29 ideas
| 21960 | Ordinary language is the beginning of philosophy, but there is much more to it [Austin,JL] |
| Full Idea: Ordinary language is not the last word: in principle it can everywhere be supplemented and improved upon and superseded. Only remember, it is the first word. | |
| From: J.L. Austin (A Plea for Excuses [1956], p.185), quoted by A.W. Moore - The Evolution of Modern Metaphysics Intro | |
| A reaction: To claim anything more would be absurd. The point is that this remark comes from the high priest of ordinary language philosophy. |
| 10835 | True sentences says the appropriate descriptive thing on the appropriate demonstrative occasion [Austin,JL] |
| Full Idea: A sentence is said to be true when the historic state of affairs to which it is correlated by the demonstrative conventions (the one to which it 'refers') is of a type with which the sentence used in making it is correlated by the descriptive conventions. | |
| From: J.L. Austin (Truth [1950], §3) | |
| A reaction: This is correspondence by convention rather than correspondence by mapping. Personally I prefer some sort of mapping account, despite all the difficulty and vagueness of specifying what maps onto what. |
| 10836 | Correspondence theorists shouldn't think that a country has just one accurate map [Austin,JL] |
| Full Idea: Correspondence theorists too often talk as one would who held that every map is either accurate or inaccurate; that every country can have but one accurate map. | |
| From: J.L. Austin (Truth [1950], n 24) | |
| A reaction: A well-made point, for those who intuitively hang on to correspondence as not only good common sense, but also some sort of salvation for a realist view of the world which might give us certainty in epistemology. |
| 16014 | It is controversial whether only 'numerical identity' allows two things to be counted as one [Noonan] |
| Full Idea: 'Numerical identity' implies the controversial view that it is the only identity relation in accordance with which we can properly count (or number) things: x and y are to be properly counted as one just in case they are numerically identical. | |
| From: Harold Noonan (Identity [2009], §1) | |
| A reaction: Noonan cites Geach, presumably to remind us of relative identity, where two things may be one or two, depending on what they are relative to. The one 'guard on the gate' may actually be two men. |
| 21598 | Austin revealed many meanings for 'vague': rough, ambiguous, general, incomplete... [Austin,JL, by Williamson] |
| Full Idea: Austin's account brought out the variety of features covered by 'vague' in different contexts: roughness, ambiguity, imprecision, lack of detail, generality, inaccuracy, incompleteness. Even 'vague' is vague. | |
| From: report of J.L. Austin (Sense and Sensibilia [1962], p.125-8) by Timothy Williamson - Vagueness 3.1 | |
| A reaction: Some of these sound the same. Maybe Austin distinguishes them. |
| 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) |
| 16024 | I could have died at five, but the summation of my adult stages could not [Noonan] |
| Full Idea: Persons have different modal properties from the summations of person-stages. …I might have died when I was five. But the maximal summation of person-stages which perdurantists say is me could not have had a temporal extent of a mere five years. | |
| From: Harold Noonan (Identity [2009], §5) | |
| A reaction: Thus the summation of stages seems to fail Leibniz's Law, since truths about a part are not true of the whole. But my foot might be amputated without me being amputated. The objection is the fallacy of composition? |
| 16023 | Stage theorists accept four-dimensionalism, but call each stage a whole object [Noonan] |
| Full Idea: Stage theorists, accepting the ontology of perdurance, modify the semantics to secure the result that fatness is a property of a cat. Every temporal part of a cat (such as Tabby-on-Monday) is a cat. …(but they pay a price over the counting of cats). | |
| From: Harold Noonan (Identity [2009], §5) | |
| A reaction: [Noonan cites Hawley and Sider for this view. The final parenthesis compresses Noonan] I would take the difficulty over counting cats to be fatal to the view. It produces too many cats, or too few, or denies counting altogether. |
| 16015 | Problems about identity can't even be formulated without the concept of identity [Noonan] |
| Full Idea: If identity is problematic, it is difficult to see how the problem could be resolved, since it is difficult to see how a thinker could have the conceptual resources with which to explain the concept of identity whilst lacking that concept itself. | |
| From: Harold Noonan (Identity [2009], §1) | |
| A reaction: I don't think I accept this. We can comprehend the idea of a mind that didn't think in terms of identities (at least for objects). I suppose any relation of a mind to the world has to distinguish things in some way. Does the Parmenidean One have identity? |
| 16017 | Identity is usually defined as the equivalence relation satisfying Leibniz's Law [Noonan] |
| Full Idea: Numerical identity is usually defined as the equivalence relation (or: the reflexive relation) satisfying Leibniz's Law, the indiscernibility of identicals, where everything true of x is true of y. | |
| From: Harold Noonan (Identity [2009], §2) | |
| A reaction: Noonan says this must include 'is identical to x' among the truths, and so is circular |
| 16016 | Identity definitions (such as self-identity, or the smallest equivalence relation) are usually circular [Noonan] |
| Full Idea: Identity can be circularly defined, as 'the relation everything has to itself and to nothing else', …or as 'the smallest equivalence relation'. | |
| From: Harold Noonan (Identity [2009], §2) | |
| A reaction: The first one is circular because 'nothing else' implies identity. The second is circular because it has to quantify over all equivalence relations. (So says Noonan). |
| 16020 | Identity can only be characterised in a second-order language [Noonan] |
| Full Idea: There is no condition in a first-order language for a predicate to express identity, rather than indiscernibility within the resources of the language. Leibniz's Law is statable in a second-order language, so identity can be uniquely characterised. | |
| From: Harold Noonan (Identity [2009], §2) | |
| A reaction: The point is that first-order languages only refer to all objects, but you need to refer to all properties to include Leibniz's Law. Quine's 'Identity, Ostension and Hypostasis' is the source of this idea. |
| 16018 | Indiscernibility is basic to our understanding of identity and distinctness [Noonan] |
| Full Idea: Leibniz's Law (the indiscernibility of identicals) appears to be crucial to our understanding of identity, and, more particularly, to our understanding of distinctness. | |
| From: Harold Noonan (Identity [2009], §2) | |
| A reaction: True, but indiscernibility concerns the epistemology, and identity concerns the ontology. |
| 16019 | Leibniz's Law must be kept separate from the substitutivity principle [Noonan] |
| Full Idea: Leibniz's Law must be clearly distinguished from the substitutivity principle, that if 'a' and 'b' are codesignators they are substitutable salva veritate. | |
| From: Harold Noonan (Identity [2009], §2) | |
| A reaction: He gives a bunch of well-known problem cases for substitutivity. The Morning Star, Giorgione, and the number of planets won't work. Belief contexts, or facts about spelling, may not be substitutable. |
| 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. |