20 ideas
| 21506 | A coherence theory of justification can combine with a correspondence theory of truth [Bonjour] |
| Full Idea: There is no manifest absurdity in combining a coherence theory of justification with a correspondence theory of truth. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.1) | |
| A reaction: His point is to sharply (and correctly) distinguish coherent justification from a coherence theory of truth. Personally I would recommend talking of a 'robust' theory of truth, without tricky commitment to 'correspondence' between very dissimilar things. |
| 21509 | There will always be a vast number of equally coherent but rival systems [Bonjour] |
| Full Idea: On any plausible conception of coherence, there will always be many, probably infinitely many, different and incompatible systems of belief which are equally coherent. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: If 'infinitely many' theories are allowed, that blocks the coherentist hope that widening and precisifying the system will narrow down the options and offer some verisimilitude. If we stick to current English expression, that should keep them finite. |
| 21503 | Empirical coherence must attribute reliability to spontaneous experience [Bonjour] |
| Full Idea: An empirical coherence theory needs, for the beliefs of a cognitive system to be even candidates for empirical justification, that the system must contain laws attributing a high degree of reliability to a variety of spontaneous cognitive beliefs. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 7.1) | |
| A reaction: Wanting such a 'law' seems optimistic, and not in the spirit of true coherentism, which can individually evaluate each experiential belief. I'm not sure Bonjour's Observation Requirement is needed, since it is incoherent to neglect observations. |
| 21511 | A well written novel cannot possibly match a real belief system for coherence [Bonjour] |
| Full Idea: It is not even minimally plausible that a well written novel ...would have the degree of coherence required to be a serious alternative to anyone's actual system of beliefs. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: This seems correct. 'Bleak House' is wonderfully consistent, but its elements are entirely verbal, and nothing occupies the space between the facts that are described. And Lady Dedlock is not in Debrett. I think this kills a standard objection. |
| 21510 | The objection that a negated system is equally coherent assume that coherence is consistency [Bonjour] |
| Full Idea: Sometimes it is said that if one has an appropriately coherent system, an alternative system can be produced simply be negating all of the components of the first system. This would only be so if coherence amounted simply to consistency. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.5) | |
| A reaction: I associate Russell with this original objection to coherentism. I formerly took this to be a serious problem, and am now relieved to see that it clearly isn't. |
| 21505 | A coherent system can be justified with initial beliefs lacking all credibility [Bonjour] |
| Full Idea: It is simply not necessary in order for [the coherence] view to yield justification to suppose that cognitively spontaneous beliefs have some degree of initial or independent credibility. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 7.2) | |
| A reaction: This is thoroughly and rather persuasively criticised by Erik Olson. But he always focuses on the coherence of a 'system' with multiple beliefs. I take the credibility of each individual belief to need coherent assessment against a full background. |
| 21504 | The best explanation of coherent observations is they are caused by and correspond to reality [Bonjour] |
| Full Idea: The best explanation for a stable system of beliefs which rely on observation is that the beliefs are caused by what they depict, and the system roughly corresponds to the independent reality it describes. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 8.3) | |
| A reaction: [compressed] Anyone who links best explanation to coherence (and to induction) warms the cockles of my heart. Erik Olson offers a critique, but doesn't convince me. The alternative is to find a better explanation (than reality), or give up. |
| 21508 | Anomalies challenge the claim that the basic explanations are actually basic [Bonjour] |
| Full Idea: The distinctive significance of anomalies lies in the fact that they undermine the claim of the allegedly basic explanatory principles to be genuinely basic. | |
| From: Laurence Bonjour (The Structure of Empirical Knowledge [1985], 5.3) | |
| A reaction: This seems plausible, suggesting that (rather than an anomaly flatly 'falsifying' a theory) an anomaly may just demand a restructuring or reconceptualising of the theory. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |