53 ideas
| 15477 | Ontology is highly abstract physics, containing placeholders and exclusions [Martin,CB] |
| Full Idea: Ontology sets out an even more abstract model of how the world is than theoretical physics, a model that has placeholders for scientific results and excluders for tempting confusions. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: Most modern metaphysicians accept this account. The interesting (mildly!) question is whether physicists will accept it. If the metaphysics is really rooted in physics, a metaphysical physicist is better placed than a metaphysician knowing some physics. |
| 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. |
| 15471 | Truth is a relation between a representation ('bearer') and part of the world ('truthmaker') [Martin,CB] |
| Full Idea: Truth is a relation between two things - a representation (the truth 'bearer') and the world or some part of it (the 'truthmaker'). | |
| From: C.B. Martin (The Mind in Nature [2008], 03.1) | |
| A reaction: That truth is about representations seems to me to be exactly right. That it is about truthmakers is more controversial. There are well known problems with negative truths, general truths, future truths etc. I'm happy with 'facts'. |
| 15484 | A property is a combination of a disposition and a quality [Martin,CB] |
| Full Idea: I take properties to have a dual nature; in virtue of possessing a property, an object possesses both a particular dispositionality and a particular qualitative character. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: That leaves you with the question of the relationship between the disposition and the quality. I say you must choose, and I choose the disposition. Qualities (which are partly subjective, obviously) arise from fundamental dispositions. |
| 15478 | Properties are the respects in which objects resemble, which places them in classes [Martin,CB] |
| Full Idea: If objects belong to classes in virtue of resemblances they bear to one another, they resemble one another in virtue of their properties. Objects resemble in some way or respect, and you could think of these ways or respects as 'properties'. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: If you pare the universe down to one object with five distinct properties, they resemble nothing, and fail this definition. Resemblance seems like the epistemology, not the ontology. |
| 15483 | Properties are ways particular things are, and so they are tied to the identity of their possessor [Martin,CB] |
| Full Idea: The redness or sphericity of this tomato cannot migrate to another tomato. This is a consequence of the idea that properties are particular ways things are. The identity of a property is bound up with the identity of its possessor. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: This is part of his declaration that he believes in tropes. At the very least, properties can be thought of separately, and have second-order properties that don't seem tied to the particulars. |
| 15480 | Objects are not bundles of tropes (which are ways things are, not parts of things) [Martin,CB] |
| Full Idea: The bundle theory for tropes treats properties inappositely as parts of objects. Objects can have parts, but an object's properties are not its parts, they are particular ways the object is. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: The 'way an object is' seems a very vague concept. Most things that get labelled as tropes are actually highly complex. Without mention of causal powers I think these discussions drift in a muddle. |
| 15489 | A property that cannot interact is worse than inert - it isn't there at all [Martin,CB] |
| Full Idea: A property that is intrinsically incapable of affecting or being affected by anything else, actual or possible, is not merely a case of inertness - it amounts to a no-thing. | |
| From: C.B. Martin (The Mind in Nature [2008], 06.6) | |
| A reaction: In the end Martin rejects Shoemaker's purely causal account of properties, but he clearly understands Shoemaker's point well. |
| 15487 | If unmanifested partnerless dispositions are still real, and are not just qualities, they can explain properties [Martin,CB] |
| Full Idea: Given a realist view of dispositions as fully actual, even without manifestations or partners, a purely dispositional account of properties has a degree of plausibility, which is enhanced because properties lack purely qualitative characterisations. | |
| From: C.B. Martin (The Mind in Nature [2008], 06.4) | |
| A reaction: In the end Martin opts for a mixed account, as in Idea 15484, but he gives reasons here for the view which I favour. If he concedes that dispositions may exist without manifestation, they must surely lack qualities. Are they not properties, then? |
| 15479 | Properties endow a ball with qualities, and with powers or dispositions [Martin,CB] |
| Full Idea: Each property endows a ball with a distinctive qualitative character and a distinctive range of powers or dispositionalities. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: I think this is the wrong way round. Do properties support powers, or powers support properties? I favour the latter. Properties are much vaguer than powers. Powers generate the required causation and activity. |
| 15488 | Qualities and dispositions are aspects of properties - what it exhibits, and what it does [Martin,CB] |
