Collingwood’s “Libellus de Generatione: An Essay in Absolute Empiricism” was a tract of strenuous philosophical revisionism; never published, perhaps unpublishable, supposedly destroyed, it survived. He begins by stressing his obligations to David Hume; he offers his thematic: “absolute denial of any such concept as substance and the resolution of all reality into the reality of experience.” “The reality of mind is the process of its experience, its life, and nothing else”. Or, “the mind is a mirror... whose being is solely (...) the activity of reflecting”; it has no “substance of its own of which this activity is only a reflection”. Collingwood’s entire career as student and teacher... (shrink)

In his review of Charles Spearman’s The Nature of ‘Intelligence’, R. G. Collingwood launched an attack upon psychometrics that was expanded in his Essay on Metaphysics. Although underrated by friend and foe alike, Collingwood’s critique identified a number of defects in the thinking of psychometricians that subsequently became entrenched. However, his main complaint was that psychology generally was a ‘fashionable scientific fraud’. This charge was inspired by his more general views on logic and metaphysics, which, however, as I argue, are (...) logically unsustainable. Ironically, other elements of his philosophy – his ‘fallacy of calculation’ and concept of ‘scale of forms’ – are relevant to psychometrics and tip the scales in favour of his otherwise unwarranted charge. (shrink)

Collingwood’s An Essay on Philosophical Method provides an insightful critique of Russell’s analysis and metaphysics of logical atomism, proposing an unduly neglected neo-idealist alternative to Russell’s philosophical method. I summarize Collingwood’s critique of analysis and sympathetically outline the philosophical methodology of Collingwood’s post-Hegelian dialectical method: his scale of forms methodology, grounded on the overlap of philosophical classes. I then delineate Collingwood’s critique of the metaphysics of logical atomism, demonstrating how the scale of forms methodology is opposed to Russell’s logical atomism. (...) Finally, I reflect on the reasons Collingwood’s Essay aroused little interest upon publication and the importance of continually rethinking the history of philosophy. (shrink)

Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...

Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...

In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.

ABSTRACTAn implication of Kant’s aesthetics is that the audience for art must be able to meet the free play of the imagination of the artist with free play of their own imagination in order to enjoy the work of art. Does Collingwood’s conception of the aesthetic audience’s ‘reconstruction’ of the imaginative work of the artist leave room for this thought? No, but his conception of the historian’s ‘re-enactment’ of the thought of the historical subjects suggests a model for this relation (...) that might be added to his aesthetic theory. (shrink)

Philosophy has four forms: wonder, faith, doubt and scepticism. These are not separate categories, but separate ideal possibilities. Modern academic philosophy has fallen, for several centuries, into an error: which is the error of supposing that philosophy is only what I call doubt. Philosophy may be doubt: indeed, it is part of my argument that this is undeniably one element of, or one possibility in, philosophy; but doubt is only one of four points of the compass. In this essay I (...) indicate the nature of each point of the compass as it has been found in the history of philosophy. (shrink)

It is a common statement in the most traditional views of the history of the philosophy of art to consider the nineteenth century as the moment of birth of the expressionist theory of art, a theory that ended pushing aside the already declining imitation theory of art. It is also usually understood that the expressionist theory defended that the essence of art was to express emotion, that the artist aim was to translate somehow emotions into artworks, and that these emotions (...) ended in some way reaching the audience or the public of the work of art that was contemplated, listened to, or read... -/- This explanation of art received a further development during the first half of the twentieth century by R. G. Collingwood among others, but was soon replaced by other theories that moved in a wider scope. Nevertheless Collingwood's approach to art continues being a reference for the reflection of many contemporary philosophers, although the general sense of their approach to his philosophy of art is mainly negative: it is more worried about criticizing Collingwood's view than about understanding it. -/- The aim of this exposition is not to defend Collingwood's explanation of art, but to show many important errors of interpretation that have become a common place in the objections that are made against his proposal. To accomplish it, I pretend to take a close look to the criticisms to his theory made by one of the most important exponents of the aesthetics of the analytical tradition, George Dickie. I have chosen him because he both summarizes and has contributed to extend quite well the general tone of the objections against Collingwood's account of art. These mainly focus on the understanding of art as imagination, on the definition of art as expression of emotion, and on the relation between these two approaches to art. By dismantling them, I hope to give some clues to help in a better understanding of these concepts in Collingwood's philosophy of art, not only because of the historical value that this might have, but because of the light that Collingwood's approach to art can throw upon contemporary reflections on the relation between art, emotion and value. (shrink)

The aim of this research is to reconstruct a metaphysical interpretation of the philosophy of history with regard to the spirit of historical thinking. The spirit of historical thinking is to emphasize the relation between what happened in the past and historical thinking about the past in the present. However, current philosophies of history, which are largely epistemologically oriented, have not adequately explored this relation. In order to investigate the relation between past and present, I refer to an Aristotelian philosophy (...) of practice and politics, and adapt it to the domain of the philosophy of history, and argue the case for a metaphysical science of history. A metaphysical science of history contains two primary parts. They are the part on physis and the part on technê/phronēsis. With regard to physis that metaphysically investigates the natural generating progress of entities, I argue that the existence of historical events can be understood as a natural developing progress in which the events are ordered in a chronological sequence. Such chronological sequence is essentially the physis of history in the metaphysical sense. For the part on technê/phronēsis, I demonstrate that Aristotelian knowing is for itself an action of knowing, which is located beyond a given temporal position in the past to both the past and the thinking present, and indicates the fundamental Beingness of history. Finally I conclude that the historical eudaimonia, namely the pursuing of the completeness of historical knowledge, is the final presentation of actualizing Geschehenszeit, as it bridges the past and the present in accordance to the spirit of historical thinking. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)