26 ideas
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 5078 | Kant and Mill both try to explain right and wrong, without a divine lawgiver [Taylor,R] |
| Full Idea: Kant and Mill were in total agreement in trying to give content to the distinction between moral right and wrong, without recourse to any divine lawgiver. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.14) | |
| A reaction: A nice analysis, in tune with MacIntyre and others, who see such attempts as failures. It is hard, however, to deny the claims of rational principles, or of suffering, in our moral framework. I agree with Taylor's move back to virtue, but it ain't simple. |
| 5067 | Morality based on 'forbid', 'permit' and 'require' implies someone who does these things [Taylor,R] |
| Full Idea: If morality is based on wrong (meaning 'forbidden'), right ('permitted'), and obligatory ('required'), we are led to ask 'Who is it that thus permits, forbids or requires that certain things be done or not done?' | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.2) | |
| A reaction: Clear reinforcement for Nietzsche's attack on conventional morals, which Taylor sees as a relic of medieval religious attitudes. Taylor says Kant offered a non-religious version of the same authority. I agree. Back to the Greek pursuit of excellence! |
| 5079 | Pleasure can have a location, and be momentary, and come and go - but happiness can't [Taylor,R] |
| Full Idea: Pleasures can be located in a particular part of the body, and can be momentary, and come and go, but this is not the case with happiness. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.16) | |
| A reaction: Probably no one ever thought that pleasure and happiness were actually identical - merely that pleasure is the only cause and source of happiness. These are good objections to that hypothesis. Pleasure simply isn't 'the good'. |
| 5068 | 'Eudaimonia' means 'having a good demon', implying supreme good fortune [Taylor,R] |
| Full Idea: The word 'eudaimonia' means literally 'having a good demon', which is apt, because it suggests some kind of supreme good fortune, of the sort which might be thought of as a bestowal. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.5) | |
| A reaction: Beware of etymology. This implies that eudaimonia is almost entirely beyond a person's control, but Aristotle doesn't think that. A combination of education and effort can build on some natural gifts to create a fully successful life. |
| 5076 | To Greeks it seemed obvious that the virtue of anything is the perfection of its function [Taylor,R] |
| Full Idea: To the Greeks it seemed obvious that the virtue of anything is the perfection of its function. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.10) | |
| A reaction: A problem case might be a work of art, but one might reply that there is no obvious perfection there because there is no clear function. For artefacts and organisms the principle seems very good. But 'Is the Cosmos good?' |
| 5077 | The modern idea of obligation seems to have lost the idea of an obligation 'to' something [Taylor,R] |
| Full Idea: In modern moral thinking, obligation is something every responsible person is supposed to have, but it is not an obligation to the state, or society, or humanity, or even to God. It is an obligation standing by itself. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.12) | |
| A reaction: This nicely pinpoints how some our moral attitudes are relics of religion. Taylor wants a return to virtue, but one could respond by opting for the social contract (with very clear obligations) or Kantian 'contractualism' (answering to rational beings). |
| 5066 | If we are made in God's image, pursuit of excellence is replaced by duty to obey God [Taylor,R] |
| Full Idea: Once people are declared to be images of God, just by virtue of minimal humanity, they have, therefore, no greater individual excellence to aspire to, and their purpose became one of obligation, that is, obedience to God's will. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.2) | |
| A reaction: An interesting and plausible historical analysis. There is a second motivation for the change, though, in Grotius's desire to develop a more legalistic morality, focusing on actions rather than character. Taylor's point is more interesting, though. |
| 5065 | The ethics of duty requires a religious framework [Taylor,R] |
| Full Idea: The ethics of duty cannot be sustained independently of a religious framework. | |
| From: Richard Taylor (Virtue Ethics: an Introduction [2002], Ch.2) | |
| A reaction: This is a big challenge to Kant, echoing Nietzsche's jibe that Kant just wanted to be 'obedient'. The only options are either 'natural duties', or 'duties of reason'. Reason may have a pull (like pleasure), but a 'duty'? Difficult. |
| 20579 | Modern totalitarianism results from lack of social ties or shared goals [Arendt, by Oksala] |
| Full Idea: Arendt claims that modern totalitarianism's primary condition is an atomised mass society: isolated individuals who have no strong ties to communities and who are indifferent to shared political goals. | |
| From: report of Hannah Arendt (The Origins of Totalitarianism [1968]) by Johanna Oksala - Political Philosophy: all that matters Ch.9 | |
| A reaction: I think the lack of ties simply describes large modern cities. Not sure about the lack of shared goals. Hitler and Stalin rode on the back of apparent shared goals. Working classes strike me as sharing more goals than middle classes. |
| 20580 | The ideal subject for dictators is not a fanatic, but someone who can't distinguish true from false [Arendt, by Oksala] |
| Full Idea: The ideal subject of totalitarianism is not the convinced Nazi or the convinced communist, but anyone who has lost the ability to make distinctions between fact and fiction and between true and false. | |
| From: report of Hannah Arendt (The Origins of Totalitarianism [1968]) by Johanna Oksala - Political Philosophy: all that matters Ch.9 | |
| A reaction: We are currently living with an apparent attempt by Donald Trump to become a totalitarian President of the U.S.A., by constantly disseminating lies, and labelling all of his critics as 'fake news'. |