9 ideas
| 19691 | Unlike knowledge, you can achieve understanding through luck [Grimm] |
| Full Idea: It may be that understanding is compatible with luck, in a way that knowledge is not. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: [He cites Kvanvig and Prichard] If so, then we cannot say that knowledge is a lesser type of understanding. If you ask a trusted person how a mechanism works, and they have a wild guess that is luckily right, you would then understand it. |
| 19690 | 'Grasping' a structure seems to be modal, because we must anticipate its behaviour [Grimm] |
| Full Idea: 'Graspng' a structure would seem to bring into play something like a modal sense or ability, not just to register how things are, but also to anticipate how certain elements of the system would behave. | |
| From: Stephen R. Grimm (Understanding [2011], 2) | |
| A reaction: In the case of the chronology of some historical events, talking of 'grasping' or 'understanding' seems wrong because the facts are static and invariant. That seems to support the present idea. But you might 'understand' a pattern if you can reproduce it. |
| 19692 | You may have 'weak' understanding, if by luck you can answer a set of 'why questions' [Grimm] |
| Full Idea: There may be a 'weak' sense of understanding, where all you need to do is to be able to answer 'why questions' successfully, where one might have come by this ability in a lucky way. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: We can see this point (in Idea 19691), but the idea that one could come by true complex understanding of something by purely lucky means is a bit absurd. Surely you would get one or two why questions wrong? 100%, just by luck? |
| 9100 | Our intellect only assents to what we believe to be true [William of Ockham] |
| Full Idea: Our intellect does not assent to anything unless we believe it to be true. | |
| From: William of Ockham (Prologue to Ordinatio [1320], Q 1 N sqq) | |
| A reaction: This strikes me as being a much more accurate and commonsense view of belief than that of Hume, who simply views it phenomenologically. ...But then the remark appears to be circular. Belief requires a belief that it is true. Hm. |
| 9101 | Abstractive cognition knows universals abstracted from many singulars [William of Ockham] |
| Full Idea: Abstractive cognition (in one sense) relates to something abstracted from many singulars; and in this sense abstractive cognition is nothing else but cognition of a universal which can be abstracted from many things. | |
| From: William of Ockham (Prologue to Ordinatio [1320], Q 1 N sqq) | |
| A reaction: This strikes me as being correct common sense, even though it has become deeply unfashionable since Frege. We may not be able to see quite how the mind manages to see universals in a bunch of objects, but there is no better story. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |