8 ideas
| 8616 | How can multiple statements, none of which is tenable, conjoin to yield a tenable conclusion? [Elgin] |
| Full Idea: How can multiple statements, none of which is tenable, conjoin to yield a tenable conclusion? How can their relation to other less than tenable enhance their tenability? | |
| From: Catherine Z. Elgin (Non-foundationalist epistemology [2005], p.157) | |
| A reaction: Her example is witnesses to a crime. Bayes Theorem appears to deal with individual items. "The thief had green hair" becomes more likely with multiple testimony. This is a very persuasive first step towards justification as coherence. |
| 8617 | Statements that are consistent, cotenable and supportive are roughly true [Elgin] |
| Full Idea: The best explanation of coherence (where the components of a coherent account must be mutually consistent, cotenable and supportive) is that the account is at least roughly true. | |
| From: Catherine Z. Elgin (Non-foundationalist epistemology [2005], p.158) | |
| A reaction: Note that she is NOT employing a coherence account of truth (which I take to be utterly wrong). It is notoriously difficult to define coherence. If the components must be 'tenable', they have epistemic status apart from their role in coherence. |
| 8618 | Coherence is a justification if truth is its best explanation (not skill in creating fiction) [Elgin] |
| Full Idea: The best explanation of the coherence of 'Middlemarch' lies in the novelist's craft. Coherence conduces to epistemic acceptability only when the best explanation of the coherence of a constellation of claims is that they are (at least roughly) true. | |
| From: Catherine Z. Elgin (Non-foundationalist epistemology [2005], p.160) | |
| A reaction: Yes. This combines my favourite inference to the best explanation (the favourite tool of us realists) with coherence as justification, where coherence can, crucially, have a social dimension. I begin to think this is the correct account of justification. |
| 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! |
| 5271 | Prejudice apart, push-pin has equal value with music and poetry [Bentham] |
| Full Idea: Prejudice apart, the game of push-pin is of equal value with the arts and science of music and poetry. | |
| From: Jeremy Bentham (Constitutional Code I [1827], p.139), quoted by J.R. Dinwiddy - Bentham p.114 | |
| A reaction: Mill quoted this with implied outrage, but Bentham was attacking public subsidies to the arts when he said it. It is a basic idea in the debate on pleasure - that pleasures are only distinguished by their intensity, not some other value. |