iconic figures with a 50′s feel, representing a repressed, unfulfilled life, while the other characters –the bum, the cow, and the leaf –are less familiar icons represent a break from the set path.
  4. Moments of Genuine Emotion and Significance: The game makes the player live the experience of trying to break free of a hemmed-in, choice-free existence, which makes the games’ stark and beautiful ending even more powerful.

How are The Truman Show and Rene Descartes’ Discourse on Method alike?

Both wrestle with the concept that everything we ordinarily view as “reality” could be in fact a highly convincing illusion.

Is this sentence a question or a metaquestion?

It’s both. It has the form and function of a question, so it is a question, but it is about the questioning process, so it is also a metaquestion. Formal languages such as first or second order logic have paradox-avoiding restrictions that force an either/or choice between using regular langauge or meta langauge, but not both, but English, being a natural language, has no such constraints.

Reconstructivist Art: Thru You

Kutiman’s “Thru You” as an example of Reconstructivist Art

Perhaps the first great Reconstructivist artwork of the “do it yourself” era, Kutiman’s labor-intensive You-Tube mashup transforms and elevates the work of countless amateur musicians. In a world where sophisticated digital remixing technology is at the fingertips of millions, and where overproduced, prefabricated pop-music idols can masquerade as artists, Kutiman’s work performs a paradoxical double feat:

  1. By showcasing the work of otherwise anonymous and unnoticed YouTube auteurs, he allows them (and by extension each one of us out there in cyberspace, performing alone in front of our webcams) to live the fantasy of being produced by a master producer, our voices echoing and magical, our melodies backed by a limitless orchestra of skilled musicians.
  2. He raises his own tracks from the level of parlor trick to true art by through skillful use of a Real musician’s ear and skills.

Thus he gives us both the fantasy of instant stardom and the reality of skill and laborious effort all together in a single package.

Kutiman’s Site

Reconstructivist Elements:

  1. Nod to Artifice: Kutiman’s songs are presented exactly as what they are, cut-and-pasted assemblages of bands and songs that never existed in analog reality. The jerky editing, and the split screens all attest to the illusionary nature of what we cannot help but perceive as a unified collaborative effort.
  2. Classic Structure: The music itself is not overly experimental in its form. Although several of the pieces are most akin to extended jams, they all present as recognizable songs in identifiable genres, and many even feature some variant of the familiar verse-chorus-bridge structure.
  3. Transcontextual and Iconic Elements: Kutiman’s videos have some strong similarities to previous YouTube hits, including One Man Band (Watch on You Tube) which showcases a single musician, playing a multitracked piece with himself on splitscreen, Playing For Change’s Stand By Me (Watch on You Tube), which weaves together musicians playing “Stand By Me” all around the world, and Weezer’s “Pork and Beans” (Watch on You Tube) which features the stars of many viral hit YouTube videos performing together over Weezer’s song. The biggest difference, however, is that all the elements used in “One Man Band” and “Stand By Me” were created specifically for the use to which they were put. They were recorded in order to fit together into a larger whole. Similarly, while Weezer’s video transcontexualizes the icons of viral video into a new setting, the performances of those icons are all recreated to match their new context.In contrast, each performance used by Kutiman was intended purely by the original artist as a stand-alone presentation, with no foreknowledge of the use to which it would be placed. Thus, these audiovisual elements are truly and genuinely transcontextualized to create the rich fabric of the final presentations.

    Additionally, although none of the original videos are widely known enough to be called “iconic”, they are all used by Kutiman in an iconic fashion. Thus, the participants in the videos, especially those whose work forms the melodic or lyrical center of particular songs, become instantly iconic and recognizable –the Harmonica Playing Man in his living room, the German Rastafarian, the slightly scolding Just A Lady, and a host of others.

  4. Moments of Genuine Emotion or Significance: What makes Thru You function truly as reconstructivist art in a way that its antecedents did not, is largely the caliber and the originality of the music and the way it grows directly and organically from the process that created it. One contributing factor is that Kutiman has located (during his hunt through You Tube) some real diamonds in the rough –scraps of music that have real flair, yet that otherwise lacked the context, the presentation or the completion to ever reach a wider audience in their initial form– such as the spooky blues sung by the young mother in “Someday” or the clever rhymes laid down by the rapper of “I’m New”. The other factor is that he has taken the digital editing era to its logical conclusion, using his own musicianship to synthesize entire riffs and melodies –sometimes a single note at at time. The result is songs that, like all good music, stick in the head and demand to be replayed.

Can the questions answered by science be unlimited or limited by what can be investigated?

We have to define science first –let’s say it is the body of knowledge formed through the scientific method of testing hypotheses against verifiable empirical data.

It becomes clear that there are a range of questions science cannot answer. Science cannot answer the question of “what is science?” because the body of knowledge that composes science has boundaries that are dependent on already having an accepted definition of science. Science also cannot answer the question of “what questions can science not answer?” since that would require the ability to prove a negative, which cannot be done through empirical testing.

It also seems clear that science is ill-equipped to consider questions about unique phenomena –events or entities that cannot be duplicated, since the replicability of results is a key component of empirical verification. Science is also maladapted for the consideration of transcendent entities –i.e. God, if we assume God to be unbound by scientific laws.

It’s important, however, to keep in mind three things:

  • First, the limitations of science do not mean science is not a valuable and essential tool of understanding.
  • Second (and conversely), science’s inability to consider certain questions does not necessarily mean that the things considered by those questions are unreal, unimportant, or even unknowable (through other sources of knowledge).
  • Third, there are almost certainly things that do not currently seem empirically verifiable that may someday reveal an empirical footprint, and thus pass into the realm of what can be considered by science.

For an example of the last, consider the phenomenon of invisible electromagnetic radiation such as radio waves and UV light. At one point in history these rays would have seemed speculative, metaphysical, unverifiable, and perhaps even absurd, yet now their existence and their effects are uncontroversially accepted as belonging to the realm or science fact –because the advance of scientific equipment has made it possible to test them in ways that are verifiable and repeatable.

Reconstructivist Art: Dr. Horrible

Joss Whedons’ “Dr. Horrible’s Sing-Along Blog” as an example of Reconstructivist Art

Watch This Movie

This internet-only mini-musical signals its reconstructivist leanings through the way it resists being dismissed as mere parody.

  1. Nod to Artifice: The movie is framed by the conceit that it is a series of video blog entries being posted by an aspiring super-villain, while the use of the phrase “Sing-Along” in the title foreshadows the embrace of the artificiality inherent in any musical –that being the tendency of the characters to burst into fully orchestrated songs in the middle of mundane events.
  2. Classic Structure: The compressed plot combines a textbook romantic storyline with the superhero genre’s traditional “origin story” narrative.
  3. Transcontextual and Iconic Elements: The main characters, with the exception of the female lead, are all parodies of standard comic book heroes and villains, the Mad Scientist, the Henchman, the Evil League of Evil, the musclebound Superhero, and so forth.
  4. Moments of Genuine Emotion or Significance: The movie’s stark ending, although broadly melodramatic and manipulative, still manages to carry the emotional weight of tragedy and the intellectual weight of an honest examination of what success looks like for someone for whom evil is an aspiration, both of which allow the movie to resonate at a deeper level than might seem likely.

Reconstructivist Art: Star Wars

One of the most popular and successful movies of all time, Lucas’ “Star Wars” represented a return to classic storytelling after the more deconstructionist narratives of the 1970’s.

Reconstructivist Elements:

  1. Nod to Artifice: The movie begins with a famous image of scrolling text “Long, long ago, in a galaxy far, far away” that not only pays homage to the old serial melodramas, but also firmly establishes the movie as a fairy tale within a futuristic setting.
  2. Classic Structure: Star Wars is patterned closely and consciously on the “Hero’s Journey” the ancient and universal story structure studied and described by folklorist Joseph Campbell.
  3. Transcontextual and Iconic Elements: The Evil Emperor, beautiful Princess, Hidden Prince hero, Wise Old Mentor and Dark Father are all venerable archetypes translated to a space-age, science-fiction setting.
  4. Moments of Genuine Emotion and Significance: Lucas’ decision to treat a potentially campy scenario with respect and affection paid off when the movie connected at a visceral level with millions of moviegoers worldwide. Memorable moments of the first movie include Obi-Wan’s self sacrifice, Hans Solo’s return, and Luke’s decision to “trust the force”.

what is human nature

This ranks among the most important questions human beings must strive to answer. It’s also one of the most difficult.

There are three contrasting approaches typically used in answering this question. The first is pragmatic: Human nature is what humans do. The second is aspirational: Human nature is an ideal towards which we should strive. The third is constructivist: Human nature is what we say it is.

The first approach might be described as an anthropological research project. To pursue it, we simply look for patterns and commonalities in the behaviors of human beings around the world; and from there generalize to a description of human nature that reads as a list of typical traits and pursuits. Thus, for example, we might describe human beings as tool-making, building-constructing, art-loving, deity-worshiping, word-forming and/or war-mongering beings.

As sensible as the first approach may seem, it has substantial flaws. For one, there is tremendous variability among the cultures of the world. Is there any activity that is is so genuinely universal that every single human being (or even every single human society) practices it? And if so, is it truly unique to human beings, or is it something –such as eating or sleeping –that we share with all the other animals of the world?

A second major flaw in this approach is that it is purely descriptive. It tells us only what is, but gives us no basis for gaining understanding or making judgments. For instance, the sample list above claims that religion is a part of human nature, but doesn’t explain why, or whether that might be a good thing or a bad thing.

A third, and related flaw is that this approach seemingly locks us into the behaviors of the past. If warmongering is a part of human nature (as claimed above) does that mean that war is something we can never ever escape? Or is it possible that human nature might change in the future?

The second approach has a long and distinguished history in philosophy. The Ancient Greek philosopher Plato popularized the pursuit of virtues and ideals (such as Wisdom, Love, Truth and Beauty) as the correct aim of human nature, while his student Aristotle focused on a more earthbound set of “excellences” (such as skill in debate, skill in governance, skill in warfare, and so forth) as the true “measure of a man.” On the other side of the world the famous Chinese philosopher Confucius also advocated a similar approach.

The key advantage to this approach is that it celebrates the best in human nature, and in doing so offers a promise that we can become better as a species; even offering putative guidance towards transcending our weaknesses and eliminating our faults. As good as this may sound, however, this approach also has weaknesses. First, it is vulnerable to the charge of being an unfounded fantasy, divorced from reality –what evidence is there that Plato’s ideals have anything to do with “human nature” at all? Second, it raises the question of who sets the standards, and how can we ensure that they are universal and not ethnocentric –as in the case of many of the “excellences” of Confucius and Aristotle, which can seem strange and alien to a modern day observer in the West. Third, while it offers the possibility of progress towards an ideal of human nature, it does not simultaneously offer the possibility that human nature itself might progress. Thus, it runs the risk of being made obsolete by the changes in the human experience; most notably the increasing importance of technology of various kinds, and the effects on human societies of the worldwide crises of global warming and overpopulation.

The third approach, to claim that human nature is what we make of it, has a degree of freedom and openness, and a sense of personal agency and impact missing from the other two approaches. Yet by itself, it is far the weakest, possessing neither the direct connection to the real world of the first approach, nor the guidance and inspiration of the second approach. It thus threatens to reduce the entire concept of human nature to meaninglessness.

Rather than wholly adopting any one of these approaches, I would instead advocate a “reconstructivist” approach that draws from all three.

First, I think we need the anthropological background of the first approach in order to place human nature within a context; to let us know where we have come from, and what are the social, biological, spiritual and evolutionary pressures that have shaped us as a species. But from that point forward, I think we need to combine the second and third approaches in order to reconstruct a new vision of human nature that is responsive to the realities of the modern era, but that emphasizes the best potentials of human beings in order to create a brighter future.

In broad general outline, this is the way I would envision a reconstructed human nature:

First, I would reemphasize a range of traditional human practices, such as homemade meals enjoyed slowly and communally, face-to-face conversations, getting from place to place by foot (and living in places and ways that make that possible), community gardening and social dancing. These types of things have long histories in nearly all human cultures and therefore evoke a strong visceral response from most people.

Second, I would also reemphasize the arts and humanities, and practices such as music, painting, philosophy, rhetoric, mathematics, and so forth –these are practices that developed over the course of millennia towards the purpose of showcasing the unique aptitudes of human beings.

As far as attitudes towards age, I would reinstate an attitude of respect towards elders, as representatives of tradition and repositories of wisdom, but not to the innovation-stifling extent practiced by most traditional societies. At the same time I would reinforce the modern era’s attitude of respect towards the young, as representatives of innovation and sources of creativity, but not to the tradition-trampling extent practiced by most modern societies.

