11 ideas
| 3299 | In logic identity involves reflexivity (x=x), symmetry (if x=y, then y=x) and transitivity (if x=y and y=z, then x=z) [Baillie] |
| Full Idea: In logic identity is an equivalence relation, which involves reflexivity (x=x), symmetry (if x=y, then y=x), and transitivity (if x=y and y=z, then x=z). | |
| From: James Baillie (Problems in Personal Identity [1993], Intr p.4) |
| 4045 | Children may have three innate principles which enable them to learn to count [Goldman] |
| Full Idea: It has been proposed (on the basis of observations) that young children have three innate principles of counting - one-to-one correspondence of number to item, stable order for numbers, and cardinality (which labels the nth item counted). | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.60) | |
| A reaction: I like the idea of observed patterns as central (which is the one-to-one principle). But the other two principles are plausible, and show why pure empiricism won't work. |
| 4044 | Rat behaviour reveals a considerable ability to count [Goldman] |
| Full Idea: Rats can determine the number of times they have pressed a lever up to at least twenty-four presses,…and can consistently turn down the fifth tunnel on the left in a maze. | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.58) | |
| A reaction: This seems to encourage an empirical view of maths (pattern recognition?) rather than a Platonic one. Or numbers are innate in rat brains? |
| 4048 | Infant brains appear to have inbuilt ontological categories [Goldman] |
| Full Idea: Infant behaviour implies inbuilt ontological categories of thing, place, event, path, action, sound, manner, amount and number. ...There is an algebra of relationships between them. | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.109) | |
| A reaction: Interesting. We would expect the categories in infant brains to have instrumental value, but we don't have to accept them as true. Adults (even Aristotle) are big infants. |
| 4043 | Elephants can be correctly identified from as few as three primitive shapes [Goldman] |
| Full Idea: An elephant may be fully represented by nine primitive shapes ('geons'), but it may require as few as three geons in appropriate relations to be correctly identified. | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.7) | |
| A reaction: Encouraging the idea of the mind as a maker of maps and models |
| 4049 | The way in which colour experiences are evoked is physically odd and unpredictable [Goldman] |
| Full Idea: A unique yellow experience may be evoked with monochrome light of 580nm, or a mixture of 540nm and 670nm. ..Our interpretation of colour experience is a highly idiosyncratic artefact of our visual system. | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.117) | |
| A reaction: This confirms what I have always thought - that colour (as qualia) is strictly a feature of minds, not of the world. |
| 4047 | Gestalt psychology proposes inbuilt proximity, similarity, smoothness and closure principles [Goldman] |
| Full Idea: Gestalt psychology claims that there are at least four unlearned factors in perceptual grouping - the principles of proximity (close things), of similarity, of good continuation (extending lines in a smooth course), and closure (which completes figures). | |
| From: Alvin I. Goldman (Phil Applications of Cognitive Science [1993], p.103) | |
| A reaction: This offers a bridge between Hume's associationism and rationalist claims of innate ideas |
| 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! |