45 ideas
| 17275 | Realist metaphysics concerns what is real; naive metaphysics concerns natures of things [Fine,K] |
| Full Idea: We may broadly distinguish between two main branches of metaphysics: the 'realist' or 'critical' branch is concerned with what is real (tense, values, numbers); the 'naive' or 'pre-critical' branch concerns natures of things irrespective of reality. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: [compressed] The 'natures' of things are presumably the essences. He cites 3D v 4D objects, and the status of fictional characters, as examples of the second type. Fine says ground is central to realist metaphysics. |
| 17282 | Truths need not always have their source in what exists [Fine,K] |
| Full Idea: There is no reason in principle why the ultimate source of what is true should always lie in what exists. | |
| From: Kit Fine (Guide to Ground [2012], 1.03) | |
| A reaction: This seems to be the weak point of the truthmaker theory, since truths about non-existence are immediately in trouble. Saying reality makes things true is one thing, but picking out a specific bit of it for each truth is not so easy. |
| 17283 | If the truth-making relation is modal, then modal truths will be grounded in anything [Fine,K] |
| Full Idea: The truth-making relation is usually explicated in modal terms, ...but this lets in far too much. Any necessary truth will be grounded by anything. ...The fact that singleton Socrates exists will be a truth-maker for the proposition that Socrates exists. | |
| From: Kit Fine (Guide to Ground [2012], 1.03) | |
| A reaction: If truth-makers are what has to 'exist' for something to be true, then maybe nothing must exist for a necessity to be true - in which case it has no truth maker. Or maybe 2 and 4 must 'exist' for 2+2=4? |
| 17286 | Logical consequence is verification by a possible world within a truth-set [Fine,K] |
| Full Idea: Under the possible worlds semantics for logical consequence, each sentence of a language is associated with a truth-set of possible worlds in which it is true, and then something is a consequence if one of these worlds verifies it. | |
| From: Kit Fine (Guide to Ground [2012], 1.10) | |
| A reaction: [compressed, and translated into English; see Fine for more symbolic version; I'm more at home in English] |
| 17272 | 2+2=4 is necessary if it is snowing, but not true in virtue of the fact that it is snowing [Fine,K] |
| Full Idea: It is necessary that if it is snowing then 2+2=4, but the fact that 2+2=4 does not obtain in virtue of the fact that it is snowing. | |
| From: Kit Fine (Guide to Ground [2012], 1.01) | |
| A reaction: Critics dislike 'in virtue of' (as vacuous), but I can't see how you can disagree with this obvervation of Fine's. You can hardly eliminate the word 'because' from English, or say p is because of some object. We demand the right to keep asking 'why?'! |
| 17276 | If you say one thing causes another, that leaves open that the 'other' has its own distinct reality [Fine,K] |
| Full Idea: It will not do to say that the physical is causally determinative of the mental, since that leaves open the possibility that the mental has a distinct reality over and above that of the physical. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: The context is a defence of grounding, so that if we say the mind is 'grounded' in the brain, we are saying rather more than merely that it is caused by the brain. A ghost might be 'caused' by a bar of soap. Nice. |
| 17284 | An immediate ground is the next lower level, which gives the concept of a hierarchy [Fine,K] |
| Full Idea: It is the notion of 'immediate' ground that provides us with our sense of a ground-theoretic hierarchy. For any truth, we can take its immediate grounds to be at the next lower level. | |
| From: Kit Fine (Guide to Ground [2012], 1.05 'Mediate') | |
| A reaction: Are the levels in the reality, the structure or the descriptions? I vote for the structure. I'm defending the idea that 'essence' picks out the bottom of a descriptive level. |
| 17285 | 'Strict' ground moves down the explanations, but 'weak' ground can move sideways [Fine,K] |
| Full Idea: We might think of strict ground as moving us down in the explanatory hierarchy. ...Weak ground, on the other hand, may also move us sideways in the explanatory hierarchy. | |
| From: Kit Fine (Guide to Ground [2012], 1.05 'Weak') | |
| A reaction: This seems to me rather illuminating. For example, is the covering law account of explanation a 'sideways' move in explanation. Are inductive generalities mere 'sideways' accounts. Both fail to dig deeper. |
| 17288 | We learn grounding from what is grounded, not what does the grounding [Fine,K] |
| Full Idea: It is the fact to be grounded that 'points' to its ground and not the grounds that point to what they ground. | |
| From: Kit Fine (Guide to Ground [2012], 1.11) | |
| A reaction: What does the grounding may ground all sorts of other things, but what is grounded only has one 'full' (as opposed to 'partial', in Fine's terminology) ground. He says this leads to a 'top-down' approach to the study of grounds. |
| 17281 | If grounding is a relation it must be between entities of the same type, preferably between facts [Fine,K] |
| Full Idea: In so far as ground is regarded as a relation it should be between entities of the same type, and the entities should probably be taken as worldly entities, such as facts, rather than as representational entities, such as propositions. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: That's more like it (cf. Idea 17280). The consensus of this discussion seems to point to facts as the best relata, for all the vagueness of facts, and the big question of how fine-grained facts should be (and how dependent they are on descriptions). |
| 17280 | Ground is best understood as a sentence operator, rather than a relation between predicates [Fine,K] |
| Full Idea: Ground is perhaps best regarded as an operation (signified by an operator on sentences) rather than as a relation (signified by a predicate) | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: Someone in this book (Koslicki?) says this is to avoid metaphysical puzzles over properties. I don't like the idea, because it makes grounding about sentences when it should be about reality. Fine is so twentieth century. Audi rests ground on properties. |
| 17290 | Only metaphysical grounding must be explained by essence [Fine,K] |
| Full Idea: If the grounding relation is not metaphysical (such as normative or natural grounding), there is no need for there to be an explanation of its holding in terms of the essentialist nature of the items involved. | |
| From: Kit Fine (Guide to Ground [2012], 1.11) | |
| A reaction: He accepts that some things have partial grounds in different areas of reality. |
| 17274 | Philosophical explanation is largely by ground (just as cause is used in science) [Fine,K] |
| Full Idea: For philosophers interested in explanation - of what accounts for what - it is largely through the notion of ontological ground that such questions are to be pursued. Ground, if you like, stands to philosophy as cause stands to science. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: Why does the ground have to be 'ontological'? It isn't the existence of the snow that makes me cold, but the fact that I am lying in it. Better to talk of 'factual' ground (or 'determinative' ground), and then causal grounds are a subset of those? |
| 17278 | We can only explain how a reduction is possible if we accept the concept of ground [Fine,K] |
| Full Idea: It is only by embracing the concept of a ground as a metaphysical form of explanation in its own right that one can adequately explain how a reduction of the reality of one thing to another should be understood. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: I love that we are aiming to say 'how' a reduction should be understood, and not just 'that' it exists. I'm not sure about Fine's emphasis on explaining 'realities', when I think we are after more like structural relations or interconnected facts. |
| 17287 | Facts, such as redness and roundness of a ball, can be 'fused' into one fact [Fine,K] |
| Full Idea: Given any facts, there will be a fusion of those facts. Given the facts that the ball is red and that it is round, there is a fused fact that it is 'red and round'. | |
| From: Kit Fine (Guide to Ground [2012], 1.10) | |
| A reaction: This is how we make 'units' for counting. Any type of thing which can be counted can be fused, such as the first five prime numbers, forming the 'first' group for some discussion. Any objects can be fused to make a unit - but is it thereby a 'unity'? |
| 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) |
| 17279 | Even a three-dimensionalist might identify temporal parts, in their thinking [Fine,K] |
| Full Idea: Even the three-dimensionalist might be willing to admit that material things have temporal parts. For given any persisting object, he might suppose that 'in thought' we could mark out its temporal segments or parts. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: A big problem with temporal parts is how thin they are. Hawley says they are as fine-grained as time itself, but what if time has no grain? How thin can you 'think' a temporal part to be? Fine says imagined parts are grounded in things, not vice versa. |
| 17273 | Each basic modality has its 'own' explanatory relation [Fine,K] |
| Full Idea: I am inclined to the view that ....each basic modality should be associated with its 'own' explanatory relation. | |
| From: Kit Fine (Guide to Ground [2012], 1.01) | |
| A reaction: He suggests that 'grounding' connects the various explanatory relations of the different modalities. I like this a lot. Why assert any necessity without some concept of where the necessity arises, and hence where it is grounded? You've got to eat. |
| 17289 | Every necessary truth is grounded in the nature of something [Fine,K] |
| Full Idea: It might be held as a general thesis that every necessary truth is grounded in the nature of certain items. | |
| From: Kit Fine (Guide to Ground [2012], 1.11) | |
| A reaction: [He cites his own 1994 for this] I'm not sure if I can embrace the 'every' in this. I would only say, more cautiously, that I can only make sense of necessity claims when I see their groundings - and I don't take a priori intuition as decent grounding. |
| 17291 | We explain by identity (what it is), or by truth (how things are) [Fine,K] |
| Full Idea: I think it should be recognised that there are two fundamentally different types of explanation; one is of identity, or of what something is; and the other is of truth, or of how things are. | |
| From: Kit Fine (Guide to Ground [2012], 1.11) |
| 17271 | Is there metaphysical explanation (as well as causal), involving a constitutive form of determination? [Fine,K] |
| Full Idea: In addition to scientific or causal explanation, there maybe a distinctive kind of metaphysical explanation, in which explanans and explanandum are connected, not through some causal mechanism, but through some constitutive form of determination. | |
| From: Kit Fine (Guide to Ground [2012], Intro) | |
| A reaction: I'm unclear why determination has to be 'constitutive', since I would take determination to be a family of concepts, with constitution being one of them, as when chess pieces determine a chess set. Skip 'metaphysical'; just have Determinative Explanation. |
| 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. |
| 17277 | If mind supervenes on the physical, it may also explain the physical (and not vice versa) [Fine,K] |
| Full Idea: It is not enough to require that the mental should modally supervene on the physical, since that still leaves open the possibility that the physical is itself ultimately to be understood in terms of the mental. | |
| From: Kit Fine (Guide to Ground [2012], 1.02) | |
| A reaction: See Horgan on supervenience. Supervenience is a question, not an answer. The first question is whether the supervenience is mutual, and if not, which 'direction' does it go in? |
| 7357 | People who control others with fluent language often end up being hated [Kongzi (Confucius)] |
| Full Idea: Of what use is eloquence? He who engages in fluency of words to control men often finds himself hated by them. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], V.5) | |
| A reaction: I don't recall Socrates making this very good point to any of the sophists (such as Gorgias). The idea that if you battle or connive your way to dominance over others then you are successful is false. Life is a much longer game than that. |
| 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. |
| 7358 | All men prefer outward appearance to true excellence [Kongzi (Confucius)] |
| Full Idea: I have yet to meet a man as fond of excellence as he is of outward appearances. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], IX.18) | |
| A reaction: Interestingly, this cynical view of the love of virtue is put by Plato into the mouths of Glaucon and Adeimantus (in Bk II of 'Republic', e.g. Idea 12), and not into the mouth of Socrates, who goes on to defend the possibility of true virtue. |
| 7362 | Humans are similar, but social conventions drive us apart (sages and idiots being the exceptions) [Kongzi (Confucius)] |
| Full Idea: In our natures we approximate one another; habits put us further and further apart. The only ones who do not change are sages and idiots. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], XVII.2) | |
| A reaction: I find most of Confucius rather uninteresting, but this is a splendid remark about the influence of social conventions on human nature. Sages can achieve universal morality if they rise above social convention, and seek the true virtues of human nature. |
| 7360 | Do not do to others what you would not desire yourself [Kongzi (Confucius)] |
| Full Idea: Do not do to others what you would not desire yourself. Then you will have no enemies, either in the state or in your home. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], XII.2) | |
| A reaction: The Golden Rule, but note the second sentence. Logically, it leads to the absurdity of not giving someone an Elvis record for Christmas because you yourself don't like Elvis. Kant (Idea 3733) and Nietzsche (Idea 4560) offer good criticisms. |
| 7359 | Excess and deficiency are equally at fault [Kongzi (Confucius)] |
| Full Idea: Excess and deficiency are equally at fault. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], XI.16) | |
| A reaction: This is the sort of wisdom we admire in Aristotle (and in any sensible person), but it may also be the deepest motto of conservatism, and it is a long way from romantic philosophy, and the clarion call of Nietzsche to greater excitement in life. |
| 7363 | The virtues of the best people are humility, maganimity, sincerity, diligence, and graciousness [Kongzi (Confucius)] |
| Full Idea: He who in this world can practise five things may indeed be considered Man-at-his-best: humility, maganimity, sincerity, diligence, and graciousness. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], XVII.5) | |
| A reaction: A very nice list. Who could resist working with a colleague who had such virtues? Who could go wrong if they married a person who had them? I can't think of anything important that is missing. |
| 7361 | Men of the highest calibre avoid political life completely [Kongzi (Confucius)] |
| Full Idea: Men of the highest calibre avoid political life completely. | |
| From: Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE], XIV.37) | |
| A reaction: Plato notes that such people tend to avoid political life (and a left sheltering, as if from a wild storm!), but he thinks they should be dragged into the political arena for the common good. Confucius seems to approve of the avoidance. Plato is right. |
| 23393 | Confucianism assumes that all good developments have happened, and there is only one Way [Norden on Kongzi (Confucius)] |
| Full Idea: The two major limitations of Confucianism are that it assumes that all worthwhile cultural, social and ethical innovation has already occurred, and that it does not recognise the plurality of worthwhile ways of life. | |
| From: comment on Kongzi (Confucius) (The Analects (Lunyu) [c.511 BCE]) by Bryan van Norden - Intro to Classical Chinese Philosophy 3.III | |
| A reaction: In modern liberal terms that is about as conservative as it is possible to get. We think of it as the state of mind of an old person who can only long for the way things were when they were young. But 'hold fast to that which is good'! |