19 ideas
| 4261 | The Lottery Paradox says each ticket is likely to lose, so there probably won't be a winner [Bonjour, by PG] |
| Full Idea: The Lottery Paradox says that for 100 tickets and one winner, each ticket has a .99 likelihood of defeat, so they are all likely to lose, so there is unlikely to be a winner. | |
| From: report of Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §5) by PG - Db (ideas) | |
| A reaction: The problem seems to be viewing each ticket in isolation. If I buy two tickets, I increase my chances of winning. |
| 4255 | Externalist theories of knowledge are one species of foundationalism [Bonjour] |
| Full Idea: Externalist theories of knowledge are one species of foundationalism. | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], Intro) | |
| A reaction: I don't see why there shouldn't be a phenomenalist, anti-realist version of externalism, which just has 'starting points' instead of a serious commitment to foundations. |
| 4257 | The big problem for foundationalism is to explain how basic beliefs are possible [Bonjour] |
| Full Idea: The fundamental question that must be answered by any acceptable version of foundationalism is: how are basic beliefs possible? | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §I) | |
| A reaction: This question seems to be asking for a justification for basic beliefs, which smacks of 'Who made God?' Look, basic beliefs are just basic, right? |
| 4256 | The main argument for foundationalism is that all other theories involve a regress leading to scepticism [Bonjour] |
| Full Idea: The central argument for foundationalism is simply that all other possible outcomes of the regress of justifications lead inexorably to scepticism. | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §I) | |
| A reaction: If you prefer coherence to foundations, you need the security of reason to assess the coherence (which seems to be an internal foundation!). |
| 4258 | Extreme externalism says no more justification is required than the truth of the belief [Bonjour] |
| Full Idea: The most extreme version of externalism would be one that held that the external condition required for justification is simply the truth of the belief in question. | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §II) | |
| A reaction: The question is, why should we demand any more than this? The problem case is, traditionally, the lucky guess, but naturalist may say that these just don't occur with any regularity. We only get beliefs right because they are true. |
| 4259 | External reliability is not enough, if the internal state of the believer is known to be irrational [Bonjour] |
| Full Idea: External or objective reliability is not enough to offset subjective irrationality (such as unexplained clairvoyance). | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §IV) | |
| A reaction: A good argument. Where do animals fit into this? If your clairvoyance kept working, in the end you might concede that you 'knew', even though you were baffled about how you managed it. |
| 4260 | Even if there is no obvious irrationality, it may be irrational to base knowledge entirely on external criteria [Bonjour] |
| Full Idea: It may be that where there are no positive grounds for a charge of irrationality, the acceptance of a belief with only external justification is still subjectively irrational in a sense that rules out its being epistemologically justified. | |
| From: Laurence Bonjour (Externalist Theories of Empirical Knowledge [1980], §IV) | |
| A reaction: A key objection. Surely rational behaviour requires a judgement to be made before a belief is accepted? If you are consistently clairvoyant, you must ask why. |
| 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. |
| 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. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |