9 ideas
| 22518 | The actual must be possible, because it occurred [Aristotle] |
| Full Idea: Actual events are evidently possible, otherwise they would not have occurred. | |
| From: Aristotle (The Poetics [c.347 BCE], 1451b18) | |
| A reaction: [quoted online by Peter Adamson] Seems like common sense, but it's important to have Aristotle assert it. |
| 19691 | Unlike knowledge, you can achieve understanding through luck [Grimm] |
| Full Idea: It may be that understanding is compatible with luck, in a way that knowledge is not. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: [He cites Kvanvig and Prichard] If so, then we cannot say that knowledge is a lesser type of understanding. If you ask a trusted person how a mechanism works, and they have a wild guess that is luckily right, you would then understand it. |
| 19690 | 'Grasping' a structure seems to be modal, because we must anticipate its behaviour [Grimm] |
| Full Idea: 'Graspng' a structure would seem to bring into play something like a modal sense or ability, not just to register how things are, but also to anticipate how certain elements of the system would behave. | |
| From: Stephen R. Grimm (Understanding [2011], 2) | |
| A reaction: In the case of the chronology of some historical events, talking of 'grasping' or 'understanding' seems wrong because the facts are static and invariant. That seems to support the present idea. But you might 'understand' a pattern if you can reproduce it. |
| 19692 | You may have 'weak' understanding, if by luck you can answer a set of 'why questions' [Grimm] |
| Full Idea: There may be a 'weak' sense of understanding, where all you need to do is to be able to answer 'why questions' successfully, where one might have come by this ability in a lucky way. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: We can see this point (in Idea 19691), but the idea that one could come by true complex understanding of something by purely lucky means is a bit absurd. Surely you would get one or two why questions wrong? 100%, just by luck? |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 16566 | Poetry is more philosophic than history, as it concerns universals, not particulars [Aristotle] |
| Full Idea: Poetry is something more philosophic and of graver import than history, since its statements are rather of universals, whereas those of history are singulars. | |
| From: Aristotle (The Poetics [c.347 BCE], 1451b05) | |
| A reaction: Hm. Characters in great novels achieve universality by being representated very particularly. Great depth of mind seems required to be a poet, but less so for a historian (though there is, I presume, no upward limit on the possible level of thought). |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |