32 ideas
| 8820 | Rules of reasoning precede the concept of truth, and they are what characterize it [Pollock] |
| Full Idea: Rather than truth being fundamental and rules for reasoning being derived from it, the rules for reasoning come first and truth is characterized by the rules for reasoning about truth. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Cog.Mach') | |
| A reaction: This nicely disturbs our complacency about such things. There is plenty of reasoning in Homer, but I bet there is no talk of 'truth'. Pontius Pilate seems to have been a pioneer (Idea 8821). Do the truth tables define or describe logical terms? |
| 8819 | We need the concept of truth for defeasible reasoning [Pollock] |
| Full Idea: It might be wondered why we even have a concept of truth. The answer is that this concept is required for defeasible reasoning. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Cog.Mach') | |
| A reaction: His point is that we must be able to think critically about our beliefs ('is p true?') if we are to have any knowledge at all. An excellent point. Give that man a teddy bear. |
| 8822 | Statements about necessities need not be necessarily true [Pollock] |
| Full Idea: True statements about the necessary properties of things need not be necessarily true. The well-known example is that the number of planets (9) is necessarily an odd number. The necessity is de re, but not de dicto. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Nat.Internal') | |
| A reaction: This would be a matter of the scope (the placing of the brackets) of the 'necessarily' operator in a formula. The quick course in modal logic should eradicate errors of this kind in your budding philosopher. |
| 8818 | Defeasible reasoning requires us to be able to think about our thoughts [Pollock] |
| Full Idea: Defeasible reasoning requires us to be able to think about our thoughts. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Cog.Mach') | |
| A reaction: This is why I do not think animals 'know' anything, though they seem to have lots of true beliefs about their immediate situation. |
| 8811 | What we want to know is - when is it all right to believe something? [Pollock] |
| Full Idea: When we ask whether a belief is justified, we want to know whether it is all right to believe it. The question we must ask is 'when is it permissible (epistemically) to believe P?'. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Ep.Norms') | |
| A reaction: Nice to see someone trying to get the question clear. The question clearly points to the fact that there must at least be some sort of social aspect to criteria of justification. I can't cheerfully follow my intuitions if everyone else laughs at them. |
| 8817 | Logical entailments are not always reasons for beliefs, because they may be irrelevant [Pollock] |
| Full Idea: Epistemologists have noted that logical entailments do not always constitute reasons. P may entail Q without the connection between P and Q being at all obvious. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Ref.of Extern') | |
| A reaction: Graham Priest and others try to develop 'relevance logic' to deal with this. This would deny the peculiar classical claim that everything is entailed by a falsehood. A belief looks promising if it entails lots of truths about the world. |
| 8814 | Epistemic norms are internalised procedural rules for reasoning [Pollock] |
| Full Idea: Epistemic norms are to be understood in terms of procedural knowledge involving internalized rules for reasoning. | |
| From: John L. Pollock (Epistemic Norms [1986], 'How regulate?') | |
| A reaction: He offers analogies with bicycly riding, but the simple fact that something is internalized doesn't make it a norm. Some mention of truth is needed, equivalent to 'don't crash the bike'. |
| 8823 | Reasons are always for beliefs, but a perceptual state is a reason without itself being a belief [Pollock] |
| Full Idea: When one makes a perceptual judgement on the basis of a perceptual state, I want to say that the perceptual state itself is one's reason. ..Reason are always reasons for beliefs, but the reasons themselves need not be beliefs. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Dir.Realism') | |
| A reaction: A crucial issue. I think I prefer the view of Davidson, in Ideas 8801 and 8804. Three options: a pure perception counts as a reason, or perceptions involve some conceptual content, or you only acquire a reason when a proposition is formulated. |
| 8813 | If we have to appeal explicitly to epistemic norms, that will produce an infinite regress [Pollock] |
| Full Idea: If we had to make explicit appeal to epistemic norms for justification (the 'intellectualist model') we would find ourselves in an infinite regress. The norms, their existence and their application would themselves have to be justified. | |
| From: John L. Pollock (Epistemic Norms [1986], 'How regulate?') | |
| A reaction: This is counter to the 'space of reasons' picture, where everything is rationally assessed. There are regresses for both reasons and for experiences, when they are offered as justifications. |
| 8812 | Norm Externalism says norms must be internal, but their selection is partly external [Pollock] |
| Full Idea: Norm Externalism acknowledges that the content of our epistemic norms must be internalist, but employs external considerations in the selection of the norms themselves. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Ep.Norms') | |
| A reaction: It can't be right that you just set your own norms, so this must contain some truth. Equally, even the most hardened externalist can't deny that what goes on in the head of the person concerned must have some relevance. |
| 8816 | Externalists tend to take a third-person point of view of epistemology [Pollock] |
| Full Idea: Externalists tend to take a third-person point of view in discussing epistemology. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Ref.of Extern') | |
| A reaction: Pollock's point, quite reasonably, is that the first-person aspect must precede any objective assessment of whether someone knows. External facts, such as unpublicised information, can undermine high quality internal justification. |
| 8815 | Belief externalism is false, because external considerations cannot be internalized for actual use [Pollock] |
| Full Idea: External considerations of reliability could not be internalized. Consequently, it is in principle impossible for us to actually employ externalist norms. I take this to be a conclusive refutation of belief externalism. | |
| From: John L. Pollock (Epistemic Norms [1986], 'Ref.of Extern') | |
| A reaction: Not so fast. He earlier rejected the 'intellectualist model' (Idea 8813), so he doesn't think norms have to be fully conscious and open to criticism. So they could be innate, or the result of indoctrination (sorry, teaching), or just forgotten. |
| 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. |
| 13304 | Learned men gain more in one day than others do in a lifetime [Posidonius] |
| Full Idea: In a single day there lies open to men of learning more than there ever does to the unenlightened in the longest of lifetimes. | |
| From: Posidonius (fragments/reports [c.95 BCE]), quoted by Seneca the Younger - Letters from a Stoic 078 | |
| A reaction: These remarks endorsing the infinite superiority of the educated to the uneducated seem to have been popular in late antiquity. It tends to be the religions which discourage great learning, especially in their emphasis on a single book. |
| 20820 | Time is an interval of motion, or the measure of speed [Posidonius, by Stobaeus] |
| Full Idea: Posidonius defined time thus: it is an interval of motion, or the measure of speed and slowness. | |
| From: report of Posidonius (fragments/reports [c.95 BCE]) by John Stobaeus - Anthology 1.08.42 | |
| A reaction: Hm. Can we define motion or speed without alluding to time? Looks like we have to define them as a conjoined pair, which means we cannot fully understand either of them. |
| 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? |