19 ideas
| 6848 | Humour is practically enacted philosophy [Critchley] |
| Full Idea: Humour, for me, is practically enacted philosophy. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.198) | |
| A reaction: This may be overstating it, as the funniest jokes may be the least philosophical, and remarks may be faintly amusing but very profound. Lear and his Fool make up a single worldview together. |
| 6847 | Humour can give a phenomenological account of existence, and point to change [Critchley] |
| Full Idea: Humour provides an oblique phenomenology of ordinary life; it is a way of describing the situation of our existence, and, at its best, it indicates how we might change that situation. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.198) | |
| A reaction: The trouble is that this leads us to relentlessly political standup comedians who aren't very funny. Critichley may have a problem with remarks which are very funny precisely because they are so politically incorrect. I sympathise, though. |
| 6844 | Scientism is the view that everything can be explained causally through scientific method [Critchley] |
| Full Idea: Scientism is the belief that all phenomena can be explained through the methodology of the natural sciences, and the belief that, therefore, all phenomena are capable of a causal explanation. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.196) | |
| A reaction: He links two ideas together, but I tend to subscribe fully to the second idea, but less fully to the first. Scientific method, if there is such a thing (Idea 6804), may not be the best way to lay bare the causal network of reality. |
| 6835 | German idealism aimed to find a unifying principle for Kant's various dualisms [Critchley] |
| Full Idea: In his Third Critique Kant established a series of dualisms (pure/practical reason, nature/freedom, epistemology/ethics) but failed to provide a unifying principle; German idealism can be seen as an attempt to provide this principle. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.187) | |
| A reaction: He cites 'subject', 'spirit', 'art', 'will to power', 'praxis' and 'being' as candidates. This is a helpful overview for someone struggling to get to grips with that tradition. |
| 6837 | Since Hegel, continental philosophy has been linked with social and historical enquiry. [Critchley] |
| Full Idea: In continental philosophy from Hegel onwards, systematic philosophical questions have to be linked to socio-historical enquiry, and the distinctions between philosophy, history and society begin to fall apart. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.188) | |
| A reaction: I have a strong sales resistance to this view of philosophy, just as I would if it was said about mathematics. It seems to imply a bogus view that history exhibits direction and purpose (the 'Whig' view). There are pure reasons among the prejudices. |
| 6836 | Continental philosophy fights the threatened nihilism in the critique of reason [Critchley] |
| Full Idea: If reason must criticise itself (in Kant) how does one avoid total scepticism? In my view, the problem that has animated the continental tradition since Jacobi (early 19th cent) is the threat of nihilism. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.188) | |
| A reaction: As an outsider to 'continental' philosophy, this is the most illuminating remark I have read about it. It is not only a plausible account of the movement, but also a very worth aim, which should be taken seriously by analytical philosophers. |
| 6838 | Continental philosophy is based on critique, praxis and emancipation [Critchley] |
| Full Idea: The basic map of the continental tradition can be summarised in three terms: critique, praxis and emancipation. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.189) | |
| A reaction: I wince at 'emancipation', which seems to take freedom as of unquestionably high value, instead of being one of the principles up for question in social philosophy. There are more presuppositions in Marxist than in analytical philosophy. |
| 6845 | Continental philosophy has a bad tendency to offer 'one big thing' to explain everything [Critchley] |
| Full Idea: In continental philosophy there is a pernicious tendency to explain everything in terms of 'one big thing', such as the 'death drive' (Freud), 'being' (Heidegger), 'the real' (Lacan), 'power' (Foucault), 'the other' (Levinas), or 'différance' (Derrida). | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.197) | |
| A reaction: From a fan of this type of philosophy, this is a refreshing remark, because if pinpoints a very off-putting feature. Each of these 'big things' should be up for question, not offered as axiomatic assumptions that explain everything else. |
| 6846 | Phenomenology is a technique of redescription which clarifies our social world [Critchley] |
| Full Idea: Phenomenology (as in the later Husserl) is for me a way of assembling reminders which clarify the social world in which we exist; it is a technique of redescription. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.198) | |
| A reaction: I'm not sure if I can identify with this as a target for philosophy, but it is interesting and sound worthy of effort. Critchley offers this as the best strand in 'continental' philosophy, rather than the big explanatory 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. |
| 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! |
| 6843 | Perceiving meaninglessness is an achievement, which can transform daily life [Critchley] |
| Full Idea: If nihilism is the threat of the collapse of meaning, then my position is that one has to accept meaninglessness as an achievement, as an accomplishment that permits a transformed relation to everyday life. | |
| From: Simon Critchley (Interview with Baggini and Stangroom [2001], p.193) | |
| A reaction: This sounds cheerfully upbeat and life-enhancing, but I don't quite see how it works. One could easily end up laughing at the most appalling tragedies, and that seems to me to be an inappropriate (Aristotelian word) way to respond to tragedy. |