55 ideas
| 3593 | The only way to specify the corresponding fact is asserting the sentence [Williams,M] |
| Full Idea: The trouble with appeal to facts in the correspondence theory is that, in general, we have no way of indicating what fact a sentence, when true, corresponds to other than asserting the sentence. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.12) |
| 3585 | Coherence needs positive links, not just absence of conflict [Williams,M] |
| Full Idea: It is often claimed that coherence is more than 'absence of conflict' between beliefs; it also involves 'positive connections'. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.10) |
| 3584 | Justification needs coherence, while truth might be ideal coherence [Williams,M] |
| Full Idea: Contemporary coherence theorists are advancing a theory of justification, not of truth, …with those who argue that truth is also coherence explaining it in terms of ideal coherence, or coherence at the limit of enquiry. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.10) |
| 10688 | 'Equivocation' is when terms do not mean the same thing in premises and conclusion [Beall/Restall] |
| Full Idea: 'Equivocation' is when the terms do not mean the same thing in the premises and in the conclusion. | |
| From: JC Beall / G Restall (Logical Consequence [2005], Intro) |
| 3599 | Deduction shows entailments, not what to believe [Williams,M] |
| Full Idea: The rules of deduction are rules of entailment, not rules of inference. They tell us what follows from what, not what to believe on the basis of what. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.18) |
| 10690 | Formal logic is invariant under permutations, or devoid of content, or gives the norms for thought [Beall/Restall] |
| Full Idea: Logic is purely formal either when it is invariant under permutation of object (Tarski), or when it has totally abstracted away from all contents, or it is the constitutive norms for thought. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) | |
| A reaction: [compressed] The third account sounds rather woolly, and the second one sounds like a tricky operation, but the first one sounds clear and decisive, so I vote for Tarski. |
| 10691 | Logical consequence needs either proofs, or absence of counterexamples [Beall/Restall] |
| Full Idea: Technical work on logical consequence has either focused on proofs, where validity is the existence of a proof of the conclusions from the premises, or on models, which focus on the absence of counterexamples. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 10695 | Logical consequence is either necessary truth preservation, or preservation based on interpretation [Beall/Restall] |
| Full Idea: Two different views of logical consequence are necessary truth-preservation (based on modelling possible worlds; favoured by Realists), or truth-preservation based on the meanings of the logical vocabulary (differing in various models; for Anti-Realists). | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) | |
| A reaction: Thus Dummett prefers the second view, because the law of excluded middle is optional. My instincts are with the first one. |
| 10689 | A step is a 'material consequence' if we need contents as well as form [Beall/Restall] |
| Full Idea: A logical step is a 'material consequence' and not a formal one, if we need the contents as well as the structure or form. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 2) |
| 10696 | A 'logical truth' (or 'tautology', or 'theorem') follows from empty premises [Beall/Restall] |
| Full Idea: If a conclusion follows from an empty collection of premises, it is true by logic alone, and is a 'logical truth' (sometimes a 'tautology'), or, in the proof-centred approach, 'theorems'. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 4) | |
| A reaction: These truths are written as following from the empty set Φ. They are just implications derived from the axioms and the rules. |
| 10693 | Models are mathematical structures which interpret the non-logical primitives [Beall/Restall] |
| Full Idea: Models are abstract mathematical structures that provide possible interpretations for each of the non-logical primitives in a formal language. | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 10692 | Hilbert proofs have simple rules and complex axioms, and natural deduction is the opposite [Beall/Restall] |
| Full Idea: There are many proof-systems, the main being Hilbert proofs (with simple rules and complex axioms), or natural deduction systems (with few axioms and many rules, and the rules constitute the meaning of the connectives). | |
| From: JC Beall / G Restall (Logical Consequence [2005], 3) |
| 3591 | We could never pin down how many beliefs we have [Williams,M] |
| Full Idea: Asking how many beliefs I have is like asking how many drops of water there are in a bucket. If I believe my dog is in the garden, do I also believe he is not in the house, or in Siberia? | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.11) |
| 3582 | Propositions make error possible, so basic experiential knowledge is impossible [Williams,M] |
| Full Idea: Propositional content is inseparable from possible error. Therefore no judgement, however modest, is indubitable. So if basic experiential knowledge has to be indubitable, there is no such knowledge. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 8) |
| 3592 | Phenomenalism is a form of idealism [Williams,M] |
| Full Idea: Phenomenalism is a form of idealism. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.12) |
| 3579 | Sense data avoid the danger of misrepresenting the world [Williams,M] |
| Full Idea: The point of insisting on the absolute immediacy of sense data is that representation always seems to involve the possibility of misrepresentation. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 8) |
| 3581 | Sense data can't give us knowledge if they are non-propositional [Williams,M] |
| Full Idea: Acquaintance with sense data is supposed to be a form of non-propositional knowledge, but how can something be non-propositional and yet knowledge? | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 8) |
| 3564 | Is it people who are justified, or propositions? [Williams,M] |
| Full Idea: What exactly is supposed to be 'justified': a person's believing some particular proposition, or the proposition that he believes? | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 1) | |
| A reaction: A key distinction. See my comment on Idea 3752. What would justify a sign saying 'treasure buried here'? People can be justified in believing falsehoods. How could a false proposition be justified? |
| 3595 | What works always takes precedence over theories [Williams,M] |
| Full Idea: A theory that represents working practices as unworkable is a bad theory. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.13) | |
| A reaction: Good point. There's a lot of this about in epistemology, especially accusations of circularity or infinite regress, which (if true) don't somehow seem to worry the cove on the Clapham omnibus. |
| 3580 | Experience must be meaningful to act as foundations [Williams,M] |
| Full Idea: If we are to treat experience as the foundation of knowledge, then experience must itself be understood to involve propositional content. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 8) | |
| A reaction: This sounds right, but since pure 'experience' obviously doesn't have propositional content, because it needs interpretation and evaluation, then this strategy won't work. |
| 3578 | Are empirical foundations judgements or experiences? [Williams,M] |
| Full Idea: Empirical foundationists must decide whether knowledge ultimately rests on either beliefs or judgements about experience, or on the experiences or sensations themselves. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 8) | |
| A reaction: This clarifies the key issue very nicely, and I firmly vote for the former option. The simplest point is that error is possible about what sensations are taken to be of, so they won't do on their own. |
| 3576 | Foundationalists are torn between adequacy and security [Williams,M] |
| Full Idea: The foundationalists dilemma is to define a basis for knowledge modest enough to be secure but rich enough to be adequate. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 7) | |
| A reaction: ..And that is just what they are unable to do, precisely because adequate support would have to have enough content to be defeasibe or fallible. |
| 3577 | Strong justification eliminates error, but also reduces our true beliefs [Williams,M] |
| Full Idea: A strongly justificationist view of rationality may not be so rational; we want the truth, but avoiding all errors and maximising our number of true beliefs are not the same thing. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 7) | |
| A reaction: An interesting dilemma - to avoid all errors, believing nothing; to maximise true belief, believe everything. It is rational to follow intuition, guesses, and a wing and a prayer - once you are experienced and educated. |
| 3589 | Why should diverse parts of our knowledge be connected? [Williams,M] |
| Full Idea: Why should political theory ever have much to do with quantum physics, or pet care with parliamentary history? | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.11) | |
| A reaction: This hardly demolishes the coherence account of justification, since your views on pet care had better be coherent, for your pet's sake. It's a pity people can make their politics cohere with their ethics. |
| 3590 | Coherence theory must give a foundational status to coherence itself [Williams,M] |
| Full Idea: Coherence theory implicitly assigns the criteria of coherence a special status. …In so far as this status is assigned a priori, the coherence theory represents a rationalistic variant of foundationalism. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.11) | |
| A reaction: Nice move, to accuse coherence theorists of foundationalism! Wrong, though, because the a priori principles of coherence are not basic beliefs, but evolved pragmatic procedures (or something...). |
| 3571 | Externalism does not require knowing that you know [Williams,M] |
| Full Idea: From an externalist point of view, knowing about one's reliability is not required for 'first-order' knowledge. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 2) | |
