25 ideas
| 8510 | 'Socrates is wise' means a concurrence sum contains a member of a similarity set [Williams,DC] |
| Full Idea: 'Socrates is wise' means that the concurrence sum (Socrates) includes a trope which is a member of the similarity set (Wisdom). | |
| From: Donald C. Williams (On the Elements of Being: I [1953], p.119) | |
| A reaction: Resemblance has to be taken as a basic (and presumably unanalysable) concept, which invites Russell's objection (Idea 4441). |
| 8508 | A 'trope' is an abstract particular, the occurrence of an essence [Williams,DC] |
| Full Idea: I shall divert the word 'trope' to stand for the abstract particular which is, so to speak, the occurrence of an essence. | |
| From: Donald C. Williams (On the Elements of Being: I [1953], p.115) | |
| A reaction: Thus tropes entered philosophical discussion. Presumably the precedent for an 'abstract particular' would be a particular occurrence of the number 7. |
| 8509 | A world is completely constituted by its tropes and their connections [Williams,DC] |
| Full Idea: Any possible world, and hence, of course, this one, is completely constituted by its tropes and connections of location and similarity. | |
| From: Donald C. Williams (On the Elements of Being: I [1953], p.116) | |
| A reaction: Note that Williams regularly referred to possible worlds in 1953. This is a full-blooded trope theory, which asserts that objects are bundles of tropes, so that both particulars and universals are ontologically taken care of. |
| 19527 | We don't acquire evidence and then derive some knowledge, because evidence IS knowledge [Williamson] |
| Full Idea: When we acquire new evidence in perception, we do not first acquire unknown evidence and then somehow base knowledge on it later. Rather, acquiring new is evidence IS acquiring new knowledge. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.4) | |
| A reaction: This makes his point much better than Idea 19526 does. |
| 19528 | Knowledge is prior to believing, just as doing is prior to trying to do [Williamson] |
| Full Idea: Knowing corresponds to doing, believing to trying. Just as trying is naturally understood in relation to doing, so believing is naturally understood in relation to knowing. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.4) | |
| A reaction: An interesting analogy. You might infer that there can be no concept of 'belief' without the concept of 'knowledge', but we could say that it is 'truth' which is indispensible, and leave out knowledge entirely. Belief is to truth as trying is to doing? |
| 19529 | Belief explains justification, and knowledge explains belief, so knowledge explains justification [Williamson] |
| Full Idea: If justification is the fundamental epistemic norm of belief, and a belief ought to constitute knowledge, then justification should be understood in terms of knowledge too. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.5) | |
| A reaction: If we are looking for the primitive norm which motivates the whole epistemic game, then I am thinking that truth might well play that role better than knowledge. TW would have to reply that it is the 'grasped truth', rather than the 'theoretical truth'. |
| 19530 | A neutral state of experience, between error and knowledge, is not basic; the successful state is basic [Williamson] |
| Full Idea: A neutral state covering both perceiving and misperceiving (or remembering and misrembering) is not somehow more basic than perceiving, for what unifies the case of each neutral state is their relation to the successful state. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.5-6) | |
| A reaction: An alternative is Disjunctivism, which denies the existence of a single neutral state, so that there is nothing to unite the two states, and they don't have a dependence relation. Why can't there be a prior family of appearances, some of them successful? |
| 19531 | Internalism about mind is an obsolete view, and knowledge-first epistemology develops externalism [Williamson] |
| Full Idea: A postulated underlying layer of narrow mental states is a myth, whose plausibility derives from a comfortingly familiar but obsolescent philosophy of mind. Knowledge-first epistemology is a further step in the development of externalism. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.6) | |
| A reaction: Williamson is a real bruiser, isn't he? I don't take internalism about mind to be obsolescent at all, but now I feel so inferior for clinging to such an 'obsolescent' belief. ...But then I cling to Aristotle, who is (no doubt) an obsolete philosopher. |
| 19536 | Knowledge-first says your total evidence IS your knowledge [Williamson] |
| Full Idea: Knowledge-first equate one's total evidence with one's total knowledge. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.8) | |
| A reaction: Couldn't lots of evidence which merely had a high probability be combined together to give a state we would call 'knowledge'? Many dubious witnesses confirm the truth, as long as they are independent, and agree. |
| 19526 | Surely I am acquainted with physical objects, not with appearances? [Williamson] |
| Full Idea: When I ask myself what I am acquainted with, the physical objects in front of me are far more natural candidates than their appearances. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.3) | |
| A reaction: Not very impressive. The word 'acquainted' means the content of the experience, not the phenomena. Do I 'experience' the objects, or the appearances? The answer there is less obvious. If you apply it to colours, it is even less obvious. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 19534 | How does inferentialism distinguish the patterns of inference that are essential to meaning? [Williamson] |
| Full Idea: Inferentialism faces the grave problem of separating patterns of inference that are to count as essential to the meaning of an expression from those that will count as accidental (a form of the analytic/synthetic distinction). | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.6) | |
| A reaction: This sounds like a rather persuasive objection to inferentialism, though I don't personally take that as a huge objection to all internalist semantics. |
| 19535 | Internalist inferentialism has trouble explaining how meaning and reference relate [Williamson] |
| Full Idea: The internalist version of inferentialist semantics has particular difficulty in establishing an adequate relation between meaning and reference. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.6) | |
| A reaction: I would have thought that this was a big problem for referentialist semantics too, though evidently Williamson doesn't think so. If he is saying that the meaning is in the external world, dream on. |
| 19533 | Inferentialist semantics relies on internal inference relations, not on external references [Williamson] |
| Full Idea: On internalist inferential (or conceptual role) semantics, the inferential relations of an expression do not depend on what, if anything, it refers to, ...rather, the meaning is something like its place in a web of inferential relations. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.6) | |
| A reaction: Williamson says the competition is between externalist truth-conditional referential semantics (which he favours), and this internalist inferential semantics. He is, like, an expert, of course, but I doubt whether that is the only internalist option. |
| 19532 | Truth-conditional referential semantics is externalist, referring to worldly items [Williamson] |
| Full Idea: Truth-conditional referential semantics is an externalist programme. In a context of utterance the atomic expressions of a language refer to worldly items, from which the truth-conditions of sentences are compositionally determined. | |
| From: Timothy Williamson (Knowledge First (and reply) [2014], p.6) | |
| A reaction: I just don't see how a physical object can be part of the contents of a sentence. 'Dragons fly' is atomic, and meaningful, but its reference fails. 'The cat is asleep' is just words - it doesn't contain a live animal. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |