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My father knew which cedar beam would split. He could never say how. Did he know?

When I was a boy my father would walk past a stack of beams and tap one with his knuckle and say: not that one, it will split when we carve it. He was almost always right. If you asked him how he knew, he would shrug, or say "listen to it", which is not an explanation.

I have some of this now myself. I could tell you a few things about grain and sound and weight, but if I am honest, the judgement comes first and the reasons come afterwards, and the reasons I give are not really what produced the judgement.

I have been reading about the debate between internalists and externalists. If I understand it, an internalist would say my father did not really know the beam would split, because he could not give the reasons. An externalist would say he did know, because his way of judging was reliable. The externalist answer feels right to me as a craftsman, but I also remember Aristotle in the Metaphysics saying that the person with experience often succeeds better than the one with theory, yet the master craftsman is wiser because he knows the cause, the why.

So which is it? And I want to add a practical question. When a client asks me why I refused a beam they paid for, what do I owe them? "Trust me" is not enough. But the real reason is something in my hands.

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6 replies

  1. Bec Doyle

    Fellow

    This is my working life. I judge wine at regional shows, and I can smell a corked wine before I can say anything about it. Over the years I have learned the chemistry, so now I can say "that's TCA, the cork taint compound", and I can point to the musty, damp-cardboard character. But I knew before I could name it.

    When a winemaker challenges a score, I owe them something I can share: the descriptor, where in the glass it shows, and an invitation to smell it with me. The words are not what made the judgement. They are what make it accountable.

    Helpful · 3
  2. Omar Ragab

    Fellow

    Medicine has the same split, as far as I can see from the outside. Experienced clinicians recognise many conditions as a pattern, a gestalt, before any reasoning. Junior doctors are taught to distrust exactly this, and they are right to, because a gestalt they have not earned is a guess.

    But I think what we owe the patient is not the source of the judgement. It is the evidence that can check it. "I suspected this when you walked in" is honest; "and here is the test that confirmed it" is what makes it fair to act.

  3. Chiara Bellandi

    Fellow

    I restore paintings, and I often see an old overpaint before I can say what I am seeing. Then I check under ultraviolet, and the later paint shows up differently from the original. The UV does not create the knowledge, but it turns my private seeing into something a colleague can confirm.

    Perhaps that is the answer to your client. Find the equivalent of the lamp: something that lets them see what your hands felt.

    Helpful · 1
  4. Hicham Ouazzani

    Fellow

    Thank you, all three. I notice none of us says the hand knowledge is false or worthless. We all add a second step: something shareable. Maybe Aristotle is right that this is where art differs from experience. My father had both, I think, but he only ever showed us the first.

    Someone also pointed me to Gilbert Ryle, who distinguished knowing how from knowing that in The Concept of Mind. My father's knowledge was a knowing how that came out as a knowing that, "this beam will split". Perhaps that is why it is hard to place.

    Helpful · 2
  5. Ratna Wulandari

    Fellow

    In batik it is the same with the wax line. My mother corrects my hand without saying a word, she just moves my wrist. Twenty years later I do it to my apprentices. The knowledge passes, but the reasons never do, because there were never any separate from the moving.

    I am not sure this is a problem. Some knowing lives in a hand and gets handed on, which is what the word was made for.

    Helpful · 3
  6. Moon Ha-eun

    Fellow

    I teach cello to children, and intonation is the same. A good player hears that a note is a little flat before any tuner could tell her, and her finger has already moved. My teacher in Seoul never explained this; she played the note again, and again, until my ear changed.

    But I disagree a little with Ratna. When a parent asks why I am correcting their child, I do owe an explanation, and finding words has made me a better teacher. The hand knows first, but putting it into words lets me notice when my hand is wrong.