35 ideas
| 5750 | Consistency is modal, saying propositions are consistent if they could be true together [Melia] |
| Full Idea: Consistency is a modal notion: a set of propositions is consistent iff all the members of the set could be true together. | |
| From: Joseph Melia (Modality [2003], Ch.6) | |
| A reaction: This shows why Kantian ethics, for example, needs a metaphysical underpinning. Maybe Kant should have believed in the reality of Leibnizian possible worlds? An account of reason requires an account of necessity and possibility. |
| 5737 | Predicate logic has connectives, quantifiers, variables, predicates, equality, names and brackets [Melia] |
| Full Idea: First-order predicate language has four connectives, two quantifiers, variables, predicates, equality, names, and brackets. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: Look up the reference for the details! The spirit of logic is seen in this basic framework, and the main interest is in the ontological commitment of the items on the list. The list is either known a priori, or it is merely conventional. |
| 5744 | First-order predicate calculus is extensional logic, but quantified modal logic is intensional (hence dubious) [Melia] |
| Full Idea: First-order predicate calculus is an extensional logic, while quantified modal logic is intensional (which has grave problems of interpretation, according to Quine). | |
| From: Joseph Melia (Modality [2003], Ch.3) | |
| A reaction: The battle is over ontology. Quine wants the ontology to stick with the values of the variables (i.e. the items in the real world that are quantified over in the extension). The rival view arises from attempts to explain necessity and counterfactuals. |
| 5740 | Second-order logic needs second-order variables and quantification into predicate position [Melia] |
| Full Idea: Permitting quantification into predicate position and adding second-order variables leads to second-order logic. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: Often expressed by saying that we now quantify over predicates and relations, rather than just objects. Depends on your metaphysical commitments. |
| 5741 | If every model that makes premises true also makes conclusion true, the argument is valid [Melia] |
| Full Idea: In first-order predicate calculus validity is defined thus: an argument is valid iff every model that makes the premises of the argument true also makes the conclusion of the argument true. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: See Melia Ch. 2 for an explanation of a 'model'. Traditional views of validity tend to say that if the premises are true the conclusion has to be true (necessarily), but this introduces the modal term 'necessarily', which is controversial. |
| 5735 | Maybe names and predicates can capture any fact [Melia] |
| Full Idea: Some philosophers think that any fact can be captured in a language containing only names and predicates. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: The problem case Melia is discussing is modal facts, such as 'x is possible'. It is hard to see how 'possible' could be an ordinary predicate, but then McGinn claims that 'existence' is, and that there are some predicates with unusual characters. |
| 5736 | No sort of plain language or levels of logic can express modal facts properly [Melia] |
| Full Idea: Some philosophers say that modal facts cannot be expressed either by name/predicate language, or by first-order predicate calculus, or even by second-order logic. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: If 'possible' were a predicate, none of this paraphernalia would be needed. If possible worlds are accepted, then the quantifiers of first-order predicate calculus will do the job. If neither of these will do, there seems to be a problem. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 5746 | The Identity of Indiscernibles is contentious for qualities, and trivial for non-qualities [Melia] |
| Full Idea: If the Identity of Indiscernibles is referring to qualitative properties, such as 'being red' or 'having mass', it is contentious; if it is referring to non-qualitative properties, such as 'member of set s' or 'brother of a', it is true but trivial. | |
| From: Joseph Melia (Modality [2003], Ch.3 n 11) | |
| A reaction: I would say 'false' rather than 'contentious'. No one has ever offered a way of distinguishing two electrons, but that doesn't mean there is just one (very busy) electron. The problem is that 'indiscernible' is only an epistemological concept. |
| 5738 | We may be sure that P is necessary, but is it necessarily necessary? [Melia] |
| Full Idea: We may have fairly firm beliefs as to whether or not P is necessary, but many of us find ourselves at a complete loss when wondering whether or not P is necessarily necessary. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: I think it is questions like this which are pushing philosophy back towards some sort of rationalism. See Idea 3651, for example. A regress of necessities would be mad, so necessity must be taken as self-evident (in itself, though maybe not to us). |
| 5732 | 'De re' modality is about things themselves, 'de dicto' modality is about propositions [Melia] |
| Full Idea: In cases of 'de re' modality, it is a particular thing that has the property essentially or accidentally; where the modality attaches to the proposition, it is 'de dicto' - it is the whole truth that all bachelors are unmarried that is necessary. | |
