37 ideas
| 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. |
| 20887 | A rape disregards the status of being a person - but so does all assault [Foa] |
| Full Idea: In a rape a person is used without proper regard for her personhood - but this is true of every kind of assault. | |
| From: Pamela Foa (What's Wrong with Rape? [1977], 1) | |
| A reaction: This is a good step towards her attempt to pin down what is specifically wrong with rape, which strikes me as an extremely important question, and not merely in order to justify punishments. |
| 20888 | Rape of children is dreadful, but no one thinks children should have a right of consent [Foa] |
| Full Idea: Rape of children is at least as heinous as rape of adults, though few believe that children have or ought to have the same large domain of consent adults (male and female) ought to have. | |
| From: Pamela Foa (What's Wrong with Rape? [1977], 1) | |
| A reaction: A powerful point. She is not quite spelling out the crux, which is that no one thinks children should have a right to consent to sexual intercourse, which means that consent is irrelevant in such a case of rape. So it can't be the key to adult rape? |
| 20889 | If men should lust and women shouldn't, that makes rape the prevalent sexual model [Foa] |
| Full Idea: We are taught that sexual desires are desires women ought not to have and men must have. This is the model which makes necessary an eternal battle of the sexes. It explains why rape is the prevalent model of sexuality. | |
| From: Pamela Foa (What's Wrong with Rape? [1977], 3) | |
| A reaction: A striking thought. See 'The Origins of Sex' by F.Dabhoiwala, which claims that women used to be seen as the sexual predators, and the balance shifted in the 18thC. Are women obliged to exhibit lust, in order to defuse rapacious desires? |
| 20624 | Work degrades into heat, but not vice versa [Close] |
| Full Idea: William Thomson, Lord Kelvin, declared (in 1865) the second law of thermodynamics: mechanical work inevitably tends to degrade into heat, but not vice versa. | |
| From: Frank Close (Theories of Everything [2017], 3 'Perpetual') | |
| A reaction: The basis of entropy, which makes time an essential part of physics. Might this be the single most important fact about the physical world? |
| 20623 | First Law: energy can change form, but is conserved overall [Close] |
| Full Idea: The first law of thermodynamics : energy can be changed from one form to another, but is always conserved overall. | |
| From: Frank Close (Theories of Everything [2017], 3 'Perpetual') | |
| A reaction: So we have no idea what energy is, but we know it's conserved. (Daniel Bernoulli showed the greater the mean energy, the higher the temperature. James Joule showed the quantitative equivalence of heat and work p.26-7) |
| 20625 | Third Law: total order and minimum entropy only occurs at absolute zero [Close] |
| Full Idea: The third law of thermodynamics says that a hypothetical state of total order and minimum entropy can be attained only at the absolute zero temperature, minus 273 degrees Celsius. | |
| From: Frank Close (Theories of Everything [2017], 3 'Arrow') | |
| A reaction: If temperature is energetic movement of atoms (or whatever), then obviously zero movement is the coldest it can get. So is absolute zero an energy state, or an absence of energy? I have no idea what 'total order' means. |
| 20628 | The electric and magnetic are tightly linked, and viewed according to your own motion [Close] |
| Full Idea: Electric and magnetic phenomena are profoundly intertwined; what you interpret as electric or magnetic thus depends on your own motion. | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: This sounds like an earlier version of special relativity. |
| 20622 | All motions are relative and ambiguous, but acceleration is the same in all inertial frames [Close] |
| Full Idea: There is no absolute state of rest; only relative motions are unambiguous. Contrast this with acceleration, however, which has the same magnitude in all inertial frames. | |
| From: Frank Close (Theories of Everything [2017], 3 'Newton's') | |
| A reaction: It seems important to remember this, before we start trumpeting about the whole of physics being relative. ....But see Idea 20634! |
| 20635 | The general relativity equations relate curvature in space-time to density of energy-momentum [Close] |
| Full Idea: The essence of general relativity relates 'curvature in space-time' on one side of the equation to the 'density of momentum and energy' on the other. ...In full, Einstein required ten equations of this type. | |
| From: Frank Close (Theories of Everything [2017], 5 'Gravity') | |
| A reaction: Momentum involves mass, and energy is equivalent to mass (e=mc^2). |
| 20627 | Electric fields have four basic laws (two by Gauss, one by Ampère, one by Faraday) [Close] |
| Full Idea: Four basic laws of electric and magnetic fields: Gauss's Law (about the flux produced by a field), Gauss's law of magnets (there can be no monopoles), Ampère's Law (fields on surfaces), and Farday's Law (accelerated magnets produce fields). | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: [Highly compressed, for an overview. Close explains them] |
| 20630 | Light isn't just emitted in quanta called photons - light is photons [Close] |
| Full Idea: Planck had assumed that light is emitted in quanta called photons. Einstein went further - light is photons. | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: The point is that light travels as entities which are photons, rather than the emissions being quantized packets of some other stuff. |
| 20637 | In general relativity the energy and momentum of photons subjects them to gravity [Close] |
| Full Idea: In Einstein's general theory, gravity acts also on energy and momentum, not simply on mass. For example, massless photons of light feel the gravitational attraction of the Sun and can be deflected. | |
| From: Frank Close (Theories of Everything [2017], 5 'Planck') | |
| A reaction: Ah, a puzzle solved. How come massless photons are bent by gravity? |
| 20629 | Electro-magnetic waves travel at light speed - so light is electromagnetism! [Close] |
| Full Idea: Faradays' measurements predicted the speed of electro-magnetic waves, which happened to be the speed of light, so Maxwell made an inspired leap: light is an electromagnetic wave! | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: Put that way, it doesn't sound like an 'inspired' leap, because travelling at exactly the same speed seems a pretty good indication that they are the same sort of thing. (But I'm not denying that Maxwell was a special guy!) |
| 20632 | In QED, electro-magnetism exists in quantum states, emitting and absorbing electrons [Close] |
| Full Idea: Dirac created quantum electrodynamics (QED): the universal electro-magnetic field can exist in discreet states of energy (with photons appearing and disappearing by energy excitations. This combined classical ideas, quantum theory and special relativity. | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: Close says this is the theory of everything in atomic structure, but not in nuclei (which needs QCD and QFD). So if there are lots of other 'fields' (e.g. gravitational, weak, strong, Higgs), how do they all fit together? Do they talk to one another? |
| 20642 | Photon exchange drives the electro-magnetic force [Close] |
| Full Idea: The exchange of photons drives the electro-magnetic force. | |
| From: Frank Close (Theories of Everything [2017], 6 'Superstrings') | |
| A reaction: So light, which we just think of as what is visible, is a mere side-effect of the engine room of nature - the core mechanism of the whole electro-magnetic field. |
| 20639 | Quantum fields contain continual rapid creation and disappearance [Close] |
| Full Idea: Quantum field theory implies that the vacuum of space is filled with particles and antiparticles which bubble in and out of existence on faster and faster timescales over shorter and shorter distances. | |
| From: Frank Close (Theories of Everything [2017], 6 'Intro') | |
| A reaction: Ponder this sentence until you head aches. Existence, but not as we know it, Jim. Close says calculations in QED about the electron confirm this. |
| 20631 | Dirac showed how electrons conform to special relativity [Close] |
| Full Idea: In 1928 Paul Dirac discovered the quantum equation that describes the electron and conforms to the requirements special relativity theory. | |
| From: Frank Close (Theories of Everything [2017], 3 'Light!') | |
| A reaction: This sounds like a major step in the unification of physics. Quantum theory and General relativity remain irreconcilable. |
| 20641 | Electrons get their mass by interaction with the Higgs field [Close] |
| Full Idea: The electron gets its mass by interaction with the ubiquitous Higgs field. | |
| From: Frank Close (Theories of Everything [2017], 6 'Hierarchy') | |
| A reaction: I thought I understood mass until I read this. Is it just wrong to say the mass of a table is the 'amount of stuff' in it? |
| 20626 | Modern theories of matter are grounded in heat, work and energy [Close] |
| Full Idea: The link between temperature, heat, work and energy is at the root of our historical ability to construct theories of matter, such as Newton's dynamics, while ignoring, and indeed being ignorant of - atomic dimensions. | |
| From: Frank Close (Theories of Everything [2017], 3 'Arrow') | |
| A reaction: That is, presumably, that even when you fill in the atoms, and the standard model of physics, these aspects of matter do the main explaiining (of the behaviour, rather than of the structure). |
| 20633 | The Higgs field is an electroweak plasma - but we don't know what stuff it consists of [Close] |
| Full Idea: In 2012 it was confirmed that we are immersed in an electroweak plasma - the Higgs field. We curently have no knowledge of what this stuff might consist of. | |
| From: Frank Close (Theories of Everything [2017], 4 'Higgs') | |
| A reaction: The second sentence has my full attention. So we don't understand a field properly until we understand the 'stuff' it is made of? So what are all the familiar fields made of? Tell me more! |
| 20640 | Space-time is indeterminate foam over short distances [Close] |
| Full Idea: At very short distances, space-time itself becomes some indeterminate foam. | |
| From: Frank Close (Theories of Everything [2017], 6 'Intro') | |
| A reaction: [see Close for a bit more detail of this weird idea] |