Some long-established facets of human nature would need to be discarded. Chief among these is the old equation of fecundity = happiness. Children are unquestionably our most precious resource, but our way of expressing that can and must change. I am an opponent of abortion, but I strongly support voluntary preventative birth control. We must embrace the fact that sexual activity is no longer synonymous with procreation. At the same time, we need to promote adoption as an alternative and as a supplement to biological family creation.

Something else that must be eliminated is the human tendency to go to war. The urge to compete is a necessary and positive element of human nature, but competition through violence has outlived whatever utility it once possessed. The new machines of war are so deadly, powerful and horrific, that we must unequivocally ensure they can never be deployed.

In addition, we must all take on a conservationist mindset with respect to natural resources. The past record of humanity on this is mixed. There have been societies, generally in resource rich environments, that have been successful despite their consumerist leanings, while other societies have thrived in resource poor environments through conservation. As the planet transitions from a resource rich to a resource poor environment, however, the human species as a whole must make the shift from a consumerist nature to a conservationist nature.

A modern student of humanity must also consider the place of technology in questions of human identity. On one hand, the invention and utilization of technology is one of the most characteristic of all human activities and traits. But on the other hand, the increasing pervasiveness of technological devices has had what can only be described as a dehumanizing effect on many people and societies.

I would argue for the following: first that we moderate our use of technology, instituting technological sabbaths similar to those practiced by Orthodox Jews, and scaling back our reliance on devices such as cell phones and PDAs. Second, that we change our technological focus away from dehumanizing instantiations of technology such as weapon development, cosmetic surgery and mass productive machinery, and towards more positive aims such as desert reclamation, clean energy production and preventative medicine. Finally, that we should less on physical/material technologies and more on the creation of a new set of social and cultural technologies that will help us better deal with one another as human beings.

difference between philosophy & science

The simplest answer is that philosophy is concerned with questions of why whereas science is concerned with questions of how. In other words, if I ask “How do we convert coal to energy?”, that is a science question, but if I ask “Why do we convert coal to energy?” and ”Should we convert coal to energy?” then I am starting to enter the realm of philosophy.

At one time all that we think of as science today was considered a part of philosophy, which encompassed all pursuits aimed at gaining, increasing or using knowledge and wisdom. Today, however, the two often seem very far apart.

Over the years there have been many different proposals about how the gap between science and philosophy should be bridged. Some believe that philosophy should become more scientific. At one time, there was even a strain of thought that argued that philosophy should become subservient to science and concern itself only with asking questions about scientific methodologies! I side rather with those who say scientists should become more philosophical, and spend more time questioning the use the meaning and the larger implications of their experiments and discoveries.

We must also remember that every science is based in some philosophy –some viewpoint about the nature and purpose of the universe.

How would you, as an Existentialist yourself, respond to charges that Existentialism is too relativistic and undisciplined for Christian faith? Also, how would you reconcile Kierkegaardian radical individualism with the traditional and Biblical idea of the importance of church and fellowship?

It’s fair to say that pure existentialism is unsustainable. The burden of radical free choice quickly become mentally and emotionally overtaxing, as though one was carrying the weight of the universe on one’s shoulders. My existentialism, therefore, is anchored by Christianity at one end and humanism at the other –as Kierkegaard, godfather of existentialism, intended.

For an atheist existentialist such as Sartre or Camus, the burden of choice extends beyond the self to encompass the entire world. If some facet of my world is not as I would have it be, I bear complete and undiminishable responsibility for that fact. I have chosen it to be that way, and must choose and act differently if I wish it to change. In effect, each person is viewed as having the same position of responsibility as the deity of his own universe.

A Christian existentialist is aware, however, that the universe rests ultimately in God’s hands. This removes the insupportable burden of perfection from our shoulders (although perhaps Matthew 5:48 may indicate the opposite).

Humanism comes into play on the other end of things –in relationship to the incompatibility of radical freedom with the basic fabric of human interactions, as epitomized by concepts such as discipline and fellowship. The key Kierkegaarian move is to realize that all our human affairs are meaningless in relationship to the all-encompassing importance of our relationships with God –but then to treat those affairs as though even the most trivial among them was filled with profound meaning. This produces another paradox from a philosopher who reveled in paradox: in that he argues that the highest use of radical freedom is to invest it in conventional institutions and values such as marriage and fidelity (see Kierkegaard’s Narrative).

