Combining Texts

All the ideas for 'Counterpart theory and Quant. Modal Logic', 'The Nature of Musical Expression' and 'Actions'

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10 ideas

9. Objects / D. Essence of Objects / 1. Essences of Objects
Aristotelian essentialism says essences are not relative to specification [Lewis]
     Full Idea: So-called 'Aristotelian essentialism' is the doctrine of essences not relative to specifications.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], III)
     A reaction: In other words, they are so-called 'real essences', understood as de re. Quine says essences are all de dicto, and relative to some specification. I vote for Aristotle.
10. Modality / A. Necessity / 7. Natural Necessity
Causal necessities hold in all worlds compatible with the laws of nature [Lewis]
     Full Idea: Just as a sentence is necessary if it holds in all worlds, so it is causally necessary if it holds in all worlds compatible with the laws of nature.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], V)
     A reaction: I don't believe in the so-called 'laws of nature', so I'm not buying that. Is there no distinction in Lewis's view between those sentences which must hold, and those which happen to hold universally?
10. Modality / E. Possible worlds / 3. Transworld Objects / b. Rigid designation
It doesn't take the whole of a possible Humphrey to win the election [Lewis]
     Full Idea: Even if Humphrey is a modal continuant, it doesn't take the whole of him to do such things as winning.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], Post B)
     A reaction: This responds to Kripke's famous example, that people only care about what happens to themselves, and not to some 'counterpart' of themselves.
10. Modality / E. Possible worlds / 3. Transworld Objects / c. Counterparts
Counterpart theory is bizarre, as no one cares what happens to a mere counterpart [Kripke on Lewis]
     Full Idea: Probably Humphrey could not care less whether someone else, no matter how much resembling him, would have been victorious in another possible world. Thus Lewis's view seems even more bizarre that the usual transworld identification it replaces.
     From: comment on David Lewis (Counterpart theory and Quant. Modal Logic [1968]) by Saul A. Kripke - Naming and Necessity notes and addenda note 13
     A reaction: I begin to see this as a devastating reply to a theory I previously found quite congenial.
Counterparts are not the original thing, but resemble it more than other things do [Lewis]
     Full Idea: Your counterparts resemble you closely in content and context in important respects. They resemble you more closely than do the other things in their worlds. But they are not really you.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], I)
     A reaction: It is a dilemma. If my counterpart were exactly me, I couldn't contemplate possibly losing a leg, or my sanity. But if my counterpart isn't exactly me, then I don't have much interest in its fate. Only essences can save us here. Cf. me tomorrow.
If the closest resembler to you is in fact quite unlike you, then you have no counterpart [Lewis]
     Full Idea: If whatever thing in world w6 it is that resembles you more closely than anything else in w6 is nevertheless quite unlike you; nothing in w6 resembles you at all closely. If so, you have no counterpart in w6.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], I)
     A reaction: This is the nub, because the whole theory rests on deciding whether two things resemble sufficiently 'closely'. But then we need a criterion of closeness, so we must start talking about which properties matter. Essences loom.
Essential attributes are those shared with all the counterparts [Lewis]
     Full Idea: An essential attribute of something is an attribute it shares with all its counterparts.
     From: David Lewis (Counterpart theory and Quant. Modal Logic [1968], III)
     A reaction: I don't like this. It ties essence entirely to identity, but I think essence precedes identity. Essence is a nexus of causal and explanatory powers which bestows an identity on each thing. But essence might be unstable, and identity with it.
20. Action / A. Definition of Action / 5. Action as Trying
Bodily movements are not actions, which are really the tryings within bodily movement [Hornsby, by Stout,R]
     Full Idea: Hornsby claims the basic description of action is in terms of trying, that all actions (even means of doing other actions) are actions of trying, and that tryings (and therefore actions) are interior to bodily movements (which are thus not essential).
     From: report of Jennifer Hornsby (Actions [1980]) by Rowland Stout - Action 9 'Trying'
     A reaction: [compression of his summary] There is no regress with explaining the 'action' of trying, because it is proposed that trying is the most basic thing in all actions. If you are paralysed, your trying does not result in action. Too mentalistic?
21. Aesthetics / B. Nature of Art / 4. Art as Expression
Romantics say music expresses ideas, or the Will, or intuitions, or feelings [Scruton]
     Full Idea: According to the Romantic theory music was an expression of something, of an idea (Hegel), of the Will (Schopenhauer), of 'intuitions' (Croce), or of feelings (Collingwood).
     From: Roger Scruton (The Nature of Musical Expression [1981], p.54)
     A reaction: Deryck Cooke was the culmination of music as expression of feeling, and Stravinsky was the greatest rebel against the whole idea of expression in music. You can set out to create interesting music which does or does not grab the emotions.
21. Aesthetics / C. Artistic Issues / 4. Emotion in Art
Expressing melancholy is a good thing, but arousing it is a bad thing [Scruton]
     Full Idea: To describe a piece of music as expressive of melancholy is to give a reason for listening to it; to describe it as arousing or evoking melancholy is to give a reason for avoiding it.
     From: Roger Scruton (The Nature of Musical Expression [1981], p.49)
     A reaction: Expressing sexual desire, while avoiding arousing it, is the nice challenge for a particular type of art. Would Scruton say that expressing joy is a good thing, but arousing it is bad? It is a nice observation, though.