13 ideas
| 22153 | Quine rejects Carnap's view that science and philosophy are distinct [Quine, by Boulter] |
| Full Idea: Quine rejects Carnap's view that the methods of science and philosophy are distinct. | |
| From: report of Willard Quine (On Carnap's Views on Ontology [1951]) by Stephen Boulter - Why Medieval Philosophy Matters 5 | |
| A reaction: I can't decide this one. Leibniz agreed with Carnap, but rated philosophy more highly. I like the view of philosophy as continuous with science, but that doesn't make it a branch of science. I incline towards science being a branch of philosophy. |
| 19485 | Names have no ontological commitment, because we can deny that they name anything [Quine] |
| Full Idea: I think there is no commitment to entities through use of alleged names of them; other things being equal, we can always deny the allegation that the words in question are names. | |
| From: Willard Quine (On Carnap's Views on Ontology [1951], p.205) | |
| A reaction: Hm. So why can't you deny that variables actually refer to existing entities? If I say 'I just saw James', it's a bit cheeky to then deny that James refers to anyone. He uses Russell's technique to paraphrase names. |
| 19486 | We can use quantification for commitment to unnameable things like the real numbers [Quine] |
| Full Idea: Through our variables of quantification we are quite capable of committing ourselves to entities which cannot be named individually at all in the resources of our language; witness the real numbers. | |
| From: Willard Quine (On Carnap's Views on Ontology [1951], p.205) | |
| A reaction: The real numbers are uncountable, and thus cannot all be named. This is quite an impressive point. I've always had doubts about the existence of real numbers, on the grounds that they could never all be named. |
| 13795 | Properties only have identity in the context of their contraries [Elder] |
| Full Idea: The very being, the identity, of any property consists at least in part in its contrasting as it does with its own proper contraries. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.4) | |
| A reaction: See Elder for the details of this, but the idea that properties can only be individuated contextually sounds promising. |
| 13798 | Maybe we should give up the statue [Elder] |
| Full Idea: Some contemporary metaphysicians infer that one of the objects must go, namely, the statue. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 7.2) | |
| A reaction: [He cites Zimmerman 1995] This looks like a recipe for creating a vast gulf between philosophers and the rest of the population. If it is right, it makes the true ontology completely useless in understanding our daily lives. |
| 13797 | The loss of an essential property means the end of an existence [Elder] |
| Full Idea: The loss of any essential property must amount to the end of an existence. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This is orthodoxy for essentialists, and I presume that Aristotle would agree, but I have a problem with the essence of a great athlete, who then grows old. Must we say that they lose their identity-as-an-athlete? |
| 13794 | Essential properties by nature occur in clusters or packages [Elder] |
| Full Idea: Essential properties by nature occur in clusters or packages. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.2) | |
| A reaction: Elder proposes this as his test for the essentialness of a property - his Test of Flanking Uniformities. A nice idea. |
| 13796 | Essential properties are bound together, and would be lost together [Elder] |
| Full Idea: The properties of any essential nature are bound together....[122] so any case in which one of our envisioned familiar objects loses one of its essential properties will be a case in which it loses several. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This sounds like a fairly good generalisation rather than a necessary truth. Is there a natural selection for properties, so that only the properties which are able to bind to others to form teams are able to survive and flourish? |
| 19487 | Without the analytic/synthetic distinction, Carnap's ontology/empirical distinction collapses [Quine] |
| Full Idea: If there is no proper distinction between analytic and synthetic, then no basis at all remains for the contrast which Carnap urges between ontological statements and empirical statements of existence. Ontology then ends up on a par with natural science. | |
| From: Willard Quine (On Carnap's Views on Ontology [1951], p.211) | |
| A reaction: Carnap says ontology is relative to a linguistic framework. 'External' ontology is empty. This quotation gives Quine's main motivation for denying the analytic/synthetic distinction. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |