30 ideas
| 10429 | It is best to say that a name designates iff there is something for it to designate [Sainsbury] |
| Full Idea: It is better to say that 'For all x ("Hesperus" stands for x iff x = Hesperus)', than to say '"Hesperus" stands for Hesperus', since then the expression can be a name with no bearer (e.g. "Vulcan"). | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: In cases where it is unclear whether the name actually designates something, it seems desirable that the name is at least allowed to function semantically. |
| 10425 | Definite descriptions may not be referring expressions, since they can fail to refer [Sainsbury] |
| Full Idea: Almost everyone agrees that intelligible definite descriptions may lack a referent; this has historically been a reason for not counting them among referring expressions. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: One might compare indexicals such as 'I', which may be incapable of failing to refer when spoken. However 'look at that!' frequently fails to communicate reference. |
| 10438 | Definite descriptions are usually rigid in subject, but not in predicate, position [Sainsbury] |
| Full Idea: Definite descriptions used with referential intentions (usually in subject position) are normally rigid, ..but in predicate position they are normally not rigid, because there is no referential intention. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.5) | |
| A reaction: 'The man in the blue suit is the President' seems to fit, but 'The President is the head of state' doesn't. Seems roughly right, but language is always too complex for philosophers. |
| 8983 | If 'red' is vague, then membership of the set of red things is vague, so there is no set of red things [Sainsbury] |
| Full Idea: Sets have sharp boundaries, or are sharp objects; an object either definitely belongs to a set, or it does not. But 'red' is vague; there objects which are neither definitely red nor definitely not red. Hence there is no set of red things. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §2) | |
| A reaction: Presumably that will entail that there IS a set of things which can be described as 'definitely red'. If we describe something as 'definitely having a hint of red about it', will that put it in a set? In fact will the applicability of 'definitely' do? |
| 8986 | We should abandon classifying by pigeon-holes, and classify around paradigms [Sainsbury] |
| Full Idea: We must reject the classical picture of classification by pigeon-holes, and think in other terms: classifying can be, and often is, clustering round paradigms. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §8) | |
| A reaction: His conclusion to a discussion of the problem of vagueness, where it is identified with concepts which have no boundaries. Pigeon-holes are a nice exemplar of the Enlightenment desire to get everything right. I prefer Aristotle's categories, Idea 3311. |
| 8982 | Vague concepts are concepts without boundaries [Sainsbury] |
| Full Idea: If a word is vague, there are or could be borderline cases, but non-vague expressions can also have borderline cases. The essence of vagueness is to be found in the idea vague concepts are concepts without boundaries. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], Intro) | |
| A reaction: He goes on to say that vague concepts are not embodied in clear cut sets, which is what gives us our notion of a boundary. So what is vague is 'membership'. You are either a member of a club or not, but when do you join the 'middle-aged'? |
| 8984 | If concepts are vague, people avoid boundaries, can't spot them, and don't want them [Sainsbury] |
| Full Idea: Vague concepts are boundaryless, ...and the manifestations are an unwillingness to draw any such boundaries, the impossibility of identifying such boundaries, and needlessness and even disutility of such boundaries. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §5) | |
| A reaction: People have a very fine-tuned notion of whether the sharp boundary of a concept is worth discussing. The interesting exception are legal people, who are often forced to find precision where everyone else hates it. Who deserves to inherit the big house? |
| 8985 | Boundaryless concepts tend to come in pairs, such as child/adult, hot/cold [Sainsbury] |
| Full Idea: Boundaryless concepts tend to come in systems of contraries: opposed pairs like child/adult, hot/cold, weak/strong, true/false, and complex systems of colour terms. ..Only a contrast with 'adult' will show what 'child' excludes. | |
| From: Mark Sainsbury (Concepts without Boundaries [1990], §5) | |
| A reaction: This might be expected. It all comes down to the sorites problem, of when one thing turns into something else. If it won't merge into another category, then presumably the isolated concept stays applicable (until reality terminates it? End of sheep..). |
| 10432 | A new usage of a name could arise from a mistaken baptism of nothing [Sainsbury] |
| Full Idea: A baptism which, perhaps through some radical mistake, is the baptism of nothing, is as good a propagator of a new use as a baptism of an object. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.3) | |
| A reaction: An obvious example might be the Loch Ness Monster. There is something intuitively wrong about saying that physical objects are actually part of linguistic meaning or reference. I am not a meaning! |
| 10434 | Even a quantifier like 'someone' can be used referentially [Sainsbury] |
| Full Idea: A large range of expressions can be used with referential intentions, including quantifier phrases (as in 'someone has once again failed to close the door properly'). | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.5) | |
| A reaction: This is the pragmatic aspect of reference, where it can be achieved by all sorts of means. But are quantifiers inherently referential in their semantic function? Some of each, it seems. |
| 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. |
| 10431 | Things are thought to have a function, even when they can't perform them [Sainsbury] |
| Full Idea: On one common use of the notion of a function, something can possess a function which it does not, or even cannot, perform. A malformed heart is to pump blood, even if such a heart cannot in fact pump blood. | |
| From: Mark Sainsbury (The Essence of Reference [2006], 18.2) | |
| A reaction: One might say that the heart in a dead body had the function of pumping blood, but does it still have that function? Do I have the function of breaking the world 100 metres record, even though I can't quite manage it? Not that simple. |
| 5994 | Is the cosmos open or closed, mechanical or teleological, alive or inanimate, and created or eternal? [Robinson,TM, by PG] |
| Full Idea: The four major disputes in classical cosmology were whether the cosmos is 'open' or 'closed', whether it is explained mechanistically or teleologically, whether it is alive or mere matter, and whether or not it has a beginning. | |
| From: report of T.M. Robinson (Classical Cosmology (frags) [1997]) by PG - Db (ideas) | |
| A reaction: A nice summary. The standard modern view is closed, mechanistic, inanimate and non-eternal. But philosophers can ask deeper questions than physicists, and I say we are entitled to speculate when the evidence runs out. |
| 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? |