16 ideas
| 3534 | To be is to have causal powers [Alexander,S] |
| Full Idea: To be is to have causal powers. | |
| From: Samuel Alexander (works [1927], §4), quoted by Jaegwon Kim - Nonreductivist troubles with ment.causation | |
| A reaction: This is sometimes called Alexander's Principle. It is first found in Plato, and is popular with physicalists, but there are problem cases... A thing needs to exist in order to have causal powers. To exist is more than to be perceived. |
| 5806 | Belief is the power of metarepresentation [Dretske] |
| Full Idea: Belief is the power of metarepresentation. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2.3) | |
| A reaction: Hm. I have always defined belief as 'commitment to truth', and this definition leaves out both parts. Where is the commitment? If hope is another metarepresentation, how does it differ from belief? I imagine things, not believing them to be true. |
| 5801 | A mouse hearing a piano played does not believe it, because it lacks concepts and understanding [Dretske] |
| Full Idea: A mouse can see and hear a piano being played, but believing is something else; it requires the concept of a piano, and understanding. Mice who hear pianos being played do not believe pianos are being played. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §1.3) | |
| A reaction: Are we to say that when a mouse hears a piano it has no beliefs at all? Might not a belief involve images, so that a mouse calls up appropriate images from previous experiences, which are in a grey area on the edge of belief? |
| 5802 | Representations are in the head, but their content is not, as stories don't exist in their books [Dretske] |
| Full Idea: Representations are in the head, but their content is not; in this sense, the mind isn't in the head any more than stories (i.e. story contents) are in books. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §1.6) | |
| A reaction: This is the final consequence of Putnam's idea that meanings ain't in the head. Intentionality is an extraordinary bridge between the brain and the external world. The ontology of stories, and musical compositions, is one philosophy's deepest problems. |
| 5809 | Some activities are performed better without consciousness of them [Dretske] |
| Full Idea: Some tasks (playing the piano, speaking foreign languages, playing fast sports) are best performed when the agent is largely unconscious of the details. | |
| From: Fred Dretske (Naturalizing the Mind [1997], Ch.4 n16) | |
| A reaction: A significant point, but it supports the evolutionary view, which is that what matters is success, and consciousness will switch on or off, whichever promotes the activity best. |
| 5808 | Qualia are just the properties objects are represented as having [Dretske] |
| Full Idea: The Representational Thesis of mind identifies the qualities of experience - qualia - with the properties objects are represented as having. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §3.2) | |
| A reaction: This seems to challenge the distinction between primary and secondary qualities, of which I am very fond. Is 'looks beautiful' a property of an object? Is the feeling of anger a property of an object? Qualia are properties of brains? |
| 5803 | In a representational theory of mind, introspection is displaced perception [Dretske] |
| Full Idea: On a representational theory of the mind, introspection becomes an instance of displaced perception - knowledge of internal (mental) facts via an awareness of external (physical) objects. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: This sounds close to a behaviourist (e.g. Ryle) account of introspection, via observing one's own behaviour. The word 'displaced' is an easy one, concealing a multitude of questions. |
| 5807 | Introspection is the same as the experience one is introspecting [Dretske] |
| Full Idea: Introspection has no phenomenology or, if it does, it always has the same phenomenology as the experience one is introspecting. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2.4) | |
| A reaction: There is a difference between looking at a tree, and being aware of yourself looking at a tree. You can be faintly depressed, and then become aware that you are faintly depressed. He is nearly right. |
| 5805 | Introspection does not involve looking inwards [Dretske] |
| Full Idea: The 'problem' of introspection evaporates once one understands that it is not a process in which one looks inward. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: I take it that when we introspect we look at the contents of thoughts, which are representations of the external world, on the whole. But surely only the connections of those contents with memories can be seen inwardly? |
| 3398 | Epiphenomenalism makes the mind totally pointless [Alexander,S] |
| Full Idea: Epiphenomenalism supposes something to exist in nature which has nothing to do and no purpose to serve. | |
| From: Samuel Alexander (works [1927]), quoted by Jaegwon Kim - Philosophy of Mind p.129 | |
| A reaction: An objection, but not, I think, a strong one. The fact, for example, that sweat is shiny is the result of good evolutionary reasons, but I cannot think of any purpose which it serves. All events which are purposeful are likely to have side-effects. |
| 5804 | A representational theory of the mind is an externalist theory of the mind [Dretske] |
| Full Idea: A representational theory of the mind is an externalist theory of the mind. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: Presumably brain events bring the world into the mind, so the world must be mentioned in explaining the mind. Maybe 'externalism' sounds grand, but is stating the boringly obvious. Explanations of mind need no mention of external particulars. |
| 5800 | All mental facts are representation, which consists of informational functions [Dretske] |
| Full Idea: My thesis is that all mental facts are representational facts, and that all representational facts are facts about informational functions. | |
| From: Fred Dretske (Naturalizing the Mind [1997], Prol) | |
| A reaction: The first half of the thesis seems a bit difficult to disagree with, but that a fact is 'represented' may not be the essence of that fact. The biggest mystery is the content, not its representation. And everything is 'information' about everything else. |
| 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! |