El interes de Collingwood por las cuestiones esteticas fue uno de los mas persistentes a lo largo de toda su obra. Asi pues, todo lo expuesto en este libro tiene una aplicacion practica, directa o indirectamente, a la condicion del arte en la actualidad.

This paper argues that there are notable similarities between Collingwood’s method of investigating absolute presuppositions and contemporary strands of pragmatism, focusing on two areas - the critique of realism and causation. It is first argued that there are methodological similarities between Collingwood’s argument against realism and his Kantian-inspired critique of metaphysics, and Putnam’s critique of externalism. Regarding causation, it is argued that Collingwood’s view and Price’s pragmatist approach have a common method – investigating causation in the context (...) of specific human practices. Both authors place causation in the framework of scientific inquiry as opposed to making it the subject of the inquiry itself. Thus, Collingwood’s work proves to be in line with current metaphilosophical debates, particularly in the philosophy of science. (shrink)

This paper discusses methodological similarities between Collingwood's approach to causation and contemporary manipulability-based views. Firstly, I argue that on both approaches there is a preoccupation with the origin of causal concepts which further connects to the aim of establishing the priority of a certain concept/sense of causation as more fundamental. The significant difference lies in Collingwood's focus on the logical and historical priority (Collingwood's sense I) while in more recent theories the focus has been on psychology (i.e., (...) on different philosophical concepts of causation tested in psychological setting-- Woodward, Waskan, Gijsbers & de Bruin). Secondly, I argue that on both Collingwood's views and contemporary approaches (especially Menzies & Price, Price, but also Woodward) there is an important connection between causation and the agent's perspective. This can be subsumed under what Collingwood identifies as the main presupposition underlying causal thought: the relation between the agent's perceived situation and the agent's desired situation/ goal. More broadly, the recent views on causation under discussion share Collingwood's aim of elucidating the problem of causation through investigating causal knowledge and thus can be integrated with his wider project of addressing metaphysical issues through the means of epistemology. (shrink)

R.G. Collingwood (1889-1943) was an English philosopher, historian and practicing archaeologist. His work, particularly in the philosophy of action and history, has been profoundly influential in the 20th and 21st century. Although the importance of his work is indisputable, this is the first book to consider how and why it actually matters. Giussepina D'oro considers the importance of Collingwood as a thinker who thinks kaleidoscopically and, unlike lots of contemporary philosophers, refuses to focus on narrow, technical interests but (...) instead, observes the whole world of thought. Why Collingwood Matters revives Collingwood's conception of the role and character of philosophical analysis and shows how it informs his understanding of the mind, what it means to act, and what it means to understand the past historically. It also argues for the relevance of his metaphilosophical approach to the challenge posed by the Anthropocene and the global environmental crisis. Both an elucidation of Collingwood's thought and a lively exploration of it's contemporary relevance, Why Collingwood Matters provides a much-needed examination of a 20th-century polymath. (shrink)

R. G. Collingwood is best known within the philosophy of art for his development of the so-called expressionist theory. Briefly stated, this theory regards expression as a necessary condition for the production of any artwork, where expression is conceived as a process whereby the artist transforms inchoate thoughts and feelings into some clarified form within a given artistic medium. My intention is not to examine the conception of expression itself, but instead, turn to Collingwood’s earlier distinction between art (...) and craft. Here I am particularly interested in Aaron Ridley’s analysis which maintains that, despite a strong distinction between art and craft, Collingwood’s account is flexible enough to accommodate a notion of technique relevant to artistic production, where such technique is itself craft-like in character. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act (...) of expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). (...) -/- After the exposition of ch. 1, the remainder of that chapter and the subsequent three chapters are each centred around one sort of objection. In ch. 1, I consider the objection that Collingwood’s scalar understanding of ‘art’ is deviant and unhelpful. I respond by first observing that the understanding is not deviant, and second that it is more philosophically and artistically illuminating. In ch. 2, I consider the objection that Collingwood’s understanding of ‘emotion’ is so narrow that it fails to do justice to the fact that art can be philosophically potent. I respond that his understanding of ‘emotion’ is broad enough that this objection fails. In ch. 3, I consider the objection that Collingwood has no theoretical room for the prima facie plausible thought that some emotions are not worth expressing in art. In response, I reinterpret the points that appear to support this contention in a way that makes them both more plausible and more Collingwoodian. Finally, in ch. 4, I consider the objection that Collingwood does not have the theoretical room to do justice to the value of the delight we take in art. I respond by arguing that although he does not have this room to say that this delight is itself an artistic value, it does yet have an important place in his philosophy. (shrink)

