Peter D. Klein, in the second edition of The Cambridge Dictionary of Philosophy, defines closure as follows:
A set of objects, O, is said to exhibit closure or to be closed under a given operation, R, provided that for every object, x, if x is a member of O and x is R-related to any object, y, then y is a member of O. [links not in original]
In propositional logic, the set of all propositions exhibits deductive closure: if set O is the set of propositions, and operation R is logical entailment (“Failed to parse (Missing texvc executable; please see math/README to configure.): \vdash ”), then provided that proposition p is a member of O and p is R-related to q (i.e., p Failed to parse (Missing texvc executable; please see math/README to configure.): \vdash q), q is also a member of O. In the philosophical branch of epistemology, many philosophers have and continue to debate whether particular subsets of propositions—especially ones ascribing knowledge or justification of a belief to a subject—are closed under deduction.
It is not the case that knowledge is closed under deduction; that is, if person S knows p, and p entails q, then S knows q (sometimes called the straight principle). [1] A subject may not actually believe q, for example, regardless of whether he or she is justified or warranted. Thus, one might instead say that knowledge is closed under known deduction: if, while knowing p, S believes q because S knows that p entails q, then S knows q.[1] An even stronger formulation would be as such: If, while knowing various propositions, S believes p because S knows that they entail p, then S knows p.[1] While the principle of epistemic closure is generally regarded as intuitive,[2] philosophers such as Robert Nozick and Fred Dretske have argued against it.
In the seminal 1963 paper, “Is Justified True Belief Knowledge?”, Edmund Gettier gave an assumption (later called the “principle of deducibility for justification” by Irving Thalberg Jr.[3]) that would serve as a basis for the rest of his piece: “for any proposition P, if S is justified in believing P and P entails Q, and S deduces Q from P and accepts Q as a result of this deduction, then S is justified in believing Q.”[4] This was seized upon by Thalberg, who rejected the principle in order to demonstrate that one of Gettier's examples fails to support Gettier's main thesis that justified true belief is not knowledge (in the following quotation, (1) refers to “Jones will get the job”, (2) refers to “Jones has ten coins”, and (3) is the logical conjunction of (1) and (2)):
Why doesn't Gettier's principle (PDJ) hold in the evidential situation he has described? You multiply your risks of being wrong when you believe a conjunction. [… T]he most elementary theory of probability indicates that Smith's prospects of being right on both (1) and (2), namely, of being right on (3), are bound to be less favorable than his prospects of being right on either (1) or (2). In fact, Smith's chances of being right on (3) might not come up to the minimum standard of justification which (1) and (2) barely satisfy, and Smith would be unjustified in accepting (3). [Thalberg p. 798]
"Closure" is the eleventh episode of the seventh season of the science fiction television series The X-Files, and the 150th episode overall. It was directed by Kim Manners and written by series creator Chris Carter and Frank Spotnitz. The installment explores the series' overarching mythology and is the conclusion of a two-part episode revolving around the final revelation of what really happened to Fox Mulder's (David Duchovny) sister, Samantha. Originally aired by the Fox network on February 13, 2000, "Closure" received a Nielsen rating of 9.1 and was seen by 15.35 million viewers. The episode received mostly positive reviews from critics; many felt that the final reveal was emotional and powerful, although some were unhappy with the resolution.
The show centers on FBI special agents Fox Mulder (Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work, but the two have developed a deep friendship. In this episode, after Mulder is forced to accept that his mother’s death was by her own hand, he is led by a man whose son disappeared years earlier to another truth: that his sister, Samantha, was among the souls taken by ‘walk-ins’, saving the souls of children doomed to live unhappy lives.
Boom may refer to:
Boom! is an American reality television series that aired on Spike TV in 2005 and was hosted by Kourtney Klein. It featured a group of demolition experts using explosives to destroy objects such as trailers, houses, boats and cars. Often, the suggestions on what should be blown up were sent in by home viewers via a "BOOM! Mailbag". Each episode covered obtaining the materials (such as the item to be destroyed), cleaning, gutting, and rigging the thing with explosives, and then making the final countdown and pushing the detonator, and watching the devastation.
Boom! is a 1968 British drama film starring Elizabeth Taylor, Richard Burton and Noël Coward, directed by Joseph Losey, and adapted from the play The Milk Train Doesn't Stop Here Anymore by Tennessee Williams.
Flora 'Sissy' Goforth (Taylor, in a part written for an older woman) is a terminally ill woman living with a coterie of servants in a large mansion on a secluded island. Into her life comes a mysterious man, Christopher Flanders, nicknamed "Angelo Del Morte" (played by then-husband Burton, in a part intended for a very young man). The mysterious man may or may not be "The Angel of Death".
The interaction between Goforth and Flanders forms the backbone of the plot, with both of the major characters voicing lines of dialogue that carry allegorical and Symbolist significance. Secondary characters chime in, such as "the Witch of Capri" (Coward). The movie mingles respect and contempt for human beings who, like Goforth, continue to deny their own death even as it draws closer and closer. It examines how these characters can enlist and redirect their fading erotic drive into the reinforcement of this denial.