48 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 458 | Nothing could come out of nothing, and existence could never completely cease [Empedocles] |
| Full Idea: From what in no wise exists, it is impossible for anything to come into being; for Being to perish completely is incapable of fulfilment and unthinkable. | |
| From: Empedocles (fragments/reports [c.453 BCE], B012), quoted by Anon (Lyc) - On Melissus 975b1-4 |
| 5112 | Empedocles says things are at rest, unless love unites them, or hatred splits them [Empedocles, by Aristotle] |
| Full Idea: Empedocles claims that things are alternately changing and at rest - that they are changing whenever love is creating a unity out of plurality, or hatred is creating plurality out of unity, and they are at rest in the times in between. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Physics 250b26 | |
| A reaction: I suppose one must say that this an example of Ruskin's 'pathetic fallacy' - reading human emotions into the cosmos. Being constructive little creatures, we think goodness leads to construction. I'm afraid Empedocles is just wrong. |
| 13209 | There is no coming-to-be of anything, but only mixing and separating [Empedocles, by Aristotle] |
| Full Idea: Empedocles says there is no coming-to-be of anything, but only a mingling and a divorce of what has been mingled. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314b08 | |
| A reaction: Aristotle comments that this prevents Empedocleans from distinguishing between superficial alteration and fundamental change of identity. Presumably, though, that wouldn't bother them. |
| 15391 | A substance is, roughly, a basic being or subject at the foundation of reality [Robb] |
| Full Idea: A substance is a basic being, something at reality's foundation. What exactly this means is a matter of some controversy. Some philosophers think of substance as an ultimate subject, something that has properties but isn't a property. | |
| From: David Robb (Substance [2009], 'Intro') | |
| A reaction: This seems to capture the place of 'substance' in contemporary metaphysics. I think of 'substance' as a placeholder for some threatened account, even in Aristotle. |
| 15392 | If an object survives the loss of a part, complex objects can have autonomy over their parts [Robb] |
| Full Idea: Sometimes a whole can survive a loss of parts: the chair would still exist if it lost one of its legs. This seems to give complex objects a sort of autonomy over their parts. | |
| From: David Robb (Substance [2009], 'Ident') | |
| A reaction: There is then a puzzle as to how much loss of parts the whole can survive, and why. The loss of a major part could be devastating, so why do all wholes not exhibit this relation to all their parts? I demand rules, now! |
| 457 | Substance is not created or destroyed in mortals, but there is only mixing and exchange [Empedocles] |
| Full Idea: There is no creation of substance in any one of mortal existence, nor any end in execrable death, but only mixing and exchange of what has been mixed. | |
| From: Empedocles (fragments/reports [c.453 BCE], B008), quoted by Plutarch - 74: Reply to Colotes 1111f | |
| A reaction: also Aristotle 314b08 |
| 462 | One vision is produced by both eyes [Empedocles] |
| Full Idea: One vision is produced by both eyes | |
| From: Empedocles (fragments/reports [c.453 BCE], B088), quoted by Strabo - works 8.364.3 |
| 22765 | Wisdom and thought are shared by all things [Empedocles] |
| Full Idea: Wisdom and power of thought, know thou, are shared in by all things. | |
| From: Empedocles (fragments/reports [c.453 BCE]), quoted by Sextus Empiricus - Against the Logicians (two books) II.286 | |
| A reaction: Sextus quotes this, saying that it is 'still more paradoxical', and that it explicitly includes plants. This may mean that Empedocles was not including inanimate matter. |
| 1524 | For Empedocles thinking is almost identical to perception [Empedocles, by Theophrastus] |
| Full Idea: Empedocles assumes that thinking is either identical to or very similar to sense-perception. | |
| From: report of Empedocles (fragments/reports [c.453 BCE], A86) by Theophrastus - On the Senses 9 | |
| A reaction: Not to be sniffed at. We can, of course, control our thinking (though we can't control the controller) and we contemplate abstractions, but that might be seen as a sort of perception. Vision is not as visual as we think. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 552 | Empedocles said good and evil were the basic principles [Empedocles, by Aristotle] |
| Full Idea: Empedocles was the first to give evil and good as principles. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Metaphysics 985a | |
| A reaction: Once you start to think that good and evil will only matter if they have causal powers, it is an easy step to the idea of a benevolent god, and a satanic anti-god. Otherwise the 'principles' could be ignored. |
| 589 | 'Nature' is just a word invented by people [Empedocles] |
| Full Idea: Nature is but a word of human framing. | |
| From: Empedocles (fragments/reports [c.453 BCE], B008), quoted by Aristotle - Metaphysics 1015a |
| 21823 | The principle of 'Friendship' in Empedocles is the One, and is bodiless [Empedocles, by Plotinus] |
| Full Idea: In Empedocles we have a dividing principle, 'Strife', set against 'Friendship' - which is the One and is to him bodiless, while the elements represent matter. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Plotinus - The Enneads 5.1.09 | |
| A reaction: The first time I've seen the principle of Love in Empedocles identified with the One of Parmenides. Plotinus is a trustworthy reporter, I think, because he was well read, and had access to lost texts. |
| 2680 | Empedocles said that there are four material elements, and two further creative elements [Empedocles, by Aristotle] |
| Full Idea: Empedocles holds that the corporeal elements are four, but that all the elements, including those which create motion, are six in number. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314a16 |
| 6002 | Empedocles says bone is water, fire and earth in ratio 2:4:2 [Empedocles, by Inwood] |
| Full Idea: Empedocles used numerical ratios to explain different kinds of matter; for example, bone is two parts water, four parts fire, two parts earth; and blood is an equal blend of all four elements. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Brad Inwood - Empedocles | |
| A reaction: Why isn't the ration 1:2:1? This presumably shows the influence of Pythagoras (who had also been based in Italy, like Empedocles), as well as that of the earlier naturalistic philosophers. It was a very good theory, though wrong. |
| 13207 | Fire, Water, Air and Earth are elements, being simple as well as homoeomerous [Empedocles, by Aristotle] |
| Full Idea: Empedocles says that Fire, Water, Air and Earth are four elements, and are thus 'simple' rather than flesh, bone and bodies which, like these, are 'homoeomeries'. | |
| From: report of Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 314a26 | |
| A reaction: The translation is not quite clear. I take it that flesh and bone may look simple, because they are homoeomerous, but they are not really - but what is his evidence for that? Compare Idea 13208. |
| 459 | All change is unity through love or division through hate [Empedocles] |
| Full Idea: These elements never cease their continuous exchange, sometimes uniting under the influence of Love, so that all become One, at other times again moving apart through the hostile force of Hate. | |
| From: Empedocles (fragments/reports [c.453 BCE], B017), quoted by Simplicius - On Aristotle's 'Physics' 158.1- |
| 13218 | The elements combine in coming-to-be, but how do the elements themselves come-to-be? [Aristotle on Empedocles] |
| Full Idea: Empedocles says it is evident that all the other bodies down to the 'elements' have their coming-to-be and their passing-away: but it is not clear how the 'elements' themselves, severally in their aggregated masses, come-to-be and pass-away. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 325b20 | |
| A reaction: Presumably the elements are like axioms - and are just given. How do electrons and quarks come-to-be? |
| 13225 | Love and Strife only explain movement if their effects are distinctive [Aristotle on Empedocles] |
| Full Idea: It is not an adequate explanation to say that 'Love and Strife set things moving', unless the very nature of Love is a movement of this kind and the very nature of Strife a movement of that kind. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 333b23 | |
| A reaction: I take this to be of interest for showing Aristotle's quest for explanations, and his unwillingness to be fobbed off with anything superficial. I take a task of philosophy to be to push explanations further than others wish to go. |
| 460 | If the one Being ever diminishes it would no longer exist, and what could ever increase it? [Empedocles] |
| Full Idea: Besides these elements, nothing else comes into being, nor does anything cease. For if they had been perishing continuously, they would Be no more; and what could increase the Whole? And whence could it have come? | |
| From: Empedocles (fragments/reports [c.453 BCE], B017), quoted by Simplicius - On Aristotle's 'Physics' 158.1- |
| 5090 | Maybe bodies are designed by accident, and the creatures that don't work are destroyed [Empedocles, by Aristotle] |
| Full Idea: Is it just an accident that teeth and other parts of the body seem to have some purpose, and creatures survive because they happen to be put together in a useful way? Everything else has been destroyed, as Empedocles says of his 'cow with human head'. | |
| From: report of Empedocles (fragments/reports [c.453 BCE], 61) by Aristotle - Physics 198b29 | |
| A reaction: Good grief! Has no one ever noticed that Empedocles proposed the theory of evolution? It isn't quite natural selection, because we aren't told what does the 'destroying', but it is a little flash of genius that was quietly forgotten. |
| 461 | God is a pure, solitary, and eternal sphere [Empedocles] |
| Full Idea: God is equal in all directions to himself and altogether eternal, a rounded Sphere enjoying a circular solitude. | |
| From: Empedocles (fragments/reports [c.453 BCE], B028), quoted by John Stobaeus - Anthology 1.15.2 |
| 466 | God is pure mind permeating the universe [Empedocles] |
| Full Idea: God is mind, holy and ineffable, and only mind, which darts through the whole cosmos with its swift thought. | |
| From: Empedocles (fragments/reports [c.453 BCE], B134), quoted by Ammonius - On 'De Interpretatione' 4.5.249.6 |
| 1719 | In Empedocles' theory God is ignorant because, unlike humans, he doesn't know one of the elements (strife) [Aristotle on Empedocles] |
| Full Idea: It is a consequence of Empedocles' view that God is the most unintelligent thing, for he alone is ignorant of one of the elements, namely strife, whereas mortal creatures are familiar with them all. | |
| From: comment on Empedocles (fragments/reports [c.453 BCE]) by Aristotle - De Anima 410b08 |
| 1522 | It is wretched not to want to think clearly about the gods [Empedocles] |
| Full Idea: Wretched is he who cares not for clear thinking about the gods. | |
| From: Empedocles (fragments/reports [c.453 BCE], B132), quoted by Clement - Miscellanies 5.140.5.1 |