33 ideas
| 8525 | Relations need terms, so they must be second-order entities based on first-order tropes [Campbell,K] |
| Full Idea: Because there cannot be relations without terms, in a meta-physic that makes first-order tropes the terms of all relations, relational tropes must belong to a second, derivative order. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §8) | |
| A reaction: The admission that there could be a 'derivative order' may lead to trouble for trope theory. Ostrich Nominalists could say that properties themselves are derivative second-order abstractions from indivisible particulars. Russell makes them first-order. |
| 8518 | Events are trope-sequences, in which tropes replace one another [Campbell,K] |
| Full Idea: Events are widely acknowledged to be particulars, but they are plainly not ordinary concrete particulars. They are best viewed as trope-sequences, in which one condition gives way to another. They are changes in which tropes replace one another. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §3) | |
| A reaction: If nothing exists except bundles of tropes, it is worth asking WHY one trope would replace another. Some tropes are active (i.e. they are best described as 'powers'). |
| 8513 | Two red cloths are separate instances of redness, because you can dye one of them blue [Campbell,K] |
| Full Idea: If we have two cloths of the very same shade of redness, we can show there are two cloths by burning one and leaving the other unaffected; we show there are two cases of redness in the same way: dye one blue, leaving the other unaffected. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §1) | |
| A reaction: This has to be one of the basic facts of the problem accepted by everyone. If you dye half of one of the pieces, was the original red therefore one instance or two? Has it become two? How many red tropes are there in a red cloth? |
| 8514 | Red could only recur in a variety of objects if it was many, which makes them particulars [Campbell,K] |
| Full Idea: If there are a varied group of red objects, the only element that recurs is the colour. But it must be the colour as a particular (a 'trope') that is involved in the recurrence, for only particulars can be many in the way required for recurrence. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §1) | |
| A reaction: This claim seems to depend on the presupposition that rednesses are countable things, but it is tricky trying to count the number of blue tropes in the sky. |
| 8522 | Tropes solve the Companionship Difficulty, since the resemblance is only between abstract particulars [Campbell,K] |
| Full Idea: The 'companionship difficulty' cannot arise if the members of the resemblance class are tropes rather than whole concrete particulars. The instances of having a heart, as abstract particulars, are quite different from instances of having a kidney. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §6) | |
| A reaction: The companionship difficulty seems worst if you base your account of properties just on being members of a class. Any talk of resemblance eventually has to talk about 'respects' of resemblance. Is a trope a respect? Is a mode an object? |
| 8523 | Tropes solve the Imperfect Community problem, as they can only resemble in one respect [Campbell,K] |
| Full Idea: The 'problem of imperfect community' cannot arise where our resemblance sets are sets of tropes. Tropes, by their very nature and mode of differentiation can only resemble in one respect. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §6) | |
| A reaction: You arrive at very different accounts of what resemblance means according to how you express the problem verbally. We can only find a solution through thinking which transcends language. Heresy! |
| 8524 | Trope theory makes space central to reality, as tropes must have a shape and size [Campbell,K] |
| Full Idea: The metaphysics of abstract particulars gives a central place to space, or space-time, as the frame of the world. ...Tropes are, of their essence, regional, which carries with it the essential presence of shape and size in any trope occurrence. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §7) | |
| A reaction: Trope theory has a problem with Aristotle's example (Idea 557) of what happens when white is mixed with white. Do two tropes become one trope if you paint on a second coat of white? How can particulars merge? How can abstractions merge? |
| 8521 | Nominalism has the problem that without humans nothing would resemble anything else [Campbell,K] |
| Full Idea: The objection to nominalism is its consequence that if there were no human race (or other living things), nothing would be like anything else. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §6) | |
| A reaction: Anti-realists will be unflustered by this difficulty. Personally it strikes me as obvious that some aspects of resemblance are part of reality which we did not contribute. This I take to be a contingent fact, founded on the existence of natural kinds. |
| 8515 | Tropes are basic particulars, so concrete particulars are collections of co-located tropes [Campbell,K] |
| Full Idea: If tropes are basic particulars, then concrete particulars count as dependent realities. They are collections of co-located tropes, depending on these tropes as a fleet does upon its component ships. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §2) | |
| A reaction: If I sail my yacht through a fleet, do I become part of it? Presumably trope theory could avoid a bundle view of objects. A bare substratum could be a magnet which attracts tropes. |
| 8519 | Bundles must be unique, so the Identity of Indiscernibles is a necessity - which it isn't! [Campbell,K] |
| Full Idea: Each individual is distinct from each other individual, so the bundle account of objects requires each bundle to be different from every other bundle. So the Identity of Indiscernibles must be a necessary truth, which, unfortunately, it is not. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §5) | |
| A reaction: Clearly the Identity of Indiscernibles is not a necessary truth (consider just two identical spheres). Location and time must enter into it. Could we not add a further individuation requirement to the necessary existence of a bundle? (Quinton) |
| 4033 | Two pure spheres in non-absolute space are identical but indiscernible [Campbell,K] |
| Full Idea: The Identity of Indiscernibles is not a necessary truth. It fails in possible worlds where there are two identical spheres in a non-absolute space, or worlds without beginning or end where events are exactly cyclically repeated. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §5) | |
| A reaction: The principle was always very suspect, and these seem nice counterexamples. As so often, epistemology and ontology had become muddled. |
| 8512 | Abstractions come before the mind by concentrating on a part of what is presented [Campbell,K] |
| Full Idea: An item is abstract if it is got before the mind by an act of abstraction, that is, by concentrating attention on some, but not all, of what is presented. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §1) | |
| A reaction: I think this point is incredibly important. Pure Fregean semantics tries to leave out the psychological component, and yet all the problems in semantics concern various sorts of abstraction. Imagination is the focus of the whole operation. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 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? |
| 8517 | Causal conditions are particular abstract instances of properties, which makes them tropes [Campbell,K] |
| Full Idea: The conditions in causal statements are usually particular cases of properties. A collapse results from the weakness of this cable (not any other). This is specific to a time and place; it is an abstract particular. It is, in short, a trope. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §3) | |
| A reaction: The fan of universals could counter this by saying that the collapse results from this unique combination of universals. Resemblance nominalist can equally build an account on the coincidence of certain types of concrete particulars. |
| 8516 | Davidson can't explain causation entirely by events, because conditions are also involved [Campbell,K] |
| Full Idea: Not all singular causal statements are of Davidson's event-event type. Many involve conditions, so there are condition-event (weakness/collapse), event-condition (explosion/movement), and condition-condition (hot/warming) causal connections. | |
| From: Keith Campbell (The Metaphysic of Abstract Particulars [1981], §3) | |
| A reaction: Fans of Davidson need to reduce conditions to events. The problem of individuation keeps raising its head. Davidson makes it depend on description. Kim looks good, because events, and presumably conditions, reduce to something small and precise. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |