10 ideas
| 12899 | The timid student has knowledge without belief, lacking confidence in their correct answer [Lewis] |
| Full Idea: I allow knowledge without belief, as in the case of the timid student who knows the answer but has no confidence that he has it right, and so does not believe what he knows. | |
| From: David Lewis (Elusive Knowledge [1996], p.429) | |
| A reaction: [He cites Woozley 1953 for the timid student] I don't accept this example (since my views on knowledge are rather traditional, I find). Why would the student give that answer if they didn't believe it? Sustained timid correctness never happens. |
| 12897 | To say S knows P, but cannot eliminate not-P, sounds like a contradiction [Lewis] |
| Full Idea: If you claim that S knows that P, and yet grant that S cannot eliminate a certain possibility of not-P, it certainly seems as if you have granted that S does not after all know that P. To speak of fallible knowledge just sounds contradictory. | |
| From: David Lewis (Elusive Knowledge [1996], p.419) | |
| A reaction: Starting from this point, fallibilism seems to be a rather bold move. The only sensible response seems to be to relax the requirement that not-P must be eliminable. Best: in one epistemic context P, in another not-P. |
| 12898 | Justification is neither sufficient nor necessary for knowledge [Lewis] |
| Full Idea: I don't agree that the mark of knowledge is justification, first because justification isn't sufficient - your true opinion that you will lose the lottery isn't knowledge, whatever the odds; and also not necessary - for what supports perception or memory? | |
| From: David Lewis (Elusive Knowledge [1996]) | |
| A reaction: I don't think I agree. The point about the lottery is that an overwhelming reason will never get you to knowing that you won't win. But good reasons are coherent, not statistical. If perceptions are dubious, justification must be available. |
| 12895 | Knowing is context-sensitive because the domain of quantification varies [Lewis, by Cohen,S] |
| Full Idea: The context-sensitivity of 'knows' is a function of contextual restrictions on the domain of quantification. | |
| From: report of David Lewis (Elusive Knowledge [1996]) by Stewart Cohen - Contextualism Defended p.68 | |
| A reaction: I think the shifting 'domain of quantification' is one of the most interesting features of ordinary talk. Or, more plainly. 'what are you actually talking about?' is the key question in any fruitful dialogue. Sophisticated speakers tacitly shift domain. |
| 19562 | We have knowledge if alternatives are eliminated, but appropriate alternatives depend on context [Lewis, by Cohen,S] |
| Full Idea: S knows P if S's evidence eliminates every alternative. But the nature of the alternatives depends on context. So for Lewis, the context sensitivity of 'knows' is a function of contextual restrictions ln the domain of quantification. | |
| From: report of David Lewis (Elusive Knowledge [1996]) by Stewart Cohen - Contextualism Defended (and reply) 1 | |
| A reaction: A typical modern attempt to 'regiment' a loose term like 'context'. That said, I like the idea. I'm struck by how the domain varies during a conversation (as in 'what we are talking about'). Domains standardly contain 'objects', though. |
| 16383 | Puzzled Pierre has two mental files about the same object [Recanati on Kripke] |
| Full Idea: In Kripke's puzzle about belief, the subject has two distinct mental files about one and the same object. | |
| From: comment on Saul A. Kripke (A Puzzle about Belief [1979]) by François Recanati - Mental Files 17.1 | |
| A reaction: [Pierre distinguishes 'London' from 'Londres'] The Kripkean puzzle is presented as very deep, but I have always felt there was a simple explanation, and I suspect that this is it (though I will leave the reader to think it through, as I'm very busy…). |
| 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! |