5 ideas
| 19440 | How do you know you have conceived a thing deeply enough to assess its possibility? [Vaidya] |
| Full Idea: The main issue with learning possibility from conceivability concerns how we can be confident that we have conceived things to the relevant level of depth required for the scenario to actually be a presentation or manifestation of a genuine possibility. | |
| From: Anand Vaidya (The Epistemology of Modality [2015], 1.2.2) | |
| A reaction: [He cites Van Inwagen 1998 for this idea] The point is that ignorant imagination can conceive of all sorts of absurd things which are seen to be impossible when enough information is available. We can hardly demand a criterion for this. |
| 8825 | It seems impossible to logically deduce physical knowledge from indubitable sense data [Kim] |
| Full Idea: It is agreed on all hands that the classical epistemological project, conceived as one of deductively validating physical knowledge from indubitable sensory data, cannot succeed. | |
| From: Jaegwon Kim (What is 'naturalized epistemology'? [1988], p.304) | |
| A reaction: This is the 'Enlightenment Project', which had a parallel in morality. Kim refers to the difficulty as 'The Humean Predicament'. Hume also hoped that induction might be deductive. One obvious move is to expand from 'deduction' to 'reason'. |
| 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. |