The Kierkegaardian life, however, only appears on its surface to be as trivial and prosaic as the lives lived by less reflective or existential figures. On the inside it is radically restructured so that even the most programmed moment within it is a free choice, and every free choice is a prayer, and every prayer leads towards a deepening of the personal relationship with God. I do think Kierkegaard erred, however, in never extending this concept beyond the individual level to encompass a community. Even the Kierkegaardian marriage is only really considered from the perspective of one of the partners; and thus as a personal act, not a communal one (perhaps explaining why Kierkegaard failed so miserably at putting the idea into practice).

If we look to the Bible, however, we can view Jesus’ transformation of the basic communal act of sharing a meal into the the sacrament of Holy Communion as a model for a communal life lived in the same mindful way as the individualist life envisioned by Kierkegaard –and the lives of the early Christians as a example of that same concept in action.  In the end, what Kierkegaard was trying to teach us is not so different from one of the central lessons of Saint Paul –that Christianity can never be lived by a rulebook. It is founded on a living relationship with God through Christ, and the discipline it provides must come from within.

Would you agree with those such as Alister McGrath that Christianity is rationally defensible, or would you say that the rational aspect is unimportant? If the latter, how would you respond to charges of thoughtless fanaticism in your religiosity?

This is a fantastic question.

I begin my answer by noting that rationality is overvalued and its capacity overestimated. The ability of the human mind to apprehend what it considers is vast, but not unlimited. Not everything, therefore, can be understood in ways that make apparent sense and align with all the other things that we know. In particular, God would not be God if He could be fully comprehended. For this reason, I side with those who call faith unreasonable.

As a student of Kierkegaard, however, I also note that the central paradox of Christianity, of God present with us, is no more of a paradox than the paradox of existence itself. Why should there be something rather than nothing? Why does our existence mainifest in the shape that it has, rather than in some other form? Why does each of us individually and idiosyncratically exist, and why are we bound by space and time? These are questions that have no rational answers, yet we live with the paradoxes they imply because we lack the ability to do otherwise.

This leads me to what I take to be the key Kierkegaardian insight: The mystery of Christ is not only on a par with the mystery of existence, it is in fact the same mystery. The mystery of why God would enter the universe and suffer and die is the very same mystery as why that universe would exist at all, and why there would be suffering and death within it in the first place.

All this having been said, however, I think there’s a danger in dismissing faith as merely or dogmatically irrational. The believer, I would claim, is not simply a believer in defiance of all evidence –which would indeed make him the thoughtless fanatic of your query.  Speaking as a believer, I would say that God has demonstrated His existence to me with evidence that is plentiful and personally compelling –yet not of a sort that lends itself to conclusive depersonalized proofs.

My aim in making such a claim is not to present a case for God’s existence capable of convincing the non-believer, but to advance the argument that the intrinsic irrationality (or what we might call the “transrationality”) of faith does not necessarily imply that the person who embraces faith must do so in an irrational manner. One may safely assume that the person who believes does so for personally valid reasons, even if those reasons are not easily understood by the non-believer.

This, it seems to me, is the best way to approach the ontological proofs of theological rationalists like Aquinas and Descartes, the apologetics of someone like C.S.Lewis, or the calculated wagers of Pascal and his ilk –not as attempts to equate faith with reason, but rather as ways of demonstrating that faith and reason are at least compatible with one another; and therefore that the embrace of one does not necessitate the destruction of the other.

democracy implies that, the majority rules, what if the majorities are wrong, the minorities being right

There’s not much to say here other than “you’re absolutely right!” What you’ve identified is the chief problem with majority-rule democracy. One person can be right while ninety-nine are wrong. Whatever the popular mythos may claim, there is nothing magical about voting that ensures the right decision will be made.

It’s important to remember that voting the way we do it –assuming that you are an American, or from a country with a similar system –is nothing more than a compromise solution designed to give individual citizens a say in the way their government is run, while still giving some protection to the nation as a whole from the idle whims and sudden enthusiasms of the mob.

