37 ideas
| 5806 | Belief is the power of metarepresentation [Dretske] |
| Full Idea: Belief is the power of metarepresentation. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2.3) | |
| A reaction: Hm. I have always defined belief as 'commitment to truth', and this definition leaves out both parts. Where is the commitment? If hope is another metarepresentation, how does it differ from belief? I imagine things, not believing them to be true. |
| 5801 | A mouse hearing a piano played does not believe it, because it lacks concepts and understanding [Dretske] |
| Full Idea: A mouse can see and hear a piano being played, but believing is something else; it requires the concept of a piano, and understanding. Mice who hear pianos being played do not believe pianos are being played. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §1.3) | |
| A reaction: Are we to say that when a mouse hears a piano it has no beliefs at all? Might not a belief involve images, so that a mouse calls up appropriate images from previous experiences, which are in a grey area on the edge of belief? |
| 6445 | You have knowledge if you can rule out all the relevant alternatives to what you believe [Dretske, by DeRose] |
| Full Idea: The 'Relevant Alternatives' theory of knowledge said the main ingredient that must be added to true belief to make knowledge is that one be in a position to rule out all the relevant alternatives to what one believes. | |
| From: report of Fred Dretske (Epistemic Operators [1970]) by Keith DeRose - Intro: Responding to Skepticism §6 | |
| A reaction: Dretske and Nozick are associated with this strategy. There will obviously be a problem in defining 'relevant'. Otherwise it sounds quite close to Plato's suggestion that we need true belief with 'logos'. |
| 19544 | Closure says if you know P, and also know P implies Q, then you must know Q [Dretske] |
| Full Idea: Closure is the epistemological principle that if S knows that P is true and knows that P implies Q, then, evidentially speaking, this is enough for S to know that Q is true. Nothing more is needed. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.25) | |
| A reaction: [Dretske was the first to raise this issue] It is 'closure' because it applies to every case of Q, which is every implication of P that is known. The issue is whether we really do know all such Qs. Dretske doubts it. See his zebra case. |
| 19545 | We needn't regret the implications of our regrets; regretting drinking too much implies the past is real [Dretske] |
| Full Idea: One doesn't have to regret everything one knows to be implied by what one regrets. Tom regrets drinking three martinis, but doesn't regret what he knows to be implied by this - that he drank 'something', or that the past is real. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.28) | |
| A reaction: A nice case of analogy! He's right about regret. Perceptual and inferential knowledge have different grounds. To deny inferential knowledge seems to be a denial that modus ponens can be a justification. But MP gives truth, not knowledge. |
| 19547 | Reasons for believing P may not transmit to its implication, Q [Dretske] |
| Full Idea: Some reasons for believing P do not transmit to things, Q, known to be implied by P. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.29) | |
| A reaction: That seems true enough. I see someone limping, but infer that their leg is damaged. The only question is whether I should accept the inference. How can I accept that inference, but then back out of that knowledge? |
| 19546 | Knowing by visual perception is not the same as knowing by implication [Dretske] |
| Full Idea: A way of knowing there are cookies in the jar - visual perception - is not a way of knowing what one knows to be implied by this - that visual appearances are not misleading. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.29) | |
| A reaction: Why is the 'way of knowing' relevant? Isn't the only question that of whether implication of a truth is in infallible route to a truth (modus ponens)? If you know THAT it is true, then you must believe it, and implication is top quality justification. No? |
| 19548 | The only way to preserve our homely truths is to abandon closure [Dretske] |
| Full Idea: The only way to preserve knowledge of homely truths, the truths everyone takes themselves to know, is to abandon closure. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.32) | |
| A reaction: His point is that knowledge of homely truths seems to imply knowledge of the background facts needed to support them, which he takes to be an unreasonable requirement. I recommend pursuing contextualism, rather than abandoning closure. |
| 19549 | P may imply Q, but evidence for P doesn't imply evidence for Q, so closure fails [Dretske] |
| Full Idea: The evidence that gives me knowledge of P (there are cookies in the jar) can exist without evidence for knowing Q (they are not fake), despite my knowing that P implies Q. So closure fails. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.33) | |
| A reaction: His more famous example is the zebra. How can P imply Q if there is no evidence for Q? Maybe 'there are cookies in the jar' does not entail they are not fake, once you disambiguate what is being said? |
| 19550 | We know past events by memory, but we don't know the past is real (an implication) by memory [Dretske] |
| Full Idea: The reality of the past (a 'heavyweight implication') ...is something we know to be implied by things we remember, but it is not itself something we remember. | |
| From: Fred Dretske (The Case against Closure (and reply) [2005], p.35) | |
| A reaction: If I begin to doubt that the past is real, then I must necessarily begin to doubt my ordinary memories. This seems to be the modus tollens of knowledge closure. Doesn't that imply that the modus ponens was valid, and closure is correct? |
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 5802 | Representations are in the head, but their content is not, as stories don't exist in their books [Dretske] |
| Full Idea: Representations are in the head, but their content is not; in this sense, the mind isn't in the head any more than stories (i.e. story contents) are in books. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §1.6) | |
| A reaction: This is the final consequence of Putnam's idea that meanings ain't in the head. Intentionality is an extraordinary bridge between the brain and the external world. The ontology of stories, and musical compositions, is one philosophy's deepest problems. |
| 5809 | Some activities are performed better without consciousness of them [Dretske] |
| Full Idea: Some tasks (playing the piano, speaking foreign languages, playing fast sports) are best performed when the agent is largely unconscious of the details. | |
| From: Fred Dretske (Naturalizing the Mind [1997], Ch.4 n16) | |
| A reaction: A significant point, but it supports the evolutionary view, which is that what matters is success, and consciousness will switch on or off, whichever promotes the activity best. |
| 5808 | Qualia are just the properties objects are represented as having [Dretske] |
| Full Idea: The Representational Thesis of mind identifies the qualities of experience - qualia - with the properties objects are represented as having. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §3.2) | |
| A reaction: This seems to challenge the distinction between primary and secondary qualities, of which I am very fond. Is 'looks beautiful' a property of an object? Is the feeling of anger a property of an object? Qualia are properties of brains? |
| 5803 | In a representational theory of mind, introspection is displaced perception [Dretske] |
| Full Idea: On a representational theory of the mind, introspection becomes an instance of displaced perception - knowledge of internal (mental) facts via an awareness of external (physical) objects. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: This sounds close to a behaviourist (e.g. Ryle) account of introspection, via observing one's own behaviour. The word 'displaced' is an easy one, concealing a multitude of questions. |
| 5807 | Introspection is the same as the experience one is introspecting [Dretske] |
| Full Idea: Introspection has no phenomenology or, if it does, it always has the same phenomenology as the experience one is introspecting. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2.4) | |
| A reaction: There is a difference between looking at a tree, and being aware of yourself looking at a tree. You can be faintly depressed, and then become aware that you are faintly depressed. He is nearly right. |
| 5805 | Introspection does not involve looking inwards [Dretske] |
| Full Idea: The 'problem' of introspection evaporates once one understands that it is not a process in which one looks inward. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: I take it that when we introspect we look at the contents of thoughts, which are representations of the external world, on the whole. But surely only the connections of those contents with memories can be seen inwardly? |
| 5804 | A representational theory of the mind is an externalist theory of the mind [Dretske] |
| Full Idea: A representational theory of the mind is an externalist theory of the mind. | |
| From: Fred Dretske (Naturalizing the Mind [1997], §2) | |
| A reaction: Presumably brain events bring the world into the mind, so the world must be mentioned in explaining the mind. Maybe 'externalism' sounds grand, but is stating the boringly obvious. Explanations of mind need no mention of external particulars. |
| 5800 | All mental facts are representation, which consists of informational functions [Dretske] |
| Full Idea: My thesis is that all mental facts are representational facts, and that all representational facts are facts about informational functions. | |
| From: Fred Dretske (Naturalizing the Mind [1997], Prol) | |
| A reaction: The first half of the thesis seems a bit difficult to disagree with, but that a fact is 'represented' may not be the essence of that fact. The biggest mystery is the content, not its representation. And everything is 'information' about everything else. |
| 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. |
| 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? |