30 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) |
| 23551 | It is necessary for a belief that it be held for a length of time [Fricker,M] |
| Full Idea: A mental state cannot count as a belief unless it has a reasonable life expectancy. It must be the sort of thing that one is disposed to assert not only now but in the future too. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 2.3) | |
| A reaction: There are obvious counterexamples, where a firm belief is strongly formed, only to be dashed by a counterexample (such as a new witness in court) soon afterwards. That said, this idea is obviously correct. |
| 23558 | Offering knowledge needs accuracy and sincerity; receiving it needs testimonial justice [Fricker,M] |
| Full Idea: Accuracy and Sincerity sustain trust as regards contributing knowledge to the pool; Testimonial Justice helps sustain trust as regards acquiring knowledge from the pool. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 5.1) | |
| A reaction: Fricker's contribution is to show that acquiring knowledge has its own virtues, alongside discovering and communicating it. I take the underlying virtue to be absolute respect for all possible contributors. |
| 23553 | Testimonial judgement is not logical, but produces reasons and motivations [Fricker,M] |
| Full Idea: Moral/testimonial judgement is non-inferential, uncodifiable, intrinsically motivating, intrinsically reason-giving, and typically has an emotional aspect. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 3.3) | |
| A reaction: Fricker's compressed summary of her findings about testimony. The first words indicate her belief that assessment of testimony is a moral affair. |
| 23550 | Burge says we are normally a priori entitled to believe testimony [Fricker,M] |
| Full Idea: In Tyler Burge's view we have an a priori entitlement for believing what others tell us, other things being equal. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 1.3 n11) | |
| A reaction: [Burge 'Content Preservation' 1992] Close to Davidson's Charity (that without a default assumption of truth-speaking language won't work at all). Davidson is right about casual conversation, but for important testimony Burge should be more cautious. |
| 23552 | We assess testimonial probabilities by the speaker, the listener, the facts, and the circumstances [Fricker,M] |
| Full Idea: A person should receive the word of his interlocutor in the light of the probability that someone like that would (be able and willing to) to tell someone like him the truth about something like this in circumstances like these. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 3.2) | |
| A reaction: That's a pretty good summary of the rational response to testimony. I can't think of any other factors. |
| 23555 | Assessing credibility involves the impact of both the speaker's and the listener's social identity [Fricker,M] |
| Full Idea: For a hearer to identify the impact of identity power in their credibility judgements they must be alert to the impact not only of the speaker's social identity, but also the impact of the own social identity on their credibility judgements. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 4.1) | |
| A reaction: [why are all sentences in academic writing twice as long as they need to be? - that question is deeper than it looks!] This is a salutary warning. Not just 'what are my prejudices?', but also 'what is this person willing to tell a person like me?'. |
| 411 | If we succeed in speaking the truth, we cannot know we have done it [Xenophanes] |
| Full Idea: No man has seen certain truth, and no man will ever know about the gods and other things I mentioned; for if he succeeds in saying what is fully true, he himself is unaware of it; opinion is fixed by fate on all things. | |
| From: Xenophanes (fragments/reports [c.530 BCE], B34), quoted by Sextus Empiricus - Against the Professors (six books) 7.49.4 |
| 412 | If God had not created honey, men would say figs are sweeter [Xenophanes] |
| Full Idea: If God had not created yellow honey, men would say that figs were sweeter. | |
| From: Xenophanes (fragments/reports [c.530 BCE], B38), quoted by Herodian - On Peculiar Speech 41.5 |
| 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. |
| 23554 | Judgements can be unreflective and non-inferential, yet rational, by being sensitive to experience [Fricker,M] |
| Full Idea: Our idea of testimonial sensibility is a spontaneous critical sensitivity permanently in training and adapting to experience. …This gives us a picture of how judgements can be rational yet unreflective, critical yet non-inferential. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 3.4) | |
| A reaction: Love this. I want to connect human reasoning to good judgement by animals, and I offer the word 'sensible' to bridge the gap. Dogs and scientists can be sensible. Fricker spells out more fully what I have in mind, with reference to testimony. |
| 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. |
| 23557 | To judge agents in remote times and cultures we need a moral resentment weaker than blame [Fricker,M] |
| Full Idea: I think that identifying forms of moral resentment that fall short of blame but which are agent-directed is the key to achieving appropriate moral response across historical and cultural distance. | |
| From: Miranda Fricker (Epistemic Injustice [2007], 4.2) | |
| A reaction: Very good. Simple blame for horrible actions performed in remote rather horrible societies is pointless. But switching off moral sensibilities when reading history and anthropology looks like a slippery slope, so 'moral resentment' is nice. |
| 1640 | The basic Eleatic belief was that all things are one [Xenophanes, by Plato] |
| Full Idea: The Eleatic tribe, which had its beginnings from Xenophanes and still earlier, proceed on the grounds that all things so-called are one. | |
| From: report of Xenophanes (fragments/reports [c.530 BCE]) by Plato - The Sophist 242d |
| 3055 | Xenophanes said the essence of God was spherical and utterly inhuman [Xenophanes, by Diog. Laertius] |
| Full Idea: Xenophanes taught that the essence of God was of a spherical form, in no respect resembling man. | |
| From: report of Xenophanes (fragments/reports [c.530 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.2.3 |
| 407 | Mortals believe gods are born, and have voices and clothes just like mortals [Xenophanes] |
| Full Idea: Mortals believe the gods to be created by birth, and to have raiment, voice and body like mortals'. | |
| From: Xenophanes (fragments/reports [c.530 BCE], B14), quoted by Clement - Miscellanies 5.109.2 |
| 408 | Ethiopian gods have black hair, and Thracian gods have red hair [Xenophanes] |
| Full Idea: Ethiopians have gods with snub noses and black hair, Thracians have gods with grey eyes and red hair. | |
| From: Xenophanes (fragments/reports [c.530 BCE], B16), quoted by Clement - Miscellanies 7.22.1 |