Combining Texts

All the ideas for 'The Languages of Art', 'Conceptions of Consequence' and 'Reality and Representation'

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3 ideas

11. Knowledge Aims / A. Knowledge / 2. Understanding
Aristotle's proofs give understanding, so it can't be otherwise, so consequence is necessary [Smiley, by Rumfitt]
     Full Idea: The ingredient of necessity [in Aristotle's account of consequence] is required by his demand that proof should produce 'understanding' [episteme], coupled with his claim that understanding something involves seeing that it cannot be otherwise.
     From: report of Timothy Smiley (Conceptions of Consequence [1998], p.599) by Ian Rumfitt - The Boundary Stones of Thought 3.2
     A reaction: An intriguing reverse of the normal order. Not 'necessity in logic delivers understanding', but 'reaching understanding shows the logic was necessary'.
11. Knowledge Aims / A. Knowledge / 4. Belief / a. Beliefs
Belief truth-conditions are normal circumstances where the belief is supposed to occur [Papineau]
     Full Idea: The truth condition of the belief is the 'normal' circumstances in which, given the learning process, it is biologically supposed to be present.
     From: David Papineau (Reality and Representation [1987], p.67), quoted by Christopher Peacocke - A Study of Concepts 5.2
     A reaction: How do we account for a belief in ghosts in this story? The notion of 'normal' circumstances and what is 'biologically supposed' to happen don't seem very appropriate. This is the 'teleological' view of belief.
21. Aesthetics / B. Nature of Art / 5. Art as Language
Art is like understanding a natural language, and needs a grasp of a symbol system [Goodman, by Gardner]
     Full Idea: In Goodman's account, knowing what a painting represents is logically like understanding a sentence in a natural language. It requires a grasp of the 'symbol system' to which the painting belongs.
     From: report of Nelson Goodman (The Languages of Art [1976]) by Sebastian Gardner - Aesthetics 2.3.2
     A reaction: This may fit some pictures well (e.g. early Flemish painting, with its complex iconography), but others hardly at all. You can enjoy a first experience of (say) ballet long before you get the hang of the 'symbol system' involved.