25 ideas
| 13917 | Metaphysics aims to identify categories of being, and show their interdependency [Lowe] |
| Full Idea: The central task of metaphysics is to chart the possibilities of existence by identifying the categories of being and the relations of ontological dependency in which beings of different categories stand to one another. | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], Intro) | |
| A reaction: I am beginning to think that he is right about the second one, and that dependency and grounding relations are the name of the game. I don't have Lowe's confidence that philosophers can parcel up reality in neat and true ways. |
| 13919 | Philosophy aims not at the 'analysis of concepts', but at understanding the essences of things [Lowe] |
| Full Idea: The central task of philosophy is the cultivation of insights into natures or essences, and not the 'analysis of concepts', with which it is apt to be confused. | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], 1) | |
| A reaction: This immediately strikes me as a false dichotomy. I like the idea of trying to understand the true natures of things, but how are we going to do it in our armchairs? |
| 16648 | Accidents must have formal being, if they are principles of real action, and of mental action and thought [Duns Scotus] |
| Full Idea: Accidents are principles of acting and principles of cognizing substance, and are the per se objects of the senses. But it is ridiculous to say that something is a principle of acting (either real or intentional) and yet does not have any formal being. | |
| From: John Duns Scotus (Ordinatio [1302], IV.12.1), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 10.5 | |
| A reaction: Pasnau cites this as the key scholastic argument for accidental properties having some independent and real existence (as required for Transubstantiation). Rival views say accidents are just 'modes' of a thing's existence. Aquinas compromised. |
| 15386 | If only the singular exists, science is impossible, as that relies on true generalities [Duns Scotus, by Panaccio] |
| Full Idea: Scotus argued that if everything is singular, with no objective common feature, science would be impossible, as it proceeds from general concepts. General is the opposite of singular, so it would be inadequate to understand a singular reality. | |
| From: report of John Duns Scotus (Ordinatio [1302]) by Claude Panaccio - Medieval Problem of Universals 'John Duns' | |
| A reaction: [compressed] It is a fact that if you generalise about 'tigers', you are glossing over the individuality of each singular tiger. That is OK for 'electron', if they really are identical, but our general predicates may be imposing identity on electrons. |
| 15387 | If things were singular they would only differ numerically, but horse and tulip differ more than that [Duns Scotus, by Panaccio] |
| Full Idea: Scotus argued that there must be some non-singular aspects of things, since there are some 'less than numerical differences' among them. A horse and a tulip differ more from each other than do two horses. | |
| From: report of John Duns Scotus (Ordinatio [1302]) by Claude Panaccio - Medieval Problem of Universals 'John Duns' | |
| A reaction: This seems to treat being 'singular' as if it were being a singularity. Presumably he is contemplating a thing being nothing but its Scotist haecceity. A neat argument, but I don't buy it. |
| 16632 | We distinguish one thing from another by contradiction, because this is, and that is not [Duns Scotus] |
| Full Idea: What is it [that establishes distinctness of things]? It is, to be sure, that which is universally the reason for distinguishing one thing from another: namely, a contradiction…..If this is, and that is not, then they are not the same entity in being. | |
| From: John Duns Scotus (Ordinatio [1302], IV.11.3), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 08.2 | |
| A reaction: This is a remarkably intellectualist view of such things. John Wycliff, apparently, enquired about how animals were going to manage all this sort of thing. It should appeal to the modern logical approach to metaphysics. |
| 13094 | The haecceity is the featureless thing which gives ultimate individuality to a substance [Duns Scotus, by Cover/O'Leary-Hawthorne] |
| Full Idea: For Scotus, the haecceity of an individual was a positive non-quidditative entity which, together with a common nature from which it was formally distinct, played the role of the ultimate differentia, thus individuating the substance. | |
| From: report of John Duns Scotus (Ordinatio [1302]) by Cover,J/O'Leary-Hawthorne,J - Substance and Individuation in Leibniz 6.1.3 | |
| A reaction: Most thinkers seem to agree (with me) that this is a non-starter, an implausible postulate designed to fill a gap in a metaphysic that hasn't been properly worked out. Leibniz is the hero who faces the problem and works around it. |
| 16770 | It is absurd that there is no difference between a genuinely unified thing, and a mere aggregate [Duns Scotus] |
| Full Idea: It seems absurd …that there should be no difference between a whole that is one thing per se, and a whole that is one thing by aggregation, like a cloud or a heap. | |
| From: John Duns Scotus (Ordinatio [1302], III.2.2), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 25.5 | |
| A reaction: Leibniz invented monads because he was driven crazy by the quest for 'true unity' in things. Objective unity may be bogus, but I suspect that imposing plausible unity on things is the only way we can grasp the world. |
| 13918 | Holes, shadows and spots of light can coincide without being identical [Lowe] |
| Full Idea: Holes are things of such a kind that they can coincide without being identical - as are, for example, shadows and spots of light. | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], 1) | |
| A reaction: His point is that they thereby fail one of the standard tests for being an 'object'. |
| 10919 | What prevents a stone from being divided into parts which are still the stone? [Duns Scotus] |
| Full Idea: What is it in this stone, by which ...it is absolutely incompatible with the stone for it to be divided into several parts each of which is this stone, the kind of division that is proper to a universal whole as divided into its subjective parts? | |
| From: John Duns Scotus (Ordinatio [1302], II d3 p1 q2 n48) | |
| A reaction: This is the origin of the concept of haecceity, when Scotus wants to know what exactly individuates each separate entity. He may have been mistaken in thinking that such a question has an answer. |
| 13921 | All things must have an essence (a 'what it is'), or we would be unable to think about them [Lowe] |
| Full Idea: Things must have an essence, in the sense of 'what it is to be the individual of that kind', or it would make no sense to say we can talk or think comprehendingly about things at all. If we don't know what it is, how can we think about it? | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], 2) | |
| A reaction: Lowe presents this as a sort of Master Argument for essences. I think he is working with the wrong notion of essence. All he means is that things must have identities to be objects of thought. Why equate identity with essence, and waste a good concept? |
| 13922 | Knowing an essence is just knowing what the thing is, not knowing some further thing [Lowe] |
| Full Idea: To know something's essence is not to be acquainted with some further thing of a special kind, but simply to understand what exactly that thing is. | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], 2) | |
| A reaction: I think he is wrong about this, or at least is working with an unhelpful notion of essence. Identity is one thing, and essence is another. I take essences to be certain selected features of things, which explain their nature. |
| 13920 | Each thing has to be of a general kind, because it belongs to some category [Lowe] |
| Full Idea: Any individual thing must be a thing of some general kind - because, at the very least, it must belong to some ontological category. | |
| From: E.J. Lowe (Two Notions of Being: Entity and Essence [2008], 2) | |
| A reaction: Where does the law that 'everything must have a category' come from? I'm baffled by remarks of this kind. Where do we get the categories from? From observing the individuals. So which has priority? Not the categories. Is God a kind? |
| 16768 | Two things are different if something is true of one and not of the other [Duns Scotus] |
| Full Idea: If this is, and that is not, then they are not the same entity in being. | |
| From: John Duns Scotus (Ordinatio [1302], IV.11.3), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 25.3 | |
| A reaction: This is the contrapositive of the indiscernibility of identicals, expressed in terms of what is true about a thing, rather than what properties pertain to it. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |