8 ideas
| 18004 | We can't do philosophy without knowledge of types and categories [Ryle] |
| Full Idea: We are in the dark about the nature of philosophical problems and methods if we are in the dark about types and categories. | |
| From: Gilbert Ryle (Categories [1938], p.189), quoted by Ofra Magidor - Category Mistakes 1.2 | |
| A reaction: Magidor and others take this to be an assertion about language and logic, but I take it to be an assertion about reality. It is an early assertion of Schaffer's claim that ontology concerns the structure of existence, and not just what exists. |
| 19540 | Don't confuse justified belief with justified believers [Dougherty/Rysiew] |
| Full Idea: Much theorizing about justification conflates issues of justified belief with issues of justified/blameless believers. | |
| From: Dougherty,T/Rysiew,P (What is Knowledge-First Epistemology? [2014], p.12) | |
| A reaction: [They cite Kent Bach 1985] Presumably the only thing that really justifies a belief is the truth, or the actual facts. You could then say 'p is a justified belief, though no one actually believes it'. E.g. the number of stars is odd. |
| 19539 | If knowledge is unanalysable, that makes justification more important [Dougherty/Rysiew] |
| Full Idea: If knowledge is indeed unanalyzable, that could be seen as a liberation of justification to assume importance in its own right. | |
| From: Dougherty,T/Rysiew,P (What is Knowledge-First Epistemology? [2014], p.11) | |
| A reaction: [They cite Kvanvig 2003:192 and Greco 2010:9-] See Scruton's Idea 3897. I suspect that we should just give up discussing 'knowledge', which is a woolly and uninformative term, and focus on where the real epistemological action is. |
| 19538 | Entailment is modelled in formal semantics as set inclusion (where 'mammals' contains 'cats') [Dougherty/Rysiew] |
| Full Idea: Entailment is modelled in formal semantics as set inclusion. 'Cat' entails 'mammal' because the cats are a subset of the mammals. | |
| From: Dougherty,T/Rysiew,P (What is Knowledge-First Epistemology? [2014], p.10) | |
| A reaction: I would have thought that this was only one type of entailment. 'Travelling to Iceland entails flying'. Travelling includes flying, the reverse of cats/mammals, to a very complex set-theoretic account is needed. Interesting. |
| 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! |