Collingwood’s aim in The Principles of Art is “to answer the question: What is art?” (p. 1) The answer Collingwood offers to that question, that art is the expression of emotion, has become notorious for its implausibility. I consider one objection against this theory, namely that it is unclear what is rendered art by this definition: for it sometimes appears to define art too broadly, containing all utterances and gestures; but at other times to define art too narrowly, (...) excluding much of what we intuitively consider art. -/- I argue that this objection is mistaken, because it is founded upon a misunderstanding of the sort of project in which Collingwood is engaged. I propose a new reading, via his philosophical methodology, under which ‘art’ is differentially rather than binarily realisable. According to this new reading, art is something found in every human experience or activity, but to a greater or lesser extent. I close by suggesting one reason why Collingwood’s project under this reading is more philosophically interesting than it is under the standard reading, namely that it can give a better account of borderline cases of art. (shrink)

This essay examines how, in the early twentieth century, ontological arguments were employed in the defense of metaphysical idealism. The idealists of the period tended to grant that ontological arguments defy our usual expectations in logic, and so they were less concerned with the formal properties of Anselmian arguments. They insisted, however, that ontological arguments are indispensable, and they argued that we can trust argumentation as such only if we presume that there is a valid ontological argument. In the first (...) section I outline the history of this metalogical interpretation of the ontological argument. In the subsequent sections I explain how Royce and Collingwood each developed the argument, and how this impacted their respective conceptions of both logic and metaphysics. (shrink)

It is the ambition of natural science to provide complete explanations of reality. Collingwood argues that science can only explain events, not actions. The latter is the distinctive subject matter of history and can be described as actions only if they are explained historically. This paper explains Collingwood’s claim that the distinctive subject matter of history is actions and why the attempt to capture this subject matter through the method of science inevitably ends in failure because science explains (...) events, not actions. It argues that Collingwood’s defence of the methodological autonomy of history vis-à-vis natural science is not based on a commitment to human exceptionalism, i.e. the exclusion of human beings and their doings from the rest of nature, but on the view that explanations which appeal to norms are different in kind from explanations which appeal to empirical regularities. Given the close relationship between the method and the subject matter of a form of inquiry, actions elude any attempt to explain them through the scientific method because the application of this method entails that what is thus explained is not an action but an event. (shrink)

In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. (...) class='Hi'>Collingwood’s ontology is indispensable for understanding his aesthetics, and vice versa. The crucial link is the imagination. What Collingwood calls ‘total imaginative experience’ is described in the Principles as the sine qua non of both thought and sensibility. The aim of this article is to examine the ontological import of Collingwood’s conception of the total imagination. (shrink)

The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of the twentieth (...) century to make this thesis about Plato? To understand Collingwood's position at that time, I will review it in a new light: his own philosophy of art at that moment as it was propounded in Outlines of a Philosophy of Art, a work he published that same year. I will also examine how Collingwood's position changed when he returned to the same subject in 1938, on the publication of The Principles of Art. Finally, I will end this article defending the correctness of Collingwood's earlier interpretation of Plato's position on art. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a (...) replacement of the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

Why did R.G. Collingwood come to reject the adversarial style of philosophical discussion so popular among his Oxford peers? The main aim of this paper is to explain that Collingwood came to reject his colleagues’ specific style of philosophical dialogue on methodological grounds, and to show how the argument against adversarial philosophical discussion is integrated with Collingwood’s overall criticism of realist philosophy. His argument exploits a connection between method and practice that should be taken seriously even today.

