15 ideas
16235 | Persistence conditions cannot contradict, so there must be a 'dominant sortal' [Burke,M, by Hawley] |
Full Idea: Burke says a single object cannot have incompatible persistence conditions, for this would entail that there are events in which the object would both survive and perish. He says one sortal 'dominates' the other (sweater dominates thread). | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
A reaction: This I take to be the most extreme version of sortal essentialism, and strikes me as incredibly gerrymandered and unacceptable. It is just too anthropocentric to count as genuine metaphysics. I may care more about the thread. |
14753 | The 'dominant' of two coinciding sortals is the one that entails the widest range of properties [Burke,M, by Sider] |
Full Idea: Burke claims that the 'dominant' sortal is the one whose satisfaction entails possession of the widest range of properties. For example, the statue (unlike the lump of clay) also possesses aesthetic properties, and hence is dominant. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
A reaction: [there are three papers by Burke on this; see all the quotations from Burke] Presumably one sortal could entail a single very important property, and the other sortal entail a huge range of trivial properties. What does being a 'thing' entail? |
16072 | 'The rock' either refers to an object, or to a collection of parts, or to some stuff [Burke,M, by Wasserman] |
Full Idea: Burke distinguishes three different readings of 'the rock'. It can be a singular description denoting an object, or a plural description denoting all the little pieces of rock, or a mass description the relevant rocky stuff. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
A reaction: Idea 16068 is an objection to the second reading. Only the first reading seems plausible, so we must just get over all the difficulties philosophers have unearthed about knowing exactly what an 'object' is. I offer you essentialism. Rocks have unity. |
14751 | Tib goes out of existence when the tail is lost, because Tib was never the 'cat' [Burke,M, by Sider] |
Full Idea: Burke argues that Tib (the whole cat apart from its tail) goes out of existence when the tail is lost. His essentialist principle is that if something is ever of a particular sort (such as 'cat') then it is always of that sort. Tib is not initially a cat. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
A reaction: This I take to be a souped up version of Wiggins, and I just don't buy that identity conditions are decided by sortals, when it seems obvious that sortals are parasitic on identities. |
16071 | Sculpting a lump of clay destroys one object, and replaces it with another one [Burke,M, by Wasserman] |
Full Idea: On Burke's view, the process of sculpting a lump of clay into a statue destroys one object (a mere lump of clay) and replaces it with another (a statue). | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
A reaction: There is something right about this, but how many intermediate objects are created during the transition. It seems to make the notion of an object very conventional. |
16234 | Burke says when two object coincide, one of them is destroyed in the process [Burke,M, by Hawley] |
Full Idea: Michael Burke argues that a sweater is identical with the thread that consitutes it, that both were created at the moment when they began to coincide, and that the original thread was destroyed in the process. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
A reaction: [Burke's ideas are spread over three articles] It is the thread which is destroyed, because the sweater is the 'dominant sortal' (which strikes me as a particularlyd desperate concept). |
13278 | Maybe the clay becomes a different lump when it becomes a statue [Burke,M, by Koslicki] |
Full Idea: Burke has argued in a series of papers that the lump of clay which constitutes the statue is numerically distinct from the lump of clay which exists before or after the statue exists. The first is a statue, while the second is merely a lump of clay. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Kathrin Koslicki - The Structure of Objects | |
A reaction: Koslicki objects that this introduces radically different persistence conditions from normal. It would mean that a pile of sugar was a different pile of sugar every time a grain moved (even slightly). You couldn't step into the same sugar twice. |
14750 | Two entities can coincide as one, but only one of them (the dominant sortal) fixes persistence conditions [Burke,M, by Sider] |
Full Idea: Michael Burke has given an account that avoids distinguishing coinciding entities. ...The statue/lump satisfies both 'lump' and 'statue', but only the latter determines that object's persistence conditions, and so is that object's 'dominant sortal'. | |
From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
A reaction: Presumably a lump on its own can have its own persistance conditions (as a 'lump'), but those would presumably be lost if you shaped it into a statue. Burke concedes that. Can of worms. Using a book as a doorstop... |
22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
6005 | Animals are dangerous and nourishing, and can't form contracts of justice [Hermarchus, by Sedley] |
Full Idea: Hermarchus said that animal killing is justified by considerations of human safety and nourishment and by animals' inability to form contractual relations of justice with us. | |
From: report of Hermarchus (fragments/reports [c.270 BCE]) by David A. Sedley - Hermarchus | |
A reaction: Could the last argument be used to justify torturing animals? Or could we eat a human who was too brain-damaged to form contracts? |