16 ideas
| 16235 | Persistence conditions cannot contradict, so there must be a 'dominant sortal' [Burke,M, by Hawley] |
| Full Idea: Burke says a single object cannot have incompatible persistence conditions, for this would entail that there are events in which the object would both survive and perish. He says one sortal 'dominates' the other (sweater dominates thread). | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
| A reaction: This I take to be the most extreme version of sortal essentialism, and strikes me as incredibly gerrymandered and unacceptable. It is just too anthropocentric to count as genuine metaphysics. I may care more about the thread. |
| 14753 | The 'dominant' of two coinciding sortals is the one that entails the widest range of properties [Burke,M, by Sider] |
| Full Idea: Burke claims that the 'dominant' sortal is the one whose satisfaction entails possession of the widest range of properties. For example, the statue (unlike the lump of clay) also possesses aesthetic properties, and hence is dominant. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: [there are three papers by Burke on this; see all the quotations from Burke] Presumably one sortal could entail a single very important property, and the other sortal entail a huge range of trivial properties. What does being a 'thing' entail? |
| 16072 | 'The rock' either refers to an object, or to a collection of parts, or to some stuff [Burke,M, by Wasserman] |
| Full Idea: Burke distinguishes three different readings of 'the rock'. It can be a singular description denoting an object, or a plural description denoting all the little pieces of rock, or a mass description the relevant rocky stuff. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
| A reaction: Idea 16068 is an objection to the second reading. Only the first reading seems plausible, so we must just get over all the difficulties philosophers have unearthed about knowing exactly what an 'object' is. I offer you essentialism. Rocks have unity. |
| 14751 | Tib goes out of existence when the tail is lost, because Tib was never the 'cat' [Burke,M, by Sider] |
| Full Idea: Burke argues that Tib (the whole cat apart from its tail) goes out of existence when the tail is lost. His essentialist principle is that if something is ever of a particular sort (such as 'cat') then it is always of that sort. Tib is not initially a cat. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: This I take to be a souped up version of Wiggins, and I just don't buy that identity conditions are decided by sortals, when it seems obvious that sortals are parasitic on identities. |
| 16071 | Sculpting a lump of clay destroys one object, and replaces it with another one [Burke,M, by Wasserman] |
| Full Idea: On Burke's view, the process of sculpting a lump of clay into a statue destroys one object (a mere lump of clay) and replaces it with another (a statue). | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
| A reaction: There is something right about this, but how many intermediate objects are created during the transition. It seems to make the notion of an object very conventional. |
| 16234 | Burke says when two object coincide, one of them is destroyed in the process [Burke,M, by Hawley] |
| Full Idea: Michael Burke argues that a sweater is identical with the thread that consitutes it, that both were created at the moment when they began to coincide, and that the original thread was destroyed in the process. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
| A reaction: [Burke's ideas are spread over three articles] It is the thread which is destroyed, because the sweater is the 'dominant sortal' (which strikes me as a particularlyd desperate concept). |
| 13278 | Maybe the clay becomes a different lump when it becomes a statue [Burke,M, by Koslicki] |
| Full Idea: Burke has argued in a series of papers that the lump of clay which constitutes the statue is numerically distinct from the lump of clay which exists before or after the statue exists. The first is a statue, while the second is merely a lump of clay. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Kathrin Koslicki - The Structure of Objects | |
| A reaction: Koslicki objects that this introduces radically different persistence conditions from normal. It would mean that a pile of sugar was a different pile of sugar every time a grain moved (even slightly). You couldn't step into the same sugar twice. |
| 14750 | Two entities can coincide as one, but only one of them (the dominant sortal) fixes persistence conditions [Burke,M, by Sider] |
| Full Idea: Michael Burke has given an account that avoids distinguishing coinciding entities. ...The statue/lump satisfies both 'lump' and 'statue', but only the latter determines that object's persistence conditions, and so is that object's 'dominant sortal'. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: Presumably a lump on its own can have its own persistance conditions (as a 'lump'), but those would presumably be lost if you shaped it into a statue. Burke concedes that. Can of worms. Using a book as a doorstop... |
| 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 |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |