9 ideas
| 23367 | Even pointing a finger should only be done for a reason [Epictetus] |
| Full Idea: Philosophy says it is not right even to stretch out a finger without some reason. | |
| From: Epictetus (fragments/reports [c.57], 15) | |
| A reaction: The key point here is that philosophy concerns action, an idea on which Epictetus is very keen. He rather despise theory. This idea perfectly sums up the concept of the wholly rational life (which no rational person would actually want to live!). |
| 4037 | Ockham's Razor is the principle that we need reasons to believe in entities [Mellor/Oliver] |
| Full Idea: Ockham's Razor is the principle that we need reasons to believe in entities. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §9) | |
| A reaction: This presumably follows from an assumption that all beliefs need reasons, but is that the case? The Principle of Sufficient Reason precedes Ockham's Razor. |
| 4027 | Properties are respects in which particular objects may be alike or differ [Mellor/Oliver] |
| Full Idea: Properties are respects in which particular objects may be alike or differ. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §1) | |
| A reaction: Note that this definition does not mention a causal role for properties. |
| 4029 | Nominalists ask why we should postulate properties at all [Mellor/Oliver] |
| Full Idea: Nominalists ask why we should postulate properties at all. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §3) | |
| A reaction: Objects might be grasped without language, but events cannot be understood, and explanations of events seem inconceivable without properties (implying that they are essentially causal). |
| 4039 | Abstractions lack causes, effects and spatio-temporal locations [Mellor/Oliver] |
| Full Idea: Abstract entities (such as sets) are usually understood as lacking causes, effects, and spatio-temporal location. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §10) | |
| A reaction: This seems to beg some questions. Has the ideal of 'honour' never caused anything? Young men dream of pure velocity. |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| Full Idea: No definition of art is possible (since it is a referential activity), …but the symptoms of art are syntactic density, semantic density, syntactic repleteness, exemplificationality, and multiple and complex reference. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.22-255), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: I wish these labels were more self-explanatory. Goodman seems to want to assimilate art to his earlier interests in linguistic anti-realism and mereology. I wouldn't have thought he now had many followers. |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| Full Idea: Artistic symbols are to be judged for the classifications they bring about, for how novel and insightful those classifications are, for how they change our world perceptions and relations. | |
| From: report of Nelson Goodman (Languages of Art (2nd edn) [1968]) by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: This seems to be an awfully long way from our normal experience of art. I understand 'symbols' in early Flemish art, but not in Mondriaan, or even Rembrandt. |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| Full Idea: The most miserable performance without actual mistakes does count as an instance of a work, …but the most brilliant performance with a single wrong note does not. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.186), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) | |
| A reaction: Mereological essentialism applied to art! You need to be a highly theoretical and technical philosopher (which Goodman was) to maintain such a weird and contrary-usage proposal. |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| Full Idea: Paintings and sculptures do not work within a notation; hence, there is no copying of an original that would preserve its originality. A copy of a painting is a copy, not an instance of the original. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.212), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 2 | |
| A reaction: Sounds conclusive, but isn't. Is a poetry manuscript a 'notation' or an original? Why is an etching plate a notation, but painting on canvas is an original? Can I create a painting specifically so that it can be copied (by my students)? Intention matters. |