15 ideas
| 13858 | The truth-functional account of conditionals is right, if the antecedent is really acceptable [Jackson, by Edgington] |
| Full Idea: Jackson defends the truth-functional account by saying that for a conditional to be assertable, it must not only be believed that its truth-conditions are satisfied, but the belief must be robust or resilient with respect to the antecedent. | |
| From: report of Frank Jackson (Conditionals and Possibilia [1981]) by Dorothy Edgington - Do Conditionals Have Truth Conditions? 4 | |
| A reaction: ..That is, one would not abandon the conditional if one believed the antecedent to be true. |
| 3756 | Perception, introspection, testimony, memory, reason, and inference can give us knowledge [Bernecker/Dretske] |
| Full Idea: The basic sources of knowledge and justification are perception, introspection, testimony, memory, reason, and inference. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.V Int) |
| 3757 | Causal theory says true perceptions must be caused by the object perceived [Bernecker/Dretske] |
| Full Idea: The causal theory of perceptions says that to perceive an object is to have a sense-datum caused by that object; it is not enough for the world to be the way we perceive it; the world must cause the perception. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.V Int) | |
| A reaction: All causal theories seem dubious to me; what causes something is not the same was what it means, or refers to, or what justifies it. The hallmark of successful perception is truth. I would perceive a tree if God planted the perception in me. |
| 3759 | You can acquire new knowledge by exploring memories [Bernecker/Dretske] |
| Full Idea: You can first come to know by remembering, as in learning how many windows there were in your childhood home by imagining a tour. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.V Int) |
| 3752 | Justification can be of the belief, or of the person holding the belief [Bernecker/Dretske] |
| Full Idea: There is a distinction between a person being justified in holding a belief, and the belief itself being justified. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.II Int) | |
| A reaction: This is the crucial and elementary distinction which even the most sophisticated of epistemologists keep losing sight of. Epistemology is about persons. All true beliefs are justified - by the facts! |
| 3753 | Foundationalism aims to avoid an infinite regress [Bernecker/Dretske] |
| Full Idea: The driving force behind foundationalism has always been the threat of an infinite regress. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.III Int) | |
| A reaction: You could just live with the regress (Peter Klein), or say that the regress fades away, or that it is cut off by social epistemological convention, or the regress circles round and rejoins. |
| 3754 | Infallible sensations can't be foundations if they are non-epistemic [Bernecker/Dretske] |
| Full Idea: If sense experiences are non-epistemic they may be infallible, but they are unsuitable for providing the foundations for other beliefs. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.III Int) | |
| A reaction: If we experience flashing lights in the retina, or an afterimage, we don't think we are seeing objects, so why is normal perception different? Ans: because it is supported by judgement. |
| 3755 | Justification is normative, so it can't be reduced to cognitive psychology [Bernecker/Dretske] |
| Full Idea: The concept of justification is absolutely central to epistemology; but this concept is normative (i.e. it lays down norms), so epistemology can't be reduced to factual cognitive psychology. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.III Int) | |
| A reaction: A simple rejection of the 'epistemology naturalised' idea. Best to start with slugs rather than people. You can confuse a slug, so it has truth or falsehood, but what is slug normativity? This is an interesting discussion point, not an argument. |
| 3761 | Modern arguments against the sceptic are epistemological and semantic externalism, and the focus on relevance [Bernecker/Dretske] |
| Full Idea: In modern epistemology the three strategies to rebut the sceptic are 1) epistemological externalism, 2) the 'relevant alternative account of knowledge' (that scepticism is too extreme to be relevant), and 3) semantic externalism. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.IV Int) |
| 3760 | Predictions are bound to be arbitrary if they depend on the language used [Bernecker/Dretske] |
| Full Idea: The new riddle of induction ('grue') seems to demonstrate that sound inductive inferences are arbitrary because they depend on the actual language people use to formulate predictions. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.V Int) |
| 3758 | Semantic externalism ties content to the world, reducing error [Bernecker/Dretske] |
| Full Idea: Semantic externalism ties our mental content down to our actual environment so there is no possibility of massive error. | |
| From: Bernecker / Dretske (Knowledge:Readings in Cont.Epist [2000], Pt.V Int) | |
| A reaction: This sounds more prescriptive than descriptive. People do make massive errors in their concepts. Maybe educated people are more externalist (respectful of experts) than uneducated people? |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |