27 ideas
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 19566 | Epistemology does not just concern knowledge; all aspects of cognitive activity are involved [Kvanvig] |
| Full Idea: Epistemology is not just knowledge. There is enquiring, reasoning, changes of view, beliefs, assumptions, presuppositions, hypotheses, true beliefs, making sense, adequacy, understanding, wisdom, responsible enquiry, and so on. | |
| From: Jonathan Kvanvig (Truth is not the Primary Epistemic Goal [2005], 'What') | |
| A reaction: [abridged] Stop! I give in. His topic is whether truth is central to epistemology. Rivals seem to be knowledge-first, belief-first, and justification-first. I'm inclined to take justification as the central issue. Does it matter? |
| 19261 | Understanding is seeing coherent relationships in the relevant information [Kvanvig] |
| Full Idea: What is distinctive about understanding (after truth is satisfied) is the internal seeing or appreciating of explanatory and other coherence-inducing relationships in a body of information that is crucial for understanding. | |
| From: Jonathan Kvanvig (The Value of Knowledge and the Pursuit of Understanding [2003], 198), quoted by Anand Vaidya - Understanding and Essence 'Distinction' | |
| A reaction: For me this ticks exactly the right boxes. Coherent explanations are what we want. The hardest part is the ensure their truth. Kvanvig claims this is internal, so we can understand even if, Gettier-style, our external connections are lucky. |
| 19568 | Making sense of things, or finding a good theory, are non-truth-related cognitive successes [Kvanvig] |
| Full Idea: There are cognitive successes that are not obviously truth related, such as the concepts of making sense of the course of experience, and having found an empirically adequate theory. | |
| From: Jonathan Kvanvig (Truth is not the Primary Epistemic Goal [2005], 'Epistemic') | |
| A reaction: He is claiming that truth is not the main aim of epistemology. He quotes Marian David for the rival view. Personally I doubt whether the concepts of 'making sense' or 'empirical adequacy' can be explicated without mentioning truth. |
| 19567 | The 'defeasibility' approach says true justified belief is knowledge if no undermining facts could be known [Kvanvig] |
| Full Idea: The 'defeasibility' approach says that having knowledge requires, in addition to justified true belief, there being no true information which, if learned, would result in the person in question no longer being justified in believing the claim. | |
| From: Jonathan Kvanvig (Truth is not the Primary Epistemic Goal [2005], 'Epistemic') | |
| A reaction: I take this to be an externalist view, since it depends on information of which the cognizer may be unaware. A defeater may yet have an undiscovered counter-defeater. The only real defeater is the falsehood of the proposition. |
| 19679 | 'Access' internalism says responsibility needs access; weaker 'mentalism' needs mental justification [Kvanvig] |
| Full Idea: Strong 'access' internalism says the justification must be accessible to the person holding the belief (for cognitive duty, or blame), and weaker 'mentalist' internalism just says the justification must supervene on mental features of the individual. | |
| From: Jonathan Kvanvig (Epistemic Justification [2011], III) | |
| A reaction: [compressed] I think I'm a strong access internalist. I doubt whether there is a correct answer to any of this, but my conception of someone knowing something involves being able to invoke their reasons for it. Even if they forget the source. |
| 19730 | Epistemic virtues: love of knowledge, courage, caution, autonomy, practical wisdom... [Kvanvig] |
| Full Idea: Virtue theorists may focus on the particular habits or virtues of successful cognizers, such as love of knowledge, firmness, courage and caution, humility, autonomy, generosity, and practical wisdom. | |
| From: Jonathan Kvanvig (Virtue Epistemology [2011], III) | |
| A reaction: [He cites Roberts and Wood 2007] It is interesting that most of these virtues do not merely concern cognition. How about diligence, self-criticism, flexibility...? |
| 19731 | If epistemic virtues are faculties or powers, that doesn't explain propositional knowledge [Kvanvig] |
| Full Idea: Conceiving of the virtues in terms of faculties or powers doesn't help at all with the problem of accounting for propositional knowledge. | |
| From: Jonathan Kvanvig (Virtue Epistemology [2011], IV B) | |
| A reaction: It always looks as if epistemic virtues are a little peripheral to the main business of knowledge, which is getting beliefs to be correct and well-founded. Given that epistemic saints make occasional mistakes, talk of virtues can't be enough. |
| 19732 | The value of good means of attaining truth are swamped by the value of the truth itself [Kvanvig] |
| Full Idea: The Swamping Problem is that the value of truth swamps the value of additional features of true beliefs which are only instrumentally related to them. True belief is no more valuable if one adds a feature valuable for getting one to the truth. | |
| From: Jonathan Kvanvig (Virtue Epistemology [2011], IV B) | |
| A reaction: His targets here are reliabilism and epistemic virtues. Kvanvig's implication is that the key to understanding the nature of knowledge is to pinpoint why we value it so much. |
| 19678 | Strong foundationalism needs strict inferences; weak version has induction, explanation, probability [Kvanvig] |
| Full Idea: Strong foundationalists require truth-preserving inferential links between the foundations and what the foundations support, while weaker versions allow weaker connections, such as inductive support, or best explanation, or probabilistic support. | |
| From: Jonathan Kvanvig (Epistemic Justification [2011], II) | |
| A reaction: [He cites Alston 1989] Personally I'm a coherentist about justification, but I'm a fan of best explanation, so I'd vote for that. It's just that best explanation is not a very foundationalist sort of concept. Actually, the strong version is absurd. |
| 19570 | Reliabilism cannot assess the justification for propositions we don't believe [Kvanvig] |
| Full Idea: The most serious problem for reliabilism is that it cannot explain adequately the concept of propositional justification, the kind of justification one might have for a proposition one does not believe, or which one disbelieves. | |
| From: Jonathan Kvanvig (Truth is not the Primary Epistemic Goal [2005], Notes 2) | |
| A reaction: I don't understand this (though I pass it on anyway). Why can't the reliabilist just offer a critique of the reliability of the justification available for the dubious proposition? |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 20565 | Men are created equal, and with certain inalienable rights [Jefferson] |
| Full Idea: We hold these Truths to be self-evident, that all Men are created equal, that they are endowed by their Creator with certain inalienable rights, that among these are Life, Liberty and the Pursuit of Happiness. | |
| From: Thomas Jefferson (U.S. Declaration of Independence [1775]), quoted by Johanna Oksala - Political Philosophy: all that matters Ch.4 | |
| A reaction: In the context, saying equality and rights are 'natural' is just a way of saying we will fight to the death to defend them. The big modern problem for the U.S. is that nominal equality before the law doesn't ensure equality in society. |