There are other solutions as well, each with its own weaknesses:

In a pure or direct democracy, the citizens make the laws themselves, with no elected officials between them and the process. This system has almost always ended in disaster, both because there is chaos and disorder inherent in trying to determine what are the laws and how they should be enforced, as well as because of the observation Plato made in The Republic, that those who love freedom the most are the most vulnerable to the charms of a charismatic tyrant. That’s the reason our system is a representative democracy rather than a pure or direct democracy. In theory, the elected officials stand between us and our worst mob impulses.

In a consensus democracy, officials are elected or laws enacted only when all people agree –thus eliminating the tyranny of the majority. However, it becomes impossibly difficult to reach consensus in groups of more than about 6 or 7 people, so this is unworkable for large-scale democracy.

In a winner takes all vote, such as the American presidential election, the majority makes the choice. However, even so, we have a system that requires (much) more than a majority for decisions that the Founding Fathers didn’t want taken lightly –such as amending the constitution.

In a proportional vote, such as the British Parliament or the American Democratic primaries, the minority is still represented in any given situation, by being given a percentage of representatives proportional to the size of the minority.

My own favorite system based on one proposed by a character in Robert Heinlein’s The Moon is a Harsh Mistress — I don’t know if it was original to him or not. In it, every ten people have the option to select a representative to represent them. Ten representatives can select a super representative, and so forth, up to the top of the system. However, nothing is done by vote. Each person is made a representative by the consensus of those he represents, and they may change their minds at any time. If a representative loses one of her constituents, she will need to find another immediately or lose her position. Thus, each representative fully represents all his constituents, not just the majority.  I don’t know that it’s ever been tried in real life, but it has its charms as an idea.

Do you think that the following argument is a good one : X says that a certain metaphysical view is correct. X says that if this view M is correct, it should produce certain effects in the psychology of people that realize it. (Make them super-smart, or super-kind for example). It is observed that X has this type of psychology. Thus the metaphysical view M is true.

I am part of a minority of philosophers who believe that some variant on the argument you proposed can be incorporated into a strong inductive argument –in fact I’m currently at work on just such a project, named “Pragmatic Metaphysics”. However, the argument as so stated is an example of the formal fallacy “affirming the consequent”.

P1. If Metaphysical Claim then I am Super Kind
P2. I am Super Kind
C. Therefore Metaphysical Claim

One problem is that you haven’t explained why we believe P1 is true, But this argument fails even if P1 is true because we have never established “If Super Kind then Metaphysical Claim”, and the relationship is not reversible.

The danger with affirming the consequent is this: If you start with a true and known statement “B”, such as “2 + 2 = 4”, then every conditional of the form “If A then B” will automatically be true, regardless of the nature of “A”. Thus, “If it is sunny tomorrow, then 2 + 2 will equal 4.” “If it is not sunny tomorrow, then 2 + 2 will equal 4.” “If the Yankees win the World Series then 2 + 2 will equal 4.” “If the devil beats his wife, then 2 + 2 will equal 4.”

Because of this, the type of argument you outlined can never be formally sound. However, it is possible to make a similar strong inductive argument, given the following conditions:

  • “A” (i.e. Metaphysical Claim) must be a reasonable explanation for many observable things, not just “B” (Super Kind). So “If A then B, C, D, E, & F”, where B through F are all true.
  • “A” must not have further implications that are false. So it must not be the case that “If A then G” where G is false.
  • “A” must have predictive value. So “If A then H tomorrow,” where the prediction comes before H is observed, but where H confirms the prediction.
  • “A” must not have stronger rivals. There must not be an A´ or an A´´ that explains the same data in a simpler and better fashion.

Even given all this, we do not prove “A,” we can only say that there is reason to believe A, or that A offers good explanatory value. For instance, if we say it is a natural law all planets move in ellipses, there is as sense in which this is a metaphysical claim (since we can observe the planets but not the law in itself). We accept it as true because it has many true implications, no important false implications, excellent predictive value, and no stronger rivals.

What makes a question Philosophical in nature?

The word “Philosophy” literally means love of wisdom, so one answer might be questions asked strictly out of the love of wisdom or knowledge –questions whose primary purpose is not one of practical utility. I don’t favor this definition, however, because I believe philosophical questions have a lot of utility, although not always in an obvious manner.

Another definition is hinted at by Socrates, in Plato’s Phaedo, when he says that he studied science in his youth but found it inadequate because it only answered “how” questions and not “why” questions. Taking this as our guide, we might say that philosophical questions are those more concerned with “why” than with “how”.