Combining Texts

All the ideas for 'Good and Evil', 'Representation in Music' and 'Evidentialism'

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8 ideas

13. Knowledge Criteria / B. Internal Justification / 3. Evidentialism / b. Evidentialism
We could know the evidence for our belief without knowing why it is such evidence [Mittag]
     Full Idea: While one might understand the proposition entailed by one's evidence, one might have no idea how or why one's evidence entails it. This seems to imply one is not justified in believing the proposition on the basis of one's evidence.
     From: Daniel M. Mittag (Evidentialism [2011], 'Evidential')
     A reaction: An example might be seen if a layman tours a physics lab. This looks like a serious problem for evidentialism. Once you see why the evidence entails the proposition, you are getting closer to understanding than to knowledge. Explanation.
Evidentialism can't explain that we accept knowledge claims if the evidence is forgotten [Mittag]
     Full Idea: If one came to believe p with good evidence, but has since forgotten that evidence, we might think one can continue to believe justifiably, but evidentialism appears unable to account for this.
     From: Daniel M. Mittag (Evidentialism [2011], 'Forgotten')
     A reaction: We would still think that the evidence was important, and we would need to trust the knower's claim that the forgotten evidence was good. So it doesn't seem to destroy the evidentialist thesis.
Evidentialism concerns the evidence for the proposition, not for someone to believe it [Mittag]
     Full Idea: Evidentialism is not a theory about when one's believing is justified; it is a theory about what makes one justified in believing a proposition. It is a thesis regarding 'propositional justification', not 'doxastic justification'.
     From: Daniel M. Mittag (Evidentialism [2011], 'Preliminary')
     A reaction: Thus it is entirely about whether the evidence supports the proposition, and has no interest in who believes it or why. Knowledge is when you believe a true proposition which has good support. This could be internalist or externalist?
13. Knowledge Criteria / B. Internal Justification / 5. Coherentism / c. Coherentism critique
Coherence theories struggle with the role of experience [Mittag]
     Full Idea: Traditional coherence theories seem unable to account for the role experience plays in justification.
     From: Daniel M. Mittag (Evidentialism [2011], 'Evidence')
     A reaction: I'm inclined to say that experience only becomes a justification when it has taken propositional (though not necessarily lingistic) form. That is, when you see it 'as' something. Uninterpreted shape and colour can justify virtually nothing.
21. Aesthetics / B. Nature of Art / 4. Art as Expression
Reference without predication is the characteristic of expression [Scruton]
     Full Idea: Characteristic of expression is the presence of 'reference' without predication.
     From: Roger Scruton (Representation in Music [1976], p.71)
     A reaction: This echoes (in linguistic terms) Kant's thought that art is 'purposive without purpose'. The remark is comfortable in an essay on music, but it gets more tricky when the topic is literature, or even representational painting.
21. Aesthetics / B. Nature of Art / 5. Art as Language
If music refers to love, it contains no predication, so it is expression, not language [Scruton]
     Full Idea: If a passage carries a reference to love, we are not told what it says about love. And to speak of language with 'reference' but no predication is simply to misuse the word. We leave the realm of representation and enter that of expression.
     From: Roger Scruton (Representation in Music [1976], p.63-4)
     A reaction: This is a beautifully simple objection to the idea (associated with Nelson Goodman) that art is a language. Though what an 'expression' of something amounts to I am not quite sure.
21. Aesthetics / B. Nature of Art / 8. The Arts / a. Music
Music is not representational, since thoughts about a subject are never essential to it [Scruton]
     Full Idea: Music is not representational, since thoughts about a subject are never essential to the understanding of music.
     From: Roger Scruton (Representation in Music [1976], p.74)
     A reaction: I would not have thought that many people thought music was representational, but Scruton particularly mentions passages in opera that seem to pick up aspects of the story. Do even bell sounds not represent bells?
22. Metaethics / C. The Good / 1. Goodness / a. Form of the Good
'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.