This paper is on the problem of causal selection and comments on Collingwood's classic paper "The so-called idea of causation". It discusses the relevance of Collingwood’s control principle in contemporary life sciences and defends that it is not the ability to control, but the willingness to control that often biases us towards some rather than other causes of a phenomenon. Willingness to control is certainly only one principle that influences causal selection, but it is an important one. It (...) shows how norms make causes. (shrink)

This article discusses the significance of historical research in normative political philosophy. Methodologically ahistoricist philosophers argue that historical research has limited relevance to political philosophy as it only serves to validate if a theory is sufficiently historically fact-sensitive. However, this perspective allows for minimal engagement with intellectual history. In contrast, I advocate for a more substantial role of historical research, suggesting that it not only provides evidence to refute political philosophical views but also serves as a source of imaginative resources. (...) I show that thinkers from across the humanities, like R.J. Collingwood, Quentin Skinner, Michel Foucault, Raymond Geuss, David Graeber, and Bernard Williams, have recognised the importance of these imaginative resources in shaping methodological reflections. These thinkers are concerned that limiting the relevance of history to normative theorising exposes ahistoricist thinkers to imaginative failures. I argue that this is best construed as a concern about the epistemic reliability of their evaluative judgments. Imaginative failures can introduce biases that unjustifiably restrict the range of solutions to practical collective problems they contemplate. Historical research serves a normative function that is unavailable to the methodologically ahistoricist approach by preventing such failures. (shrink)

Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...) element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

This paper examines narrativism’s claim that the historical past cannot be known once and for all because it must be continuously re-described from the standpoint of the present. We argue that this claim is based on a non sequitur. We take narrativism’s claim that the past must be re-described continuously from the perspective of the present to be the result of the following train of thought: 1) “all knowledge is conceptually mediated”; 2) “the conceptual framework through which knowledge of reality (...) is mediated changes with every new generation of historians”; therefore (narrativism’s claim) “the historical past changes with every new generation of historians”. The idea of an unchanging past, for the narrativist, requires denying premise 1 (all knowledge is conceptually mediated”) and therefore rests on a problematic commitment to the chimerical notion of the past as it is in-itself, wie es eigentlich gewesen. We argue that the narrativist’s conclusion does not follow unless one adds a further premise, namely 3) “it is not possible to view reality through the categorial framework of historical agents”. If one asserts the possibility of grasping reality through the categorial framework of others, be they contemporary or past agents (as much philosophy of history written in an idealist key does), then one no longer has to accept the narrativist’s inference that since the past cannot be known in-itself or independently of conceptual mediation, then it cannot be known as it always was for the historical agents. Narrativism’s inference that the past cannot be known as it always was does not follow from premises 1 and 2 unless one smuggles in another problematic premise, premise 3. In this paper we defend the claim that the past can be known as it always was (not as it is in-itself) by invoking a different conception of the role of conceptual mediation in historical knowledge, one which assumes the possibility of viewing reality through the categorial framework of others. This notion of the role of conceptual mediation in historical knowledge is prevalent in the idealist tradition but, in the interest of brevity, we will defend this notion of mediacy by specific reference to the idealist philosophy of R.G. Collingwood. (shrink)

The blistering review, wherein the critic cruelly twists the knife to the applause of on-lookers, has fallen out of favour. But is there something to be said for this sort of cruelty? In this paper, I argue for a space for cruelty. In art, there is a sort of cruelty—that can be employed by artists and audiences as well as by critics—that is a pointed disregard for the feelings of the audience: a telling of deep or hard truth without coddling. (...) When, as often, this is invited by the criticised person, it is respectful towards them. Sometimes the cruelty we invite is callousness, but sometimes it is more: if an artist, for example, creates bad art, they give an insult, and this insult invites an insult in return—such as would be a review that twists the knife. Giving this insult, then, is at least prima facie the respectful response. (shrink)

What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that “scientific clarity,” which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but (...) can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity. (shrink)

Conpiracy theories are widely deemed to be superstitious. Yet history appears to be littered with conspiracies successful and otherwise. (For this reason, "cock-up" theories cannot in general replace conspiracy theories, since in many cases the cock-ups are simply failed conspiracies.) Why then is it silly to suppose that historical events are sometimes due to conspiracy? The only argument available to this author is drawn from the work of the late Sir Karl Popper, who criticizes what he calls "the conspiracy theory (...) of society" in The Open Society and elsewhere. His critique of the conspiracy theory is indeed sound, but it is a theory no sane person maintains. Moreover, its falsehood is compatible with the prevalence of conspiracies. Nor do his arguments create any presumption against conspiracy theories of this or that. Thus the belief that it is superstitious to posit conspiracies is itself a superstition. The article concludes with some speculations as to why this superstition is so widely believed. (shrink)

This paper recommends that chemistry educators shift to a different ‘idea of nature’, an alternative ‘worldview.’ Much of contemporary science and technology deals in one way or another with dynamic coherences that display novel and important properties. The notion of how the world works that such studies and practices generate (and require) is quite different from the earlier concepts that are now integrated into science education. Eventual success in meeting contemporary technological and social challenges requires general diffusion of an overall (...) outlook that focuses on creative generation of novel and useful coherences, replacing a worldview that concentrates on analysis of pre-existing items to minimum constituents. Such a shift in emphasis would amount to general adoption of a new basic model of how nature functions. Chemistry educators can and should provide leadership for this urgently-needed development. (shrink)

I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.

A number of social theorists have contended that the essence of historical analysis is the employment of ideal types to comprehend past goings-on. But, while acknowledging that the study of history through ideal types can yield genuine insight, we may still ask if it represents the full emancipation of historical understanding from other modes of conceiving the past. This paper follows Michael Oakeshott's work on the philosophy of history in arguing that explaining the historical past by means of ideal types, (...) even though offering a coherent and fruitful enterprise, nevertheless falls short of fully embodying the characteristics that differentiate historical understanding. -/- This dispute involves fundamental issues regarding the nature of the social sciences. Furthermore, I suggest that it is of more than purely theoretical interest, in that social theorists who have accepted the Weberian view of historical inquiry will tend to be unaware of the defects inherent in all attempts to capture the nature of past events in a net of generalizations, and thus may be lead to ignore the inherent partiality of the understanding of historical happenings provided by ideal typification. (shrink)

Subjective idealism can be defined as the view that ‘the objective world independent of man does not exist; it is the product of man's subjective cognitive abilities, sensations, and perceptions’. George Berkeley often is said to be the founder of this species of idealism, and when someone wants to offer an example of a subjective idealist, Berkeley is usually the first person who comes to mind. However, those making this claim largely seem to be only passingly familiar with Berkeley’s work, (...) sometimes to the point that there have been doubts they had even read him. Meanwhile, many serious readers of Berkeley have rejected this reading of Berkeley, showing that it relies on a neglect of many of Berkeley’s own claims. How has this gulf between the common impression of Berkeley and the views of many of his most attentive readers arisen and been sustained? This paper suggests that, to a large extent, it has been due to neglecting to set Berkeley’s work in its proper historical context. (shrink)

Peter Winch famously critiqued Michael Oakeshott's view of human conduct. He argued that Oakeshott had missed the fact that truly human conduct is conduct that 'follows a rule.' This paper argues that, as is sometimes the case with Oakeshott, what seems, on the surface, to be a disagreement with another, somewhat compatible thinker about a matter of detail in some social theory in fact turns out to point to a deeper philosophical divide. In particular, I contend, Winch, as typical of (...) those who only picked up on Oakeshott's work in the 1940s and 1950s, when Oakeshott became known for his critique of rationalism, failed to understand the idealist metaphysics underlying that critique. (shrink)

Samuel Alexander was a central figure of the new wave of realism that swept across the English-speaking world in the early twentieth century. His Space, Time, and Deity (1920a, 1920b) was taken to be the official statement of realism as a metaphysical system. But many historians of philosophy are quick to point out the idealist streak in Alexander’s thought. After all, as a student he was trained at Oxford in the late 1870s and early 1880s as British Idealism was beginning (...) to flourish. This naturally had some effect on his philosophical outlook and it is said that his early work is overtly idealist. In this paper I examine his neglected and understudied reactions to British Idealism in the 1880s. I argue that Alexander was not an idealist during this period and should not be considered as part of the British Idealist tradition, philosophically speaking. (shrink)

Every idealist believes himself to have rational grounds for the faith that somewhere, and in some world, and at some time, the ideal will triumph, so that a survey, a divine synopsis of all time, somehow reveals the lesson of all sorrow, the meaning of all tragedy, the triumph of the spirit. But it is not ours to say, in the world in which we at present have to live from one day to another, and to follow the fortunes of (...) man from one newspaper to another,--when and how the true revelation of the world's meaning is faced and[ found. The Basic Writings of Josiah Royce, Vol. II, p. 1146.]. (shrink)