| From: Joseph Melia (Modality [2003], Ch.1) | |
| A reaction: This seems to me one of the most important distinctions in metaphysics (as practised by analytical philosophers, who like distinctions). The first type leads off into the ontology, the second type veers towards epistemology. |
| 5739 | Sometimes we want to specify in what ways a thing is possible [Melia] |
| Full Idea: Sometimes we want to count the ways in which something is possible, or say that there are many ways in which a certain thing is possible. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: This is a basic fact about talk of 'possibility'. It is not an all-or-nothing property of a situation. There can be 'faint' possibilities of things. The proximity of some possible worlds, especially those sharing our natural laws, is one answer. |
| 5734 | Possible worlds make it possible to define necessity and counterfactuals without new primitives [Melia] |
| Full Idea: In modal logic the concepts of necessity and counterfactuals are not interdefinable, so the language needs two primitives to represent them, but with the machinery of possible worlds they are defined by what is the case in all worlds, or close worlds. | |
| From: Joseph Melia (Modality [2003], Ch.1) | |
| A reaction: If your motivation is to reduce ontology to the barest of minimums (which it was for David Lewis) then it is paradoxical that the existence of possible worlds may be the way to achieve it. I doubt, though, whether a commitment to their reality is needed. |
| 5742 | In possible worlds semantics the modal operators are treated as quantifiers [Melia] |
| Full Idea: The central idea in possible worlds semantics is that the modal operators are treated as quantifiers. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: It seems an essential requirement of metaphysics that an account be given of possibility and necessity, and it is also a good dream to keep the ontology simple. Commitment to possible worlds is the bizarre outcome of this dream. |
| 5743 | If possible worlds semantics is not realist about possible worlds, logic becomes merely formal [Melia] |
| Full Idea: It has proved difficult to justify possible worlds semantics without accepting possible worlds. Without a secure metaphysical underpinning, the results in logic are in danger of having nothing more than a formal significance. | |
| From: Joseph Melia (Modality [2003], Ch.2) | |
| A reaction: This makes nicely clear why Lewis's controversial modal realism has to be taken seriously. It appears that the key problem is truth, because that is needed to define validity, but you can't have truth without some sort of metaphysics. |
| 5749 | Possible worlds could be real as mathematics, propositions, properties, or like books [Melia] |
| Full Idea: One can be a realist about possible worlds without adopting Lewis's extreme views; they might be abstract or mathematical entities; they might be sets of propositions or maximal uninstantiated properties; they might be like books or pictures. | |
| From: Joseph Melia (Modality [2003], Ch.6) | |
| A reaction: My intuition is that once you go down the road of realism about possible worlds, Lewis's full concrete realism looks at least as attractive as any of these options. You can discuss the 'average man' in an economic theory without realism. |
| 5751 | The truth of propositions at possible worlds are implied by the world, just as in books [Melia] |
| Full Idea: Propositions are true at possible worlds in much the same way as they are true at books: by being implied by the book. | |
| From: Joseph Melia (Modality [2003], Ch.7) | |
| A reaction: An intriguing way to introduce the view that possible worlds should be seen as like books. The truth-makers of propositions about the actual world are items in it, but the truth-makers in novels (say) are the conditions of the whole work as united. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 5748 | We accept unverifiable propositions because of simplicity, utility, explanation and plausibility [Melia] |
| Full Idea: Many philosophers now concede that it is rational to accept a proposition not because we can directly verify it but because it is supported by considerations of simplicity, theoretical utility, explanatory power and/or intuitive plausibility. | |
| From: Joseph Melia (Modality [2003], Ch.5) | |
| A reaction: This suggests how the weakness of logical positivism may have led us to the concept of epistemic virtues (such as those listed), which are, of course, largely a matter of community consensus, just as the moral virtues are. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 1868 | The world was made as much for animals as for man [Celsus] |
| Full Idea: The world was made as much for the irrational animals as for men. | |
| From: Celsus (On the True Doctrine (Against Christians) [c.178], §V) | |
| A reaction: A good remark. It seems to be a classic distortion of European Christianity that the world is made for us, and that animals only exist to fill our sandwiches. |
| 1867 | Christians presented Jesus as a new kind of logos to oppose that of the philosophers [Celsus] |
| Full Idea: Christians put forth this Jesus not only as the son of God, but as the very Logos - not the pure and holy Logos known to the philosophers, but a new kind of Logos. | |
| From: Celsus (On the True Doctrine (Against Christians) [c.178], III) |