10 ideas
| 14217 | The 'standard' view of relations is that they hold of several objects in a given order [Fine,K] |
| Full Idea: The 'standard' view of relations, held by philosophers and logicians alike, is that we may meaningfully talk of a relation holding of several objects in a given order (which works for examples like 'loves' and 'between'). | |
| From: Kit Fine (Neutral Relations [2000], Intro) | |
| A reaction: The point of Fine's paper is that there are many relations for which this model seems to fail. |
| 14216 | The 'positionalist' view of relations says the number of places is fixed, but not the order [Fine,K] |
| Full Idea: The 'positionalist' view of relations is that each relation is taken to be endowed with a given number of argument places, or positions, in no specified order. [...The argument-places are specific entities, such as 'lover' and 'beloved'] | |
| From: Kit Fine (Neutral Relations [2000], Intro) | |
| A reaction: Fine offers this as an alternative to the 'standard' view of relations, in which the order of the objects matters. He then adds, and favours, the 'anti-positionalist' view, where there are not even a fixed number of places. |
| 14218 | A block on top of another contains one relation, not both 'on top of' and 'beneath' [Fine,K] |
| Full Idea: If block a is on block b, it is hard to see how this state of affairs might consist of both 'on top of' and 'beneath'. Surely if the state is a genuine relational complex, there must be a single relation for these relata? | |
| From: Kit Fine (Neutral Relations [2000], 1) | |
| A reaction: He has already shown that if such relations imply their converses, then that gives you two separate relations. He goes on to observe that you cannot pick one of the two as correct, because of symmetry. He later offers the 'vertical placement' relation. |
| 14219 | Language imposes a direction on a road which is not really part of the road [Fine,K] |
| Full Idea: Roads in the directional sense (A-to-B or B-to-A) are merely roads in the adirectional sense up which a direction has been imposed. | |
| From: Kit Fine (Neutral Relations [2000], 1) | |
| A reaction: This is Fine's linguistic objection to the standard view of relations. It is undeniable that language imposes an order where it may not exist ('Bob and Jane play tennis'), and this fact is very significant in discussing relations. |
| 14220 | Explain biased relations as orderings of the unbiased, or the unbiased as permutation classes of the biased? [Fine,K] |
| Full Idea: A 'biased' relation can be taken to be the result of imposing ordering on the argument-places of an unbiased relation, ..or we can take an unbiased relation to be a 'permutation class' of biased relations. This is a familiar metaphysic predicament. | |
| From: Kit Fine (Neutral Relations [2000], 3) | |
| A reaction: 'Biased' relations such as 'on top of' have an ordering to their places, but 'unbiased' relations such as 'vertical placement' do not. This is a nice question in the metaphysics of grounding relations between key concepts. |
| 8108 | Aesthetics presupposes a distinctive sort of experience, and a unified essence for art [Gardner] |
| Full Idea: Aesthetics traditionally has two presuppositions: the first is that there is a distinctive form of experience which is common to the appreciation of art and natural beauty; the second is that art has an essence or some sort of underlying unity. | |
| From: Sebastian Gardner (Aesthetics [1995], Intro) | |
| A reaction: Both must come up for discussion. I think the biggest problem for the first one is the place of sexual attraction, or even fancying a prawn sandwich. The second has been weakened by Marcel Duchamp's urinal, and modern fringe arts. |
| 8112 | Art works originate in the artist's mind, and appreciation is re-creating this mental object [Gardner] |
| Full Idea: A strong tradition in aesthetics (the 'idealist' view) regards works of art as existing originally in the artist's mind, and the appreciation of art as a matter of re-creating the artist's mental object. | |
| From: Sebastian Gardner (Aesthetics [1995], 2.2) | |
| A reaction: He mentions Collingwood and Croce. Against this is the view (Idea 7268) that what goes on in the artist's mind is just irrelevant. Freud is important here, suggesting that the artist doesn't quite know what he or she is doing. |
| 8111 | Aesthetic objectivists must explain pleasure being essential, but not in the object [Gardner] |
| Full Idea: The aesthetic objectivist faces the difficulty of accounting for the fact that pleasure is not in the object, and is necessary for, and not just a contingent accompaniment to, aesthetic response. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.2.3) | |
| A reaction: The objectivist has to claim, not utterly implausibly, that if you don't get pleasure from certain works, then you 'ought' to. You can ignore a good work, but to deny that it gives pleasure is a failing in you. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 8109 | Aesthetic judgements necessarily require first-hand experience, unlike moral judgements [Gardner] |
| Full Idea: I am not within my rights to declare an object beautiful until I have seen it myself, ..unlike moral judgement, which (arguably) does not presuppose either a felt response or personal acquaintance. | |
| From: Sebastian Gardner (Aesthetics [1995], 1.1) | |
| A reaction: Particularists might argue that moral judgements also require exposure to the actual situation, if they are to be authentic and authoritative. We can also discuss principles of aesthetics in the absence of examples. |