10 ideas
| 15571 | The idea of an atemporal realm of validity is as implausible as medieval theology [Heidegger] |
| Full Idea: The whole idea of an atemporal realm of validity is an invention that is no less doubtful than medieval speculation about angels. | |
| From: Martin Heidegger (Basic Problems of Phenomenology [1927], p.215), quoted by Richard Polt - Heidegger: an introduction 2 'Theory' | |
| A reaction: This seems to be flatly opposed to the view of Frege, and shows why continental philosophy has largely eschewed a study of logic. It is hard for a philosopher to pursue logic extensively without commitment to the Fregean Third Realm. |
| 8808 | Involuntary beliefs can still be evaluated [Feldman/Conee] |
| Full Idea: Examples confirm that beliefs may be both involuntary and subject to epistemic evaluation. | |
| From: R Feldman / E Conee (Evidentialism [1985], II) | |
| A reaction: This is an extremely important point, which summarises the situation with beliefs that arise from (apparent) immediate perception. A belief cannot possibly be knowledge if it has been triggered, but no effort was made to evaluate it. |
| 8807 | Evidentialism is the view that justification is determined by the quality of the evidence [Feldman/Conee] |
| Full Idea: What we call 'evidentialism' is the view that the epistemic justification of a belief is determined by the quality of the believer's evidence for the belief. | |
| From: R Feldman / E Conee (Evidentialism [1985], I) | |
| A reaction: The immediate question is whether the believer knows the quality of their evidence. A detective might not recognise the crucial clue (like the dog not barking). The definition of 'quality' had better not turn out to be circular. Forgotten evidence? |
| 8809 | Beliefs should fit evidence, and if you ought to believe it, then you are justified [Feldman/Conee] |
| Full Idea: One epistemically ought to have the doxastic attitudes that fit one's evidence. Being epistemically obligatory is equivalent to being epistemically justified. | |
| From: R Feldman / E Conee (Evidentialism [1985], III) | |
| A reaction: It is normal for someone to refuse to accept something, when another person believes the evidence is overwhelming. Evaluation of evidence must include an assessment of what other evidence might turn up. |
| 8810 | If someone rejects good criticism through arrogance, that is irrelevant to whether they have knowledge [Feldman/Conee] |
| Full Idea: If an arrogant young physicist refuses to recognise valid criticisms from a senior colleague, his or her character has nothing to do with the epistemic status of their belief in the theory. | |
| From: R Feldman / E Conee (Evidentialism [1985], III) | |
| A reaction: This rejects the idea that epistemic justification is essentially a matter of virtues and vices of character. That view is a version of reliabilism, and hence of externalism. I agree with the criticism, but epistemic virtues are still significant. |
| 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. |
| 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! |
| 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. |
| 15581 | Dasein is always only that which it has chosen to be [Heidegger] |
| Full Idea: Dasein is always only that which it has chosen to be. | |
| From: Martin Heidegger (Basic Problems of Phenomenology [1927], p.278), quoted by Richard Polt - Heidegger: an introduction 3.§39-42 | |
| A reaction: I take it as significant that this is what it 'has' chosen, and not what it now 'chooses'. I might accept that my mode of existence results from past choices, but certainly not that I can choose it now. Ossified brain. |