14 ideas
| 16065 | Constitution is identity (being in the same place), or it isn't (having different possibilities) [Wasserman] |
| Full Idea: Some insist that constitution is identity, on the grounds that distinct material objects cannot occupy the same place at the same time. Others argue that constitution is not identity, since the statue and its material differ in important respects. | |
| From: Ryan Wasserman (Material Constitution [2009], Intro) | |
| A reaction: The 'important respects' seem to concern possibilities rather than actualities, which is suspicious. It is misleading to think we are dealing with two things and their relation here. Objects must have constitutions; constitutions make objects. |
| 16067 | Constitution is not identity, because it is an asymmetric dependence relation [Wasserman] |
| Full Idea: For those for whom 'constitution is not identity' (the 'constitution view'), constitution is said to be an asymmetric relation, and also a dependence relation (unlike identity). | |
| From: Ryan Wasserman (Material Constitution [2009], 2) | |
| A reaction: It seems obvious that constitution is not identity, because there is more to a thing's identity than its mere constitution. But this idea makes it sound as if constitution has nothing to do with identity (chalk and cheese), and that can't be right. |
| 16069 | There are three main objections to seeing constitution as different from identity [Wasserman] |
| Full Idea: The three most common objections to the constitution view are the Impenetrability Objection (two things in one place?), the Extensionality Objection (mereology says wholes are just their parts), and the Grounding Objection (their ground is the same). | |
| From: Ryan Wasserman (Material Constitution [2009], 2) | |
| A reaction: [summary] He adds a fourth, that if two things can be in one place, why stop at two? [Among defenders of the Constitution View he lists Baker, Fine, Forbes, Koslicki, Kripke, Lowe, Oderberg, N.Salmon, Shoemaker, Simons and Yablo.] |
| 16068 | The weight of a wall is not the weight of its parts, since that would involve double-counting [Wasserman] |
| Full Idea: We do not calculate the weight of something by summing the weights of all its parts - weigh bricks and the molecules of a wall and you will get the wrong result, since you have weighed some parts more than once. | |
| From: Ryan Wasserman (Material Constitution [2009], 2) | |
| A reaction: In fact the complete inventory of the parts of a thing is irrelevant to almost anything we would like to know about the thing. The parts must be counted at some 'level' of division into parts. An element can belong to many different sets. |
| 16074 | Relative identity may reject transitivity, but that suggests that it isn't about 'identity' [Wasserman] |
| Full Idea: If the relative identity theorist denies transitivity (to deal with the Ship of Theseus, for example), this would make us suspect that relativised identity relations are not identity relations, since transitivity seems central to identity. | |
| From: Ryan Wasserman (Material Constitution [2009], 6) | |
| A reaction: The problem here, I think, focuses on the meaning of the word 'same'. One change of plank leaves you with the same ship, but that is not transitive. If 'identical' is too pure to give the meaning of 'the same' it's not much use in discussing the world. |
| 19691 | Unlike knowledge, you can achieve understanding through luck [Grimm] |
| Full Idea: It may be that understanding is compatible with luck, in a way that knowledge is not. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: [He cites Kvanvig and Prichard] If so, then we cannot say that knowledge is a lesser type of understanding. If you ask a trusted person how a mechanism works, and they have a wild guess that is luckily right, you would then understand it. |
| 19690 | 'Grasping' a structure seems to be modal, because we must anticipate its behaviour [Grimm] |
| Full Idea: 'Graspng' a structure would seem to bring into play something like a modal sense or ability, not just to register how things are, but also to anticipate how certain elements of the system would behave. | |
| From: Stephen R. Grimm (Understanding [2011], 2) | |
| A reaction: In the case of the chronology of some historical events, talking of 'grasping' or 'understanding' seems wrong because the facts are static and invariant. That seems to support the present idea. But you might 'understand' a pattern if you can reproduce it. |
| 19692 | You may have 'weak' understanding, if by luck you can answer a set of 'why questions' [Grimm] |
| Full Idea: There may be a 'weak' sense of understanding, where all you need to do is to be able to answer 'why questions' successfully, where one might have come by this ability in a lucky way. | |
| From: Stephen R. Grimm (Understanding [2011], 3) | |
| A reaction: We can see this point (in Idea 19691), but the idea that one could come by true complex understanding of something by purely lucky means is a bit absurd. Surely you would get one or two why questions wrong? 100%, just by luck? |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |