We thank Thomas Basboll for his thoughtful and engaging comment on our ‘Reflexvity: curse or cure’ paper (Davis and Klaes 2003), and hope our rejoinder will give further impetus to economic methodologists’ reflections on reflexivity. However, we do not feel compelled to give ground on any of the three main issues Basboll raises, because we believe they only add further support to our three-part classification of reflexivity as immanent, epistemic and transcendent, while his quest for precision – which Basboll believes would rescue us from a perceived abyss of ambiguity he sees looming at the very heart of our project – only confirms for us the imprecision of precision, and, properly understood, the virtues of such imprecision. Here we re-state Basboll’s points and reply to each of them. First, Basboll rightly identifies our interest in Las Meninas as one prompted by an interest in interpretative ambiguity and its representation, and one stimulated by how reflexivity has been discussed in the methodology of economics literature. We introduced the painting as a means of distinguishing three levels of reflexivity, because we explicitly wished to model reflexivity on a visual metaphor (Klaes 2003: 331). Basboll regards this as the cardinal sin which he alleges fatally undermines our endeavor. By starting with a metaphor which he claims is ‘needlessly vague’, our ‘analysis goes astray the moment’ we present its outlines (p. 114). Analysis of reflexivity should rather draw up a ‘rigorously determined contextual space’ ruled by such stern stuff as strict ‘logical form’ (Ibid.). But Basboll’s own particular approach to ‘logical form’ is metaphorical itself in that the only framework for analysis that he himself offers for a rigorous approach to reflexivity is again a particular interpretation of the painting, in this instance, a geometrical one, and indeed a Euclidian one at that. Certainly geometry can be used to investigate the painting. But this investigation is nonetheless interpretive and metaphorical in that it provides a particular framework in which one can ‘see’ the painting. Moreover, it is
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