| A reaction: Ah. 'First-order knowledge' - what's that? What we used to call 'true belief', I would say. Adequate for animals, and a good guide to daily life, but uncritical and unjustifiable. |
| 3574 | Externalism ignores the social aspect of knowledge [Williams,M] |
| Full Idea: A problem with pure externalism is that it ignores the social dimension of knowledge. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 2) | |
| A reaction: This seems to be contradicted by Idea 3573, which allows a social dimension to agreement over what is reliable. I am inclined to take knowledge as an entirely social concept. |
| 3569 | In the causal theory of knowledge the facts must cause the belief [Williams,M] |
| Full Idea: According to Goldman's early causal theory of knowledge, my belief that p counts as knowledge if and only if it is caused by the fact that p. This is sufficient as well as necessary, and so does not involve justification. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 2) | |
| A reaction: I take his theory simply to be false because what causes a belief is not what justifies it. I expect my mother to ring; the phone rings; I 'know' it is my mother (and it is), because I strongly expect it. |
| 3567 | How could there be causal relations to mathematical facts? [Williams,M] |
| Full Idea: It is not clear what would even be meant by supposing that there are causal relations to mathematical facts. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 2) | |
| A reaction: I agree, though platonists seem to be willing to entertain the possibility that there are causal relations, for which no further explanation can be given. Better is knowledge without a causal relation. |
| 3586 | Only a belief can justify a belief [Williams,M] |
| Full Idea: Justification requires logical rather than causal connections. That is the point of the slogan that only a belief can justify a belief. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.10) | |
| A reaction: It seems better to talk of 'rational' connections, rather than 'logical' connections. It isn't 'logical' to believe that someone despises me because their lip is faintly curled. |
| 3573 | Externalist reliability refers to a range of conventional conditions [Williams,M] |
| Full Idea: The radical externalists' key notion is 'reliability', which is a normative condition governing adequate performance, involving reference to a range of conditions which we decide rather than discover. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 2) | |
| A reaction: If we can decide whether a source is reliable, we can also decide whether a reliable source has performed well on this occasion, and that will always take precedence. |
| 3565 | Sometimes I ought to distrust sources which are actually reliable [Williams,M] |
| Full Idea: I may reach a belief using a procedure that is in fact reliable, but which I ought to distrust. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 1) | |
| A reaction: The tramp on the park bench who gives good share tips. The clock that is finally working, but has been going haywire for weeks. Reliabilism is a bad theory. |
| 3566 | We control our beliefs by virtue of how we enquire [Williams,M] |
| Full Idea: We control our beliefs by virtue of how we enquire. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 1) |
| 3594 | Scepticism just reveals our limited ability to explain things [Williams,M] |
| Full Idea: All the sceptic's arguments show is that there are limits to our capacity to give reasons or cite evidence. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.13) |
| 3575 | Scepticism can involve discrepancy, relativity, infinity, assumption and circularity [Williams,M] |
| Full Idea: The classical Five Modes of Scepticism are Discrepancy (people always disagree), Relativity ('according to you'), Infinity (infinite regress of questions), Assumption (ending in dogma) and Circularity (end up where you started). | |
| From: Michael Williams (Problems of Knowledge [2001], Ch. 5) | |
| A reaction: I take Relativity to be different from scepticism (because, roughly, it says there is nothing to know), and the others go with Agrippa's Trilemma of justification, which may have solutions. |
| 3587 | Seeing electrons in a cloud chamber requires theory [Williams,M] |
| Full Idea: Armed with enough theory, we can see electrons in a cloud chamber. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.10) |
| 3588 | Foundationalists base meaning in words, coherentists base it in sentences [Williams,M] |
| Full Idea: In the foundationalist picture the meaning of individual words (defined ostensively) is primary, and that of sentences is derivative. For coherentists sentences come first, with meaning understood functionally or inferentially. | |
| From: Michael Williams (Problems of Knowledge [2001], Ch.10) | |
| A reaction: Coherentism about language doesn't imply coherentism about justification. On language I vote for foundationalism, because I am impressed by the phenomenon of compositionality. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |