9 ideas
| 6900 | A prior understanding of beauty is needed to assert that the Form of the Beautiful is beautiful [Westaway] |
| Full Idea: If it were asserted that the Form of the Beautiful was itself beautiful, such a statement would require a prior understanding of the concept of beauty, so would immediately lead to an infinite regress, so the Forms can't be self-predicating. | |
| From: Luke Westaway (talk [2005]), quoted by PG - Db (ideas) | |
| A reaction: This is a nice clear statement of the mess that Plato gets himself into if he wants the Forms to be self-predicating. Clearly the Form of the Beautiful can't be beautiful, but must be that which gives other things their beauty. |
| 6956 | At what point does an object become 'whole'? [Westaway] |
| Full Idea: At what point does an object become 'whole'? | |
| From: Luke Westaway (talk [2005]), quoted by PG - Db (ideas) | |
| A reaction: This nice question strikes me as the central one in mereology. It is tempting to reply that the matter is entirely conventional, but there seems an obvious fact about something missing if one piece is absent from a jigsaw, or a cube is chipped. |
| 19518 | Evidentialism says justifications supervene on the available evidence [Conee/Feldman] |
| Full Idea: Fundamentally Evidentialism is a supervenience thesis, according to which facts about whether or not a person is justified in believing a proposition supervene on facts describing the evidence the person has. | |
| From: E Conee / R Feldman (Introduction to 'Evidentialism' [2004], p.1) | |
| A reaction: If facts 'describe', does that make them linguistic? That's not how I use 'facts'. A statement of a fact is not the same as the fact. An ugly fact can be beautifully expressed. I am, however, in favour of evidence. |
| 7335 | The Chinese Room should be able to ask itself questions in Mandarin [Westaway] |
| Full Idea: If the Chinese Room is functionally equivalent to a Mandarin speaker, it ought to be able to ask itself questions in Mandarin (and it can't). | |
| From: Luke Westaway (talk [2005]), quoted by PG - Db (ideas) | |
| A reaction: Searle might triumphantly say that this proves there is no understanding in the room, but the objection won't go away, because the room is presumably functionally equivalent to a speaker, and not just a mere translator (who might use mechanical tricks). |
| 19519 | Rational decisions are either taken to be based on evidence, or to be explained causally [Conee/Feldman] |
| Full Idea: In decision theory, there is a view according to which the rational basis for all decisions is evidential. This kind of decision theory is typically contrasted with causal decision theory. | |
| From: E Conee / R Feldman (Introduction to 'Evidentialism' [2004], p.3) | |
| A reaction: Your Kantian presumably likes rational reflection on evidence, and your modern reductive scientist prefers causality (which doesn't really sound very rational). |
| 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! |