43 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| 13437 | A CAR and its major PART can become identical, yet seem to have different properties [Gallois] |
| 16233 | Gallois hoped to clarify identity through time, but seems to make talk of it impossible [Hawley on Gallois] |
| 16025 | If things change they become different - but then no one thing undergoes the change! [Gallois] |
| 16026 | 4D: time is space-like; a thing is its history; past and future are real; or things extend in time [Gallois] |
| 14755 | Gallois is committed to identity with respect to times, and denial of simple identity [Gallois, by Sider] |
| 16231 | Occasional Identity: two objects can be identical at one time, and different at others [Gallois, by Hawley] |
| 16027 | If two things are equal, each side involves a necessity, so the equality is necessary [Gallois] |
| 23805 | Some explanations offer to explain a mystery by a greater mystery [Schulte] |
| 23792 | Phenomenal and representational character may have links, or even be united [Schulte] |
| 23795 | Naturalistic accounts of content cannot rely on primitive mental or normative notions [Schulte] |
| 23804 | Maybe we can explain mental content in terms of phenomenal properties [Schulte] |
| 23806 | Naturalist accounts of representation must match the views of cognitive science [Schulte] |
| 23793 | On the whole, referential content is seen as broad, and sense content as narrow [Schulte] |
| 23796 | Naturalists must explain both representation, and what is represented [Schulte] |
| 23802 | Conceptual role semantics says content is determined by cognitive role [Schulte] |
| 23797 | Cause won't explain content, because one cause can produce several contents [Schulte] |
| 23799 | Teleosemantics explains content in terms of successful and unsuccessful functioning [Schulte] |
| 23800 | Teleosemantic explanations say content is the causal result of naturally selected functions [Schulte] |
| 23798 | Information theories say content is information, such as smoke making fire probable [Schulte] |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |