Knowledge  

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[[Image:The Bookworm by Carl Spitzweg.jpg|thumb|200px|''[[The Bookworm]]'' (c. 1850) by [[Carl Spitzweg]]]] [[Image:The Bookworm by Carl Spitzweg.jpg|thumb|200px|''[[The Bookworm]]'' (c. 1850) by [[Carl Spitzweg]]]]
[[Image:A Young Girl Reading.jpg|thumb|right|200px|''[[A Young Girl Reading]]'' (c.[[1776]]) by [[Jean-Honoré Fragonard |Fragonard]]]] [[Image:A Young Girl Reading.jpg|thumb|right|200px|''[[A Young Girl Reading]]'' (c.[[1776]]) by [[Jean-Honoré Fragonard |Fragonard]]]]
-[[Image:Theatre from Ars Memoriae by Robert Fludd.jpg|thumb|right|200px|''[[Ars Memoriae]]'': The [[Theatre]] ([[1619]]) - [[Robert Fludd]]+[[Image:Theatre from Ars Memoriae by Robert Fludd.jpg|thumb|left|200px|''[[Ars Memoriae]]'': The [[Theatre]] ([[1619]]) - [[Robert Fludd]]
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“In the [[illusion|illusory]] [[babel]]s of language, an [[artist]] might [[avant-garde|advance]] specifically to get [[lost]], and to [[drugs|intoxicate]] himself in dizzying syntaxes, seeking odd [[intersection]]s of [[meaning]], [[strange]] corridors of history, [[unexpected]] echoes, [[unknown]] humors, or [[void]]s of [[knowledge…]] but this quest is [[risky]], full of bottomless [[fiction]]s and endless architectures and [[counter]]-architectures… at the end, if there is an end, are perhaps only [[meaningless]] reverberations.” --[[Robert Smithson]]]] “In the [[illusion|illusory]] [[babel]]s of language, an [[artist]] might [[avant-garde|advance]] specifically to get [[lost]], and to [[drugs|intoxicate]] himself in dizzying syntaxes, seeking odd [[intersection]]s of [[meaning]], [[strange]] corridors of history, [[unexpected]] echoes, [[unknown]] humors, or [[void]]s of [[knowledge…]] but this quest is [[risky]], full of bottomless [[fiction]]s and endless architectures and [[counter]]-architectures… at the end, if there is an end, are perhaps only [[meaningless]] reverberations.” --[[Robert Smithson]]]]

Revision as of 13:41, 17 December 2013

Ars Memoriae: The Theatre (1619) - Robert Fludd  “In the illusory babels of language, an artist might advance specifically to get lost, and to intoxicate himself in dizzying syntaxes, seeking odd intersections of meaning, strange corridors of history, unexpected echoes, unknown humors, or voids of knowledge… but this quest is risky, full of bottomless fictions and endless architectures and counter-architectures… at the end, if there is an end, are perhaps only meaningless reverberations.” --Robert Smithson
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Ars Memoriae: The Theatre (1619) - Robert Fludd
“In the illusory babels of language, an artist might advance specifically to get lost, and to intoxicate himself in dizzying syntaxes, seeking odd intersections of meaning, strange corridors of history, unexpected echoes, unknown humors, or voids of knowledge… but this quest is risky, full of bottomless fictions and endless architectures and counter-architectures… at the end, if there is an end, are perhaps only meaningless reverberations.” --Robert Smithson

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knowability, The Man Who Knew Too Much

Knowledge is defined (Oxford English Dictionary) variously as (i) expertise, and skills acquired by a person through experience or education; the theoretical or practical understanding of a subject, (ii) what is known in a particular field or in total; facts and information or (iii) awareness or familiarity gained by experience of a fact or situation. Philosophical debates in general start with Plato's formulation of knowledge as "justified true belief". There is however no single agreed definition of knowledge presently, nor any prospect of one, and there remain numerous competing theories.

Knowledge acquisition involves complex cognitive processes: perception, learning, communication, association and reasoning. The term knowledge is also used to mean the confident understanding of a subject with the ability to use it for a specific purpose if appropriate.

Theories of knowledge

The eventual demarcation of philosophy from science was made possible by the notion that philosophy's core was "theory of knowledge," a theory distinct from the sciences because it was their foundation… Without this idea of a "theory of knowledge," it is hard to imagine what "philosophy" could have been in the age of modern science. --Richard Rorty, Philosophy and the Mirror of Nature

The definition of knowledge is a matter of ongoing debate among philosophers in the field of epistemology. The classical definition, described but not ultimately endorsed by Plato, specifies that a statement must meet three criteria in order to be considered knowledge: it must be justified, true, and believed. Some claim that these conditions are not sufficient, as Gettier case examples allegedly demonstrate.

In contrast to this approach, Wittgenstein observed, following Moore's paradox, that one can say "He believes it, but it isn't so," but not "He knows it, but it isn't so." (On Certainty, remark 42) He goes on to argue that these do not correspond to distinct mental states, but rather to distinct ways of talking about conviction. What is different here is not the mental state of the speaker, but the activity in which they are engaged. For example, on this account, to know that the kettle is boiling is not to be in a particular state of mind, but to perform a particular task with the statement that the kettle is boiling. Wittgenstein sought to bypass the difficulty of definition by looking to the way "knowledge" is used in natural languages. He saw knowledge as a case of a family resemblance. Following this idea, "knowledge" has been reconstructed as a cluster concept that points out relevant features but that is not adequately captured by any definition.

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Unless indicated otherwise, the text in this article is either based on Wikipedia article "Knowledge" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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