| Full Idea: For any intrinsic and irreducible property, what is qualitative and what is dispositional are one and the same property considered as what that property exhibits of its nature and what that property is directive and selective for in its manifestation. | |
| From: C.B. Martin (The Mind in Nature [2008], 06.6) | |
| A reaction: This is supposed to support qualities and dispositions as equal partners, but I don't see how 'what a property exhibits' can have any role in fundamental ontology. What it exhibits may be very misleading about its nature. |
| 15469 | Dispositions in action can be destroyed, be recovered, or remain unchanged [Martin,CB] |
| Full Idea: Three forms of dispositionality are illustrated by explosives (which are destroyed by manifestation), being soluble (where the dispositions is lost but recoverable), and being stable (where the disposition is unchanged). | |
| From: C.B. Martin (The Mind in Nature [2008], 02.7) | |
| A reaction: [compressed] Presumably the explosives could be recovered after the explosion, since the original elements are still there, but it would take a while. The retina remains stable by continually changing. There are no simple distinctions! |
| 15467 | Powers depend on circumstances, so can't be given a conditional analysis [Martin,CB] |
| Full Idea: Nobody believes, or ought to believe, that manifestations of powers follow upon the single event mentioned in the antecedent of the conditional independently of the circumstances. | |
| From: C.B. Martin (The Mind in Nature [2008], 02.4) | |
| A reaction: Another way of putting it would be that the behaviour of powers is more ceteris paribus than law. |
| 15466 | 'The wire is live' can't be analysed as a conditional, because a wire can change its powers [Martin,CB] |
| Full Idea: According to the conditional analysis of 'the wire is live', if the wire is touched then it gives off electricity. What ultimately defeats this analysis is the acknowledged possibility of objects gaining or losing powers. | |
| From: C.B. Martin (The Mind in Nature [2008], 02.3) | |
| A reaction: He offers his 'electro-fink' as a counterexample, where touching the wire changes its disposition. The conditional analysis is simple and clearcut, but dispositions in reality are complex and unstable. |
| 15476 | Structural properties involve dispositionality, so cannot be used to explain it [Martin,CB] |
| Full Idea: I take it as obvious that any structural property involves dispositionality and, therefore, cannot be used to 'explain' dispositionality. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.3) | |
| A reaction: I think this is the right way round. The so-called 'categorical' properties seem to be close in nature to the 'structural' properties. |
| 15465 | Structures don't explain dispositions, because they consist of dispositions [Martin,CB] |
| Full Idea: It is self-defeating to try to explain dispositionality in terms of structural states because structural states are themselves dispositional. | |
| From: C.B. Martin (The Mind in Nature [2008], 01.2) | |
| A reaction: No doubt structures have dispositions, but are they entirely dispositional? Might there be 'emergent' dispositions which can only be explained by the structure itself, rather than by the dispositions that make up the structure? |
| 15481 | I favour the idea of a substratum for properties; spacetime seems to be just a bearer of properties [Martin,CB] |
| Full Idea: I favour the old idea of substratum: the haver of properties not itself had as a property. Space-time might itself be the bearer of properties, not itself borne as a property. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: A very nice idea. The choice is between saying either that fundamentals like space-time and physical fields are the propertyless bearers of properties, or that they purely consist of properties (so properties are fundamental, not substrata). |
| 15474 | Properly understood, wholes do no more causal work than their parts [Martin,CB] |
| Full Idea: There is no causal work for the whole that is not done by the parts, provided the complex role of the parts is fully appreciated. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.1) | |
| A reaction: It seems like a truth that because some parts are doing particular causal work (e.g. glue), the whole can acquire causal powers that the mereological sum of parts lacks. |
| 15486 | Only abstract things can have specific and full identity specifications [Martin,CB] |
| Full Idea: Abstract entities (as nonspatiotemporal) seem to be the only candidates for specific and full identity specifications. | |
| From: C.B. Martin (The Mind in Nature [2008], 05.2 n1) | |
| A reaction: Martin says that only the 'mad logician' seeks such specifications elsewhere. Some people like persons to have perfect identity. God is a popular candidate too. Can objects have perfect 'macroscopic' identity? |
| 15475 | The concept of 'identity' must allow for some changes in properties or parts [Martin,CB] |
| Full Idea: We must avoid a use of 'identity' that implies that any entity over time must be said to lack continuing identity simply because it has changed properties or has lost, added, or had substituted some parts. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.3) | |
| A reaction: This may the key area where the logical-mathematical type of philosophy comes into contact with the natural-metaphysical type. Imagine Martin's concept of 'identity' in mathematics. π changes to 3.1387... during the calculation! |
