25 ideas
| 12132 | Indiscernibility is a necessary and sufficient condition for identity [Brody] |
| Full Idea: Enduring objects should be taken as fundamental in an ontology, and for all such objects indiscernibility is both a necessary and sufficient condition for identity. | |
| From: Baruch Brody (Identity and Essence [1980], 3) | |
| A reaction: Brody offers a substantial defence, but I don't find it plausible. Apart from Black's well known twin spheres example (Idea 10195), discernibility is relative to the powers of the observer. Two similar people in the mist aren't thereby identical. |
| 15834 | Brody bases sortal essentialism on properties required throughout something's existence [Brody, by Mackie,P] |
| Full Idea: Brody bases sortal essentialism on the notion of a property that an individual must possess throughout its existence if it possesses it at any time in its existence. | |
| From: report of Baruch Brody (Identity and Essence [1980]) by Penelope Mackie - How Things Might Have Been 7.1 | |
| A reaction: Brody tends to treat categories as properties, which I dislike. How do you assess 'must' here? A person may possess a mole throughout life without it being essential. |
| 12140 | Modern emphasis is on properties had essentially; traditional emphasis is on sort-defining properties [Brody] |
| Full Idea: The modern emphasis has been on the connection between essential properties and the properties that an object must have essentially. But traditionally there is also the connection between essential properties and the sort of thing that it is. | |
| From: Baruch Brody (Identity and Essence [1980], 5.6) | |
| A reaction: These are the modal essence and the definitional essence. My view is that he has missed out a crucial third (Aristotelian) view, which is that essences are explanatory. This third view can subsume the other two. |
| 11895 | A sortal essence is a property which once possessed always possessed [Brody, by Mackie,P] |
| Full Idea: Brody bases sortal essentialism on the notion of a property that an individual must possess throughout its existence if it possesses it at any time in its existence. ...'Once an F, always an F'. ...Being a parrot is not a temporary occupation. | |
| From: report of Baruch Brody (Identity and Essence [1980]) by Penelope Mackie - How Things Might Have Been 7.1 | |
| A reaction: Hm. Would being less than fifty metres tall qualify as a sortal essence, for a giraffe or a uranium rod? If there is one thing an essential property should be, it is important. How do we assess importance? By explanatory power! Watch this space. |
| 12141 | Maybe essential properties are those which determine a natural kind? [Brody] |
| Full Idea: We can advance the thesis that all essential properties either determine a natural kind or are part of an essential property that does determine a natural kind. | |
| From: Baruch Brody (Identity and Essence [1980]) | |
| A reaction: A useful clear statement of the view. I am opposed to it, because I take it to be of the essence of Socrates that he is philosophical, but humans are not essentially philosophical, and philosophers are unlikely to be a natural kind. |
| 12137 | De re essentialism standardly says all possible objects identical with a have a's essential properties [Brody] |
| Full Idea: To say that an object a has a property P essentially is to say that it has P, and in all of certain worlds (all possible, all in which something identical with it exists, ...) the object identical with it has P. This is the standard de re interpretation. | |
| From: Baruch Brody (Identity and Essence [1980], 5.4) | |
| A reaction: This view always has to be qualified by excluding trivially necessary properties, but that exclusion shows clearly that the notion of essential is more concerned with non-triviality than it is with necessity. |
| 12142 | Essentially, a has P, always had P, must have had P, and has never had a future without P [Brody] |
| Full Idea: 'a has property P essentially' means 'a has P, a always had P, there is no possible past in which P exists without P, and there is no moment of time at which a has had P and at which there is a possible future in which a exists without P' | |
| From: Baruch Brody (Identity and Essence [1980], 6) | |
| A reaction: This is Brody's own final account of essentialism. This is a carefully qualified form of the view that essential properties are, on the whole, the necessary properties, which view I take to be fundamentally mistaken. |
| 12143 | An object having a property essentially is equivalent to its having it necessarily [Brody] |
| Full Idea: An object having a property essentially is equivalent to its having it necessarily. | |
| From: Baruch Brody (Identity and Essence [1980], 6.1) | |
| A reaction: This strikes me as blatantly false. Personally I am toying with the very unorthodox view that essential properties are not at all necessary, and that something can retain its identity while changing its essential character. A philosopher with Alzheimers. |
| 12144 | Essentialism is justified if the essential properties of things explain their other properties [Brody] |
| Full Idea: The reasonableness of the essentialist hypothesis will be proportional to the extent that we can, as a result, use a's possession of P to explain a's other properties, ...and there is an inability to explain otherwise why a has P. | |
| From: Baruch Brody (Identity and Essence [1980], 6.3) | |
| A reaction: Brody as a rather liberal notion of properties. I would hope that we can do rather more than explain a's non-essential properties. If the non-essential properties were entailed by the essential ones, would they not then also be essential? |
| 12139 | Mereological essentialism says that every part that ensures the existence is essential [Brody] |
| Full Idea: Mereological essentialism (whose leading advocate is Chisholm) says that for every x and y, if x is ever part of y, then y is necessarily such that x is part of y at any time that y exists. | |
| From: Baruch Brody (Identity and Essence [1980], 5.6) | |
| A reaction: This sounds implausible, especially given the transitivity of parthood. Not only are the planks that constitute Theseus's Ship now essential to it, but all the parts of the planks, every last chip, are as well. |
| 12135 | Interrupted objects have two first moments of existence, which could be two beginnings [Brody] |
| Full Idea: If 'beginning of existence' meant 'first moment of existence after a period of nonexistence', then objects with interrupted existence have two beginnings of existence. | |
| From: Baruch Brody (Identity and Essence [1980], 4.1) | |
| A reaction: One might still maintain that the first beginning was essential to the object, since that is the event that defined it - and that would clarify the reason why we are supposed to think the origins are essential. I say the origin explains it. |
| 12130 | a and b share all properties; so they share being-identical-with-a; so a = b [Brody] |
| Full Idea: Suppose that a and b have all of their properties in common. a certainly has the property of-being-identical-with-a. So, by supposition, does b. Then a = b. | |
| From: Baruch Brody (Identity and Essence [1980], 1.2) | |
| A reaction: Brody defends this argument, and seems to think that it proves the identity of indiscernibles. As far as I can see it totally begs the question, since we can only assume that both have the property of being-identical-with-a if we have assumed a = b. |
| 12138 | Identity across possible worlds is prior to rigid designation [Brody] |
| Full Idea: Identity across possible worlds is prior to rigid designation. | |
| From: Baruch Brody (Identity and Essence [1980], 5.4) | |
| A reaction: An interesting view. We might stipulate that any possible Aristotle is 'our Aristotle', but you would still need criteria for deciding which possible Aristotle's would qualify. Long-frozen Aristotles, stupid Aristotles, alien Aristotle's, deformed... |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 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? |