47 ideas
| 15169 | Metaphysics is clarifying how we speak and think (and possibly improving it) [Sidelle] |
| Full Idea: Metaphysics, for the conventionalist, is not a matter of trying to see deeply into the structure of mind-independent reality, but of trying to clarify the way we actually speak and think, and perhaps negotiating ways of doing this to our best advantage. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) | |
| A reaction: Note that he is still allowing space for 'revisionary' as well as for 'descriptive' metaphysics. I can't wholly accept this, as I really do think we can have some deep insights into reality, but Sidelle is articulating a large part of the truth. |
| 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. |
| 15164 | We seem to base necessities on thought experiments and imagination [Sidelle] |
| Full Idea: Judgments of necessity seem always to be based on thought experiments and appeals to what we can imagine. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) | |
| A reaction: That is, the denial of this thing seems inconceivable. I would say that they are also based on coherence. The idea that we can think without imagination is nonsense. |
| 15180 | There doesn't seem to be anything in the actual world that can determine modal facts [Sidelle] |
| Full Idea: Metaphysically, nothing in the actual world seems to be a candidate for determining what is necessarily the case. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.4) | |
| A reaction: I file this under 'Dispositions' to show what is at stake in the debate about dispositional and categorical properties. I take a commitment to dispositions to be a commitment to modal facts about the actual world. |
| 15184 | Causal reference presupposes essentialism if it refers to modally extended entities [Sidelle] |
| Full Idea: Even if the causal theory of reference proper does not presuppose essentialism, it does presuppose essentialism if it is to be an account of reference to modally extended entities. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.6) |
| 15172 | Clearly, essential predications express necessary properties [Sidelle] |
| Full Idea: It is clear, of course, that if there are true essential predications, then they express necessary properties. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.2) | |
| A reaction: I would certainly want to ask whether essences have to be analysed as properties, and also (more boldly) whether there might not be contingent essences. |
| 15181 | Being a deepest explanatory feature is an actual, not a modal property [Sidelle] |
| Full Idea: The property of being a deepest explanatory feature is a nonmodal property: it's an actual property. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.4) | |
| A reaction: I don't accept the existence of properties of the form 'being-F'. The possibility of securing a door may be the deepest explanatory feature of a lock. [To be fair to Sidelle, see context - just for once!] Dispositions are actual. |
| 15173 | That the essence of water is its microstructure is a convention, not a discovery [Sidelle] |
| Full Idea: The necessity to water of whatever is found out to be the water's microstructure is given by convention, and is not something which is discovered. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.2) | |
| A reaction: A powerful point. It shows the authority of science that we accept the microstructure as the essence. The essences of statues and people are definitely not their microstructures. One H2O molecule isn't water. Why not? Macro-properties count too! |
| 15185 | We aren't clear about 'same stuff as this', so a principle of individuation is needed to identify it [Sidelle] |
| Full Idea: Independent of conventions, no definite sense can be given to the notion of 'the same stuff as this'. So reference-fixing must include some principle of individuation to determine the aspects of sameness for the identity referred to. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.6) | |
| A reaction: Is he really saying that we don't understand 'same stuff as this'? Surely animals can manage that, and they are not famous for their conventions. Sidelle has fallen into the sortalist trap, I think. |
| 15175 | Evaluation of de dicto modalities does not depend on the identity of its objects [Sidelle] |
| Full Idea: In the evaluation of de dicto modal statements, whether some possible state of affairs is relevant to its truth does not depend on the identity of its objects, as in 'Necessarily, the President of the USA is male'. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.3) | |
| A reaction: This is a more clear-cut and easy to grasp criterion than most that are on offer. |
| 15032 | Necessary a posteriori is conventional for necessity and nonmodal for a posteriority [Sidelle, by Sider] |
| Full Idea: Sidelle defends conventionalism against a posteriori necessities by 'factoring' a necessary a posteriori truth into an analytic component and a nonmodal component. The modal force then comes from the analytic part, and the a posteriority from the other. | |
| From: report of Alan Sidelle (Necessity, Essence and Individuation [1989]) by Theodore Sider - Writing the Book of the World 12.8 | |
| A reaction: [I note that Sidelle refers, it seems, to the nonmodal component as a 'deep explanatory feature', which is exactly what I take an essence to be]. |
| 15179 | To know empirical necessities, we need empirical facts, plus conventions about which are necessary [Sidelle] |
| Full Idea: What we need to know, in order to know what is empirically necessary, is some empirical fact plus our conventions that tell us which truths are necessary given which empirical facts. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.4) | |
| A reaction: I take this attack on a posteriori necessities to be the most persuasive part of Sidelle's case, but you can't just put all of our truths down to convention. There are stabilities in the world, as well as in our conventions. |
| 15171 | The necessary a posteriori is statements either of identity or of essence [Sidelle] |
| Full Idea: The necessary a posteriori crudely divides into two groups - (synthetic) identity statements (between rigid designators), and statements of essential properties. The latter is either statements of property identity, or of the essences of natural kinds. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.2) | |
| A reaction: He cites Kripke's examples (Hesperus,Cicero,Truman,water,gold), and divides them into the two groups. Helpful. |
| 15167 | Empiricism explores necessities and concept-limits by imagining negations of truths [Sidelle] |
| Full Idea: In the traditional empiricist picture, we go about modal enquiry by trying to see whether we can imagine a situation in which it would be correct to assert the negation of a proposed necessary truth. Thus we can find out the limits of our concepts. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) |
| 15177 | Contradictoriness limits what is possible and what is imaginable [Sidelle] |
| Full Idea: Contradictoriness is the boundary both of what is possible and also of what is imaginable. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.4) | |
| A reaction: Of course we may see contradictions where there are none, and fail to grasp real hidden contradictions, so the two do not coincide in the practice. I think I would say it is 'a' boundary, not 'the' boundary. |
| 15176 | The individuals and kinds involved in modality are also a matter of convention [Sidelle] |
| Full Idea: It is not merely the modal facts that result from our conventions, but the individuals and kinds that are modally involved. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.3) | |
| A reaction: I am beginning to find Sidelle's views very sympathetic - going over to the Dark Side, I'm afraid. But conventions won't work at all if they don't correspond closely to reality. |
| 15174 | A thing doesn't need transworld identity prior to rigid reference - that could be a convention of the reference [Sidelle] |
| Full Idea: For a term to be rigid, it is said there must be real transworld identity prior to our use of the rigid term, ..but this may only be because we have conventional principles for individuating across worlds. 'Let's call him Fred' - perhaps explicitly rigid. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.3) | |
| A reaction: This seems right. An example might be a comic book character, who retains a perfect identity in all the comics, with no scars, weight change, or ageing. |
| 15183 | 'Dthat' operates to make a singular term into a rigid term [Sidelle] |
| Full Idea: 'Dthat' is Kaplan's indexical operator; it operates on a given singular term, φ, and makes it into a rigid designator of whatever φ designates in the original context. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.6 n11) | |
| A reaction: I like this idea a lot, because it strikes me that referring to something rigidly is a clear step beyond referring to it in actuality. I refer to 'whoever turns up each week', but that is hardly rigid. The germ of 2-D semantics is here. |
| 15165 | A priori knowledge is entirely of analytic truths [Sidelle] |
| Full Idea: The a priori method yields a priori knowledge, and the objects of this knowledge are not facts about the world, but analytic truths. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) | |
| A reaction: Are we not allowed any insights at all into how the world must be, independent of how we happen to conceptualise it? |
| 20653 | Six reduction levels: groups, lives, cells, molecules, atoms, particles [Putnam/Oppenheim, by Watson] |
| Full Idea: There are six 'reductive levels' in science: social groups, (multicellular) living things, cells, molecules, atoms, and elementary particles. | |
| From: report of H.Putnam/P.Oppenheim (Unity of Science as a Working Hypothesis [1958]) by Peter Watson - Convergence 10 'Intro' | |
| A reaction: I have the impression that fields are seen as more fundamental that elementary particles. What is the status of the 'laws' that are supposed to govern these things? What is the status of space and time within this picture? |
| 15168 | That water is essentially H2O in some way concerns how we use 'water' [Sidelle] |
| Full Idea: If water is essentially H2O, this is going to have something to do with our intentions in using 'water'. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) | |
| A reaction: This very simple point looks to be correct, and raises very important questions about the whole Twin Earth thing. When new discoveries are made, words shift their meanings. We're not quite sure what 'jade' means any more. |
| 15166 | Causal reference seems to get directly at the object, thus leaving its nature open [Sidelle] |
| Full Idea: The causal theory of reference appears to give us a way to get at an object while leaving it undetermined what its essence or necessary features might be. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.1) | |
| A reaction: This pinpoints why the direct/causal theory of reference seems to open the doors to scientific essentialism. Sidelle, of course, opposes the whole programme. |
| 15182 | Because some entities overlap, reference must have analytic individuation principles [Sidelle] |
| Full Idea: The phenomenon of overlapping entities requires that if our reference is to be determinate (as determinate as it is), then there must be analytic principles of individuation. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.5) | |
| A reaction: His point is that there is something inescapably conventional about the way in which our reference works. It isn't just some bald realist baptism. |
| 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. |
| 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. |
| 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. |
| 15178 | Can anything in science reveal the necessity of what it discovers? [Sidelle] |
| Full Idea: Is there anything in the procedures of scientists that could reveal to them that water is necessarily H2O or that gold necessarily has atomic number 79. | |
| From: Alan Sidelle (Necessity, Essence and Individuation [1989], Ch.4) | |
| A reaction: This is Leibniz's is view, that empirical evidence can never reveal necessities. Given that we know some necessities, you have an argument for rationalism. |