41 ideas
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 8251 | The logical space of reasons is a natural phenomenon, and it is the realm of freedom [McDowell] |
| Full Idea: The logical space of reasons is just part of the logical space of nature. ...And, in a Kantian slogan, the space of reasons is the realm of freedom. | |
| From: John McDowell (Mind and World [1994], Intro 7) | |
| A reaction: [second half on p.5] This is a modern have-your-cake-and-eat-it view of which I am becoming very suspicious. The modern Kantians (Davidson, Nagel, McDowell) are struggling to naturalise free will, but it won't work. Just dump it! |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 13076 | Scholastics treat relations as two separate predicates of the relata [Cover/O'Leary-Hawthorne] |
| Full Idea: The scholastics treated it as a step in the right explanatory direction to analyze a relational statement of the form 'aRb' into two subject-predicate statements, attributing different relational predicates to a and to b. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 2.2.1) | |
| A reaction: The only alternative seems to be Russell's view of relations as pure universals, having a life of their own, quite apart from their relata. Or you could take them as properties of space, time (and powers?), external to the relata? |
| 13102 | If you individuate things by their origin, you still have to individuate the origins themselves [Cover/O'Leary-Hawthorne] |
| Full Idea: If we go for the necessity-of-origins view, A and B are different if the origin of A is different from the origin of B. But one is left with the further question 'When is the origin of A distinct from the origin of B?' | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 7.4.1) | |
| A reaction: There may be an answer to this, in a regress of origins that support one another, but in the end the objection is obviously good. You can't begin to refer to an 'origin' if you can't identify anything in the first place. |
| 13103 | Numerical difference is a symmetrical notion, unlike proper individuation [Cover/O'Leary-Hawthorne] |
| Full Idea: Scholastics distinguished criteria of numerical difference from questions of individuation proper, since numerical difference is a symmetrical notion. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 7.4.1) | |
| A reaction: This apparently old-fashioned point appears to be conclusively correct. Modern thinkers, though, aren't comfortable with proper individuation, because they don't believe in concepts like 'essence' and 'substance' that are needed for the job. |
| 13104 | Haecceity as property, or as colourless thisness, or as singleton set [Cover/O'Leary-Hawthorne] |
| Full Idea: There is a contemporary property construal of haecceities, ...and a Scotistic construal as primitive, 'colourless' thisnesses which, unlike singleton-set haecceities, are aimed to do some explanatory work. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 7.4.4) | |
| A reaction: [He associates the contemporary account with David Kaplan] I suppose I would say that individuation is done by properties, but not by some single property, so I take it that I don't believe in haecceities at all. What individuates a haecceity? |
| 13100 | Maybe 'substance' is more of a mass-noun than a count-noun [Cover/O'Leary-Hawthorne] |
| Full Idea: We could think of 'substance' on the model of a mass noun, rather than a count noun. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 7.3) | |
| A reaction: They offer this to help Leibniz out of a mess, but I think he would be appalled. The proposal seems close to 'prime matter' in Aristotle, which never quite does the job required of it. The idea is nice, though, and should be taken seriously. |
| 13068 | We can ask for the nature of substance, about type of substance, and about individual substances [Cover/O'Leary-Hawthorne] |
| Full Idea: In the 'blueprint' approach to substance, we confront at least three questions: What is it for a thing to be an individual substance? What is it for a thing to be the kind of substance that it is? What is it to be that very individual substance? | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 1.1.1) | |
| A reaction: My working view is that the answer to the first question is that substance is essence, that the second question is overrated and parasitic on the third, and that the third is the key question, and also reduces to essence. |
| 13069 | The general assumption is that substances cannot possibly be non-substances [Cover/O'Leary-Hawthorne] |
| Full Idea: There is a widespread assumption, now and in the past, that substances are essentially substances: nothing is actually a substance but possibly a non-substance. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 1.1.2) | |
| A reaction: It seems to me that they clearly mean, in this context, that substances are 'necessarily' substances, not that they are 'essentially' substances. I would just say that substances are essences, and leave the necessity question open. |
| 13072 | Modern essences are sets of essential predicate-functions [Cover/O'Leary-Hawthorne] |
| Full Idea: The modern view of essence is that the essence of a particular thing is given by the set of predicate-functions essential to it, and the essence of any kind is given by the set of predicate-functions essential to every possible member of that kind. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 1.2.2) | |
| A reaction: Thus the modern view has elided the meanings of 'essential' and 'necessary' when talking of properties. They are said to be 'functions' from possible worlds to individuals. The old view (and mine) demands real essences, not necessary properties. |
| 17080 | Modern essentialists express essence as functions from worlds to extensions for predicates [Cover/O'Leary-Hawthorne] |
| Full Idea: The modern essentialist gives the same metaphysical treatment to every grammatical predicate - by associating a function from worlds to extensions for each. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 2.2) | |
| A reaction: I take this to mean that essentialism is the view that if some predicate attaches to an object then that predicate is essential if there is an extension of that predicate in all possible worlds. In English, essential predicates are necessary predicates. |
| 13101 | Necessity-of-origin won't distinguish ex nihilo creations, or things sharing an origin [Cover/O'Leary-Hawthorne] |
| Full Idea: A necessity-of-origins approach cannot work to distinguish things that come into being genuinely ex nihilo, and cannot work to distinguish things sharing a single origin. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 7.4.1) | |
| A reaction: Since I am deeply suspicious of essentiality or necessity of origin (and they are not, I presume, the same thing) I like these two. Twins have always bothered me with the second case (where order of birth seems irrelevant). |
| 13081 | Even extreme modal realists might allow transworld identity for abstract objects [Cover/O'Leary-Hawthorne] |
| Full Idea: It might be suggested that even the extreme modal realist can countenance transworld identity for abstract objects. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 3.2.2 n46) | |
| A reaction: This may sound right for uncontroversial or well-defined abstracta such as numbers and circles, but even 'or' is ambiguous, and heaven knows what the transworld identity of 'democracy' is! |
| 8128 | Representation must be propositional if it can give reasons and be epistemological [McDowell, by Burge] |
| Full Idea: McDowell has claimed that one cannot make sense of representation that plays a role in epistemology unless one takes the representation to be propositional, and thus capable of yielding reasons. | |
| From: report of John McDowell (Mind and World [1994]) by Tyler Burge - Philosophy of Mind: 1950-2000 p.456 | |
| A reaction: A transcendental argument leads back to a somewhat implausible conclusion. I suspect that McDowell has a slightly inflated (Kantian) notion of the purity of the 'space of reasons'. Do philosophers just imagine their problems? |
| 19092 | There is no pure Given, but it is cultured, rather than entirely relative [McDowell, by Macbeth] |
| Full Idea: McDowell argues that the Myth of the Given shows not that there is no content to a concept that is not a matter of its inferential relations to other concepts but only that awareness of the sort that we enjoy ...is acquired in the course of acculturation. | |
| From: report of John McDowell (Mind and World [1994]) by Danielle Macbeth - Pragmatism and Objective Truth p.185 | |
| A reaction: The first view is of Wilfred Sellars, who derives pragmatic relativism from his rejection of the Myth. This idea is helpful is seeing why McDowell has a good proposal. As I look out of my window, my immediate experience seems 'cultured'. |
| 8253 | Sense impressions already have conceptual content [McDowell] |
| Full Idea: The world's impressions on our senses are already possessed of conceptual content. | |
| From: John McDowell (Mind and World [1994], I.6) | |
| A reaction: This is a key idea of McDowell's, which challenges most traditional empiricist views, and (maybe) offers a solution to the rationalist/empiricist debate. His commitment to the 'space of reasons' strikes me as an optional extra. |
| 13071 | We can go beyond mere causal explanations if we believe in an 'order of being' [Cover/O'Leary-Hawthorne] |
| Full Idea: The philosopher comfortable with an 'order of being' has richer resources to make sense of the 'in virtue of' relation than that provided only by causal relations between states of affairs, positing in addition other sorts of explanatory relationships. | |
| From: Cover,J/O'Leary-Hawthorne,J (Substance and Individuation in Leibniz [1999], 1.1.2) | |
| A reaction: This might best be characterised as 'ontological dependence', and could be seen as a non-causal but fundamental explanatory relationship, and not one that has to depend on a theistic world view. |
| 8254 | Forming concepts by abstraction from the Given is private definition, which the Private Lang. Arg. attacks [McDowell] |
| Full Idea: The idea that concepts can be formed by abstraction from the Given just is the idea of private ostensive definition. So the Private Language Argument just is the rejection of the Given, in so far as it bears on the possibilities for language. | |
| From: John McDowell (Mind and World [1994], I.7) | |
| A reaction: I'm not clear why the process of abstraction from raw impressions shouldn't be a matter of public, explicit, community negotiation. We seem to be able to share and compare fairly raw impressions without much trouble (discussing sunsets). |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |