5 ideas
| 14280 | The probability of two events is the first probability times the second probability assuming the first [Bayes] |
| Full Idea: The probability that two events will both happen is the probability of the first [multiplied by] the probability of the second on the supposition that the first happens. | |
| From: Thomas Bayes (Essay on a Problem in the Doctrine of Chances [1763]), quoted by Dorothy Edgington - Conditionals (Stanf) 3.1 |
| 20420 | The emotion expressed is non-conscious, but feels oppressive until expression relieves it [Collingwood] |
| Full Idea: The emotion expressed is one of whose nature the person feeling it is no longer conscious. As unexpressed, he feels it in a helpless and oppressed way; as expressed, the oppression has vanished. His mind is somehow lightened and eased. | |
| From: R.G. Collingwood (The Principles of Art [1938], p.110), quoted by Gary Kemp - Croce and Collingwood 1 | |
| A reaction: It sounds like the regular smoking of cigarettes. This is Collingwood answer the doubts I felt about Idea 20419. I would have thought the desire of Picasso was to create another painting, but not to express yet another new oppressive feeling. |
| 20421 | Art exists ideally, purely as experiences in the mind of the perceiver [Collingwood, by Kemp] |
| Full Idea: For Collingwood (and Croce) the work of art is an ideal object; …they are things that exist only in the mind, that is, only when one perceives. …The physical work exists to make this experience available. | |
| From: report of R.G. Collingwood (The Principles of Art [1938]) by Gary Kemp - Croce and Collingwood 2 | |
| A reaction: This means that the paintings in a gallery cease to be works of art when the gallery is shut, which sounds odd. I suppose 'work of art' is ambiguous, between the experience (right) and the facilitator of the experience (wrong). |
| 20406 | Art clarifies the artist's mind and feelings, thus leading to self-knowledge [Collingwood, by Davies,S] |
| Full Idea: Collingwood suggests art should be thought of not as product or artifact but as an act or process of expression through which the artist clarifies her initially vague emotions and states of mind. As such, it is a source of self-knowledge. | |
| From: report of R.G. Collingwood (The Principles of Art [1938], Ch.6) by Stephen Davies - The Philosophy of Art (2nd ed) 8.4 | |
| A reaction: I might believe this of writing novels, but not much else. |
| 13440 | Causation is the power of one property to produce another, and this gives time its direction [Esfeld] |
| Full Idea: The metaphysics of causation in terms of powers is linked with an intrinsic direction of time. There is a causal connection if an F-property produces a G. One can argue that causation thus is the basis for the direction of time. | |
| From: Michael Esfeld (Humean metaphysics vs metaphysics of Powers [2010], 7.2) | |
| A reaction: I think this is my preferred metaphysic - that both time and causation are primitive, but the direction of time is the result of the causal process. Viewing some new world, we would just say that time went in whichever direction the causation went. |