The metaethical dilemma of epistemic democracy

Epistemic democracy aims to show, often by appeal to the Condorcet Jury Theorem, that democracy has a high chance of reaching correct decisions. It has been argued that epistemic democracy is compatible with various metaethical accounts, such as moral realism, conventionalism and majoritarianism. This paper casts doubt on that thesis and reveals the following metaethical dilemma: if we adopt moral realism, it is doubtful that voters are, on average, more than 0.5 likely to track moral facts and identify the correct alternative. By contrast, if we adopt conventionalism or majoritarianism, we cannot expect that voters are both competent and sincere. Either way, the conditions for the application of Condorcet’s theorem are not met.

Truth-tracing versus truth-tracking: Lafont, Landemore and epistemic democracy

Cognitivist theories of democratic decision-making come in two flavours, which I label transparently and intransparently epistemic. Lafont’s deliberative theory of democracy has strengths in accounting for the transparently truth-tracing power of justification but lacks a plausible account of the intransparently truth-tracking power of aggregative approaches highlighted by, among others, Hélène Landemore, such as the Condorcet Jury Theorem or the Diversity Trumps Ability Theorem. I suggest opting for an approach that includes semi-transparently epistemic mechanisms, that is, truth-tracking mechanisms, the workings of which can be explained, passing the public reason test, to all citizens.

Demanding Epistemic Democracy and Indirect Civics Pedagogy: The Performance-Oriented Music Ensemble

The participation of young adults in performance-oriented music ensembles can be seen to enhance democratic capacities and virtues. Much, however, turns on the particular conception of democracy at work. Although contemporary currents in music education tend towards models of liberal and participatory democracy to govern music ensembles, this essay contends that demanding epistemic democracy allows performance-oriented music ensembles the achievement of democratic virtues without sacrificing excellence as a central regulatory ideal. The inclusion of both men and women is shown to be particularly significant in this light. Central to its democratic epistemic ambition, the role of the conductor is considered in the last section of this article.