| 15472 | It is pointless to say possible worlds are truthmakers, and then deny that possible worlds exist [Martin,CB] |
| Full Idea: To claim that the truthmaker for a counterfactual, for example, is a set of possible worlds, but to deny that these worlds really exist, seems pointless. | |
| From: C.B. Martin (The Mind in Nature [2008], 03.3) | |
| A reaction: Lewis therefore argues that they do exist. Martin argues that possible worlds are not truthmakers. He rests his account of modality on dispositions. I prefer Martin. |
| 15492 | Explanations are mind-dependent, theory-laden, and interest-relative [Martin,CB] |
| Full Idea: Explanations are mind-dependent, theory-laden, and interest-relative. | |
| From: C.B. Martin (The Mind in Nature [2008], 10.2) | |
| A reaction: I don't think you can rule out the 'real' explanation, as the one dominant causal predecessor, such as the earthquake producing a tsunami. |
| 15495 | Analogy works, as when we eat food which others seem to be relishing [Martin,CB] |
| Full Idea: The long-derided way of analogy works! Otherwise why, when someone else is relishing a food we have not tried, is it reasonable for us to try it ourselves? | |
| From: C.B. Martin (The Mind in Nature [2008], 12.2) | |
| A reaction: Why wouldn't we rush to eat something an animal was relishing? Nice idea. |
| 15493 | Memory requires abstraction, as reminders of what cannot be fully remembered [Martin,CB] |
| Full Idea: Selectivity and abstraction are required for the development of memory, because reminders and promptings are rarely replicas of what is being remembered. | |
| From: C.B. Martin (The Mind in Nature [2008], 10.3) | |
| A reaction: I take the key idea of mental life to be that of a 'label'. This need not be verbal, so 'conceptual label'. It could be an image, as on a road sign. Labelling is the most indispensable aspect of thought. We label objects, parts, properties and groups. |
| 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. |
| 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). |
| 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. |
| 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. |
| 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. |
| 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. |
| 20930 | The existence of law is one thing, its merits and demerits another [Austin,J] |
| Full Idea: The existence of law is one thing; its merit and demerit another. Whether it be or be not is one enquiry; whether it be or be not conformable to an assumed standard is a different enquiry. | |
| From: John Austin (Lectures on Jurisprudence [1858], p.214), quoted by Jens Zimmermann - Hermeneutics: a very short introduction 6 'Positivism' | |
| A reaction: It is impossible to contest this point, but the issue is whether there is nothing more to law than its written existence. |
| 15485 | Instead of a cause followed by an effect, we have dispositions in reciprocal manifestation [Martin,CB] |
| Full Idea: The two-event cause-and-effect view is easily avoided and replaced by the view of mutual manifestations of reciprocal disposition partners, suggesting a natural contemporaneity. | |
| From: C.B. Martin (The Mind in Nature [2008], 05.1) | |
| A reaction: This view, which I find much more congenial than the traditional one, is explored in the ideas of Mumford and Anjum. |
| 15491 | Causation should be explained in terms of dispositions and manifestations [Martin,CB] |
| Full Idea: Disposition and manifestation are the basic categories by means of which cause and effect are to be explained. | |
| From: C.B. Martin (The Mind in Nature [2008], 07.8) | |
| A reaction: 'Manifestation' sounds a bit subjective. The manifestation evident to us may not indicate what is really going on below the surface. I like his basic picture. |
| 15468 | Causal counterfactuals are just clumsy linguistic attempts to indicate dispositions [Martin,CB] |
| Full Idea: 'Causal' counterfactuals have a place, of course, but only as clumsy and inexact linguistic gestures to dispositions, and they should be kept in that place. | |
| From: C.B. Martin (The Mind in Nature [2008], 02.6) | |
| A reaction: Counterfactuals only seem to give a regularity account of causation, by correlating an effect with a minimal context which will give rise to it. Surely dispositions run deeper than that? |
| 15470 | Causal laws are summaries of powers [Martin,CB] |
| Full Idea: Causal laws are summaries of what entities are capable and incapable of. | |
| From: C.B. Martin (The Mind in Nature [2008], 02.8) | |
| A reaction: That's a pretty good formulation. Personally I favour a Humean analysis, perhaps along Lewis's lines, but on a basis of real powers. This remark of Martin's has got me rethinking. |
| 15482 | We can't think of space-time as empty and propertyless, and it seems to be a substratum [Martin,CB] |
| Full Idea: It makes no sense in ontology or modern physics to think of space-time as empty and propertyless. Space-time nicely fulfils the condition of a substratum. | |
| From: C.B. Martin (The Mind in Nature [2008], 04.6) | |
| A reaction: At the very least, space-time seems to be 'curved', so it had better be something. Time has properties like being transitive. Space-time (or fields) might be a pure bundle of properties (the only pure bundle?), rather than a substratum. |