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14330
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To be realists about dispositions, we can only discuss them through their categorical basis [Armstrong]
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Full Idea:
It is only to the extent that we relate disposition to 'categorical basis', and difference of disposition to difference of 'categorical basis', that we can speak of dispositions. We must be Realists, not Phenomenalists, about dispositions.
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From:
David M. Armstrong (A Materialist Theory of Mind (Rev) [1968], 6.VI)
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A reaction:
It is Armstrong's realism which motivates this claim, because he thinks only categorical properties are real. But categorical properties seem to be passive, and the world is active.
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6498
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Armstrong suggests secondary qualities are blurred primary qualities [Armstrong, by Robinson,H]
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Full Idea:
According to D.M. Armstrong and others, when we perceive secondary qualities we are in fact perceiving primary qualities in a confused, indistinct or blurred way.
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From:
report of David M. Armstrong (A Materialist Theory of Mind (Rev) [1968], 270-90) by Howard Robinson - Perception III.1
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A reaction:
This is obviously an attempt to fit secondary qualities into a reductive physicalist account of the mind. Personally I favour Armstrong's project, but doubt whether this strategy is necessary. I just don't think there is anything 'primary' about redness.
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5690
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A mental state without belief refutes self-intimation; a belief with no state refutes infallibility [Armstrong, by Shoemaker]
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Full Idea:
For Armstrong, introspection involves a belief, and mental states and their accompanying beliefs are 'distinct existences', so a state without belief shows states are not self-intimating, and the belief without the state shows beliefs aren't infallible.
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From:
report of David M. Armstrong (A Materialist Theory of Mind (Rev) [1968]) by Sydney Shoemaker - Introspection
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A reaction:
I agree with Armstrong. Introspection is a two-level activity, which animals probably can't do, and there is always the possibility of a mismatch between the two levels, so introspection is neither self-intimating nor infallibe (though incorrigible).
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5493
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If pains are defined causally, and research shows that the causal role is physical, then pains are physical [Armstrong, by Lycan]
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Full Idea:
Armstrong and Lewis said that mental items were defined in terms of typical causes and effects; if, as seems likely, research reveals that a particular causal niche is occupied by a physical state, it follows that pain is a physical state.
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From:
report of David M. Armstrong (A Materialist Theory of Mind (Rev) [1968]) by William Lycan - Introduction - Ontology p.5
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A reaction:
I am not fully convinced of the first step in the argument. It sounds like the epistemology and the ontology have got muddled (as usual). We define mental states as we define electrons, in terms of observed behaviour, but what are they?
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20420
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The emotion expressed is non-conscious, but feels oppressive until expression relieves it [Collingwood]
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Full Idea:
The emotion expressed is one of whose nature the person feeling it is no longer conscious. As unexpressed, he feels it in a helpless and oppressed way; as expressed, the oppression has vanished. His mind is somehow lightened and eased.
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From:
R.G. Collingwood (The Principles of Art [1938], p.110), quoted by Gary Kemp - Croce and Collingwood 1
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A reaction:
It sounds like the regular smoking of cigarettes. This is Collingwood answer the doubts I felt about Idea 20419. I would have thought the desire of Picasso was to create another painting, but not to express yet another new oppressive feeling.
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20421
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Art exists ideally, purely as experiences in the mind of the perceiver [Collingwood, by Kemp]
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Full Idea:
For Collingwood (and Croce) the work of art is an ideal object; …they are things that exist only in the mind, that is, only when one perceives. …The physical work exists to make this experience available.
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From:
report of R.G. Collingwood (The Principles of Art [1938]) by Gary Kemp - Croce and Collingwood 2
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A reaction:
This means that the paintings in a gallery cease to be works of art when the gallery is shut, which sounds odd. I suppose 'work of art' is ambiguous, between the experience (right) and the facilitator of the experience (wrong).
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