9 ideas
| 9329 | Justification is coherence with a background system; if irrefutable, it is knowledge [Lehrer] |
| Full Idea: Justification is coherence with a background system which, when irrefutable, converts to knowledge. | |
| From: Keith Lehrer (Consciousness,Represn, and Knowledge [2006]) | |
| A reaction: A problem (as the theory stands here) would be whether you have to be aware that the coherence is irrefutable, which would seem to require a pretty powerful intellect. If one needn't be aware of the irrefutability, how does it help my justification? |
| 9330 | Generalization seems to be more fundamental to minds than spotting similarities [Lehrer] |
| Full Idea: There is a level of generalization we share with other animals in the responses to objects that suggest that generalization is a more fundamental operation of the mind than the observation of similarities. | |
| From: Keith Lehrer (Consciousness,Represn, and Knowledge [2006]) | |
| A reaction: He derives this from Reid (1785) - Lehrer's hero - who argued against Hume that we couldn't spot similarities if we hadn't already generalized to produce the 'respect' of the similarity. Interesting. I think Reid must be right. |
| 9328 | All conscious states can be immediately known when attention is directed to them [Lehrer] |
| Full Idea: I am inclined to think that all conscious states can be immediately known when attention is directed to them. | |
| From: Keith Lehrer (Consciousness,Represn, and Knowledge [2006]) | |
| A reaction: This strikes me as a very helpful suggestion, for eliminating lots of problem cases for introspective knowledge which have been triumphally paraded in recent times. It might, though, be tautological, if it is actually a definition of 'conscious states'. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |
| 22489 | 'Good' is an attributive adjective like 'large', not predicative like 'red' [Geach, by Foot] |
| Full Idea: Geach puts 'good' in the class of attributive adjectives, such as 'large' and 'small', contrasting such adjectives with 'predicative' adjectives such as 'red'. | |
| From: report of Peter Geach (Good and Evil [1956]) by Philippa Foot - Natural Goodness Intro | |
| A reaction: [In Analysis 17, and 'Theories of Ethics' ed Foot] Thus any object can simply be red, but something can only be large or small 'for a rat' or 'for a car'. Hence nothing is just good, but always a good so-and-so. This is Aristotelian, and Foot loves it. |