26 ideas
| 18241 | Sufficient reason is implied by contradiction, of an insufficient possible which exists [Wolff, by Korsgaard] |
| Full Idea: Wolff believed that the principle of sufficient reason could be derived from the principle of contradiction, for there would be a contradiction in the insufficiently determined existence of a merely possible thing. | |
| From: report of Christian Wolff (works [1730]) by Christine M. Korsgaard - Intro to Ethics, Politics, Religion in Kant 'A child' | |
| A reaction: Sounds as if he might be begging to question. You would only protest against the insufficient determination of something if you already believed in the principle of sufficient reason. Nice try. |
| 9470 | Modal logic is not an extensional language [Parsons,C] |
| Full Idea: Modal logic is not an extensional language. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.159 n8) | |
| A reaction: [I record this for investigation. Possible worlds seem to contain objects] |
| 13418 | The old problems with the axiom of choice are probably better ascribed to the law of excluded middle [Parsons,C] |
| Full Idea: The difficulties historically attributed to the axiom of choice are probably better ascribed to the law of excluded middle. | |
| From: Charles Parsons (Review of Tait 'Provenance of Pure Reason' [2009], §2) | |
| A reaction: The law of excluded middle was a target for the intuitionists, so presumably the debate went off in that direction. |
| 9469 | Substitutional existential quantifier may explain the existence of linguistic entities [Parsons,C] |
| Full Idea: I argue (against Quine) that the existential quantifier substitutionally interpreted has a genuine claim to express a concept of existence, which may give the best account of linguistic abstract entities such as propositions, attributes, and classes. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.156) | |
| A reaction: Intuitively I have my doubts about this, since the whole thing sounds like a verbal and conventional game, rather than anything with a proper ontology. Ruth Marcus and Quine disagree over this one. |
| 9468 | On the substitutional interpretation, '(∃x) Fx' is true iff a closed term 't' makes Ft true [Parsons,C] |
| Full Idea: For the substitutional interpretation of quantifiers, a sentence of the form '(∃x) Fx' is true iff there is some closed term 't' of the language such that 'Ft' is true. For the objectual interpretation some object x must exist such that Fx is true. | |
| From: Charles Parsons (A Plea for Substitutional Quantification [1971], p.156) | |
| A reaction: How could you decide if it was true for 't' if you didn't know what object 't' referred to? |
| 17447 | Parsons says counting is tagging as first, second, third..., and converting the last to a cardinal [Parsons,C, by Heck] |
| Full Idea: In Parsons's demonstrative model of counting, '1' means the first, and counting says 'the first, the second, the third', where one is supposed to 'tag' each object exactly once, and report how many by converting the last ordinal into a cardinal. | |
| From: report of Charles Parsons (Frege's Theory of Numbers [1965]) by Richard G. Heck - Cardinality, Counting and Equinumerosity 3 | |
| A reaction: This sounds good. Counting seems to rely on that fact that numbers can be both ordinals and cardinals. You don't 'convert' at the end, though, because all the way you mean 'this cardinality in this order'. |
| 18201 | General principles can be obvious in mathematics, but bold speculations in empirical science [Parsons,C] |
| Full Idea: The existence of very general principles in mathematics are universally regarded as obvious, where on an empiricist view one would expect them to be bold hypotheses, about which a prudent scientist would maintain reserve. | |
| From: Charles Parsons (Mathematical Intuition [1980], p.152), quoted by Penelope Maddy - Naturalism in Mathematics | |
| A reaction: This is mainly aimed at Quine's and Putnam's indispensability (to science) argument about mathematics. |
| 13419 | If functions are transfinite objects, finitists can have no conception of them [Parsons,C] |
| Full Idea: The finitist may have no conception of function, because functions are transfinite objects. | |
| From: Charles Parsons (Review of Tait 'Provenance of Pure Reason' [2009], §4) | |
| A reaction: He is offering a view of Tait's. Above my pay scale, but it sounds like a powerful objection to the finitist view. Maybe there is a finitist account of functions that could be given? |
| 13417 | If a mathematical structure is rejected from a physical theory, it retains its mathematical status [Parsons,C] |
| Full Idea: If experience shows that some aspect of the physical world fails to instantiate a certain mathematical structure, one will modify the theory by sustituting a different structure, while the original structure doesn't lose its status as part of mathematics. | |
| From: Charles Parsons (Review of Tait 'Provenance of Pure Reason' [2009], §2) | |
| A reaction: This seems to be a beautifully simple and powerful objection to the Quinean idea that mathematics somehow only gets its authority from physics. It looked like a daft view to begin with, of course. |
| 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) |
| 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. |
| 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. |
| 18242 | Confucius shows that ethics can rest on reason, rather than on revelation [Wolff, by Korsgaard] |
| Full Idea: Wolff claimed that the moral philosophy of Confucius shows that ethics is accessible to natural reason and independent of revelation. | |
| From: report of Christian Wolff (works [1730]) by Christine M. Korsgaard - Intro to Ethics, Politics, Religion in Kant 'A child' | |
| A reaction: Wolff was banished for proposing this idea. |