17 ideas
| 17954 | Essence is a thing's necessities, but what about its possibilities (which may not be realised)? [Vetter] |
| Full Idea: Essence is, as it were, necessity rooted in things, ...but how about possibility rooted in things? ...Having the potential to Φ, unlike being essentially Φ, does not entail being actually Φ. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §2) | |
| A reaction: To me this invites the question 'what is it about the entity which endows it with its rooted possibilities?' A thing has possibilities because it has a certain nature (at a given time). |
| 17953 | Real definition fits abstracta, but not individual concrete objects like Socrates [Vetter] |
| Full Idea: I can understand the notion of real definition as applying to (some) abstact entities, but I have no idea how to apply it to a concrete object such as Socrates or myself. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §1) | |
| A reaction: She is objecting to Kit Fine's account of essence, which is meant to be clearer than the normal account of essences based on necessities. Aristotle implies that definitions get fuzzy when you reach the level of the individual. |
| 17952 | Modal accounts make essence less mysterious, by basing them on the clearer necessity [Vetter] |
| Full Idea: The modal account was meant, I take it, to make the notion of essence less mysterious by basing it on the supposedly better understood notion of necessity. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §1) |
| 17959 | Metaphysical necessity is even more deeply empirical than Kripke has argued [Vetter] |
| Full Idea: We support the views of metaphysical modality on which metaphysical necessity is an even more deeply empirical matter than Kripke has argued. | |
| From: Barbara Vetter (Essence and Potentiality [2010], p.2) | |
| A reaction: [co-author E. Viebahn] This seems to pinpoint the spirit of scientific essentialism. She cites Bird and Shoemaker. If it is empirical, doesn't that make it a matter of epistemology, and hence further from absolute necessity? |
| 17955 | Possible worlds allow us to talk about degrees of possibility [Vetter] |
| Full Idea: The apparatus of possible worlds affords greater expressive power than mere talk of possibility and necessity. In particular, possible worlds talk allows us to introduce degrees of possibility. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §3) | |
| A reaction: A nice feature, but I'm not sure that either the proportion of possible worlds or the closeness of possible worlds captures what we actually mean by a certain degree of possibility. There is 'accidental closeness', or absence of contingency. See Vetter. |
| 17957 | Maybe possibility is constituted by potentiality [Vetter] |
| Full Idea: We should look at the claim that possibility is constituted by potentiality. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §4) | |
| A reaction: A problem that comes to mind is possibilities arising from coincidence. The whole of reality must be described, to capture all the possibilities for a particular thing. So potentialities of what? Nice thought, though. |
| 17958 | The apparently metaphysically possible may only be epistemically possible [Vetter] |
| Full Idea: Some of what metaphysicians take to be metaphysically possible turns out to be only epistemically possible. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §4) | |
| A reaction: A nice clear expression of the increasingly common view that conceivability may be a limited way to grasp possibility. |
| 17956 | Closeness of worlds should be determined by the intrinsic nature of relevant objects [Vetter] |
| Full Idea: The closeness of possible worlds should be determined by similarity in the intrinsic constitution of whatever object it is whose potentialities are at issue. | |
| From: Barbara Vetter (Essence and Potentiality [2010], §3) | |
| A reaction: Nice thought. This seems to be the essentialist approach to possible worlds, but it makes the natures of the objects more fundamental than the framework of the worlds. She demurs because there are also extrinsic potentialities. |
| 12899 | The timid student has knowledge without belief, lacking confidence in their correct answer [Lewis] |
| Full Idea: I allow knowledge without belief, as in the case of the timid student who knows the answer but has no confidence that he has it right, and so does not believe what he knows. | |
| From: David Lewis (Elusive Knowledge [1996], p.429) | |
| A reaction: [He cites Woozley 1953 for the timid student] I don't accept this example (since my views on knowledge are rather traditional, I find). Why would the student give that answer if they didn't believe it? Sustained timid correctness never happens. |
| 12897 | To say S knows P, but cannot eliminate not-P, sounds like a contradiction [Lewis] |
| Full Idea: If you claim that S knows that P, and yet grant that S cannot eliminate a certain possibility of not-P, it certainly seems as if you have granted that S does not after all know that P. To speak of fallible knowledge just sounds contradictory. | |
| From: David Lewis (Elusive Knowledge [1996], p.419) | |
| A reaction: Starting from this point, fallibilism seems to be a rather bold move. The only sensible response seems to be to relax the requirement that not-P must be eliminable. Best: in one epistemic context P, in another not-P. |
| 12898 | Justification is neither sufficient nor necessary for knowledge [Lewis] |
| Full Idea: I don't agree that the mark of knowledge is justification, first because justification isn't sufficient - your true opinion that you will lose the lottery isn't knowledge, whatever the odds; and also not necessary - for what supports perception or memory? | |
| From: David Lewis (Elusive Knowledge [1996]) | |
| A reaction: I don't think I agree. The point about the lottery is that an overwhelming reason will never get you to knowing that you won't win. But good reasons are coherent, not statistical. If perceptions are dubious, justification must be available. |
| 12895 | Knowing is context-sensitive because the domain of quantification varies [Lewis, by Cohen,S] |
| Full Idea: The context-sensitivity of 'knows' is a function of contextual restrictions on the domain of quantification. | |
| From: report of David Lewis (Elusive Knowledge [1996]) by Stewart Cohen - Contextualism Defended p.68 | |
| A reaction: I think the shifting 'domain of quantification' is one of the most interesting features of ordinary talk. Or, more plainly. 'what are you actually talking about?' is the key question in any fruitful dialogue. Sophisticated speakers tacitly shift domain. |
| 19562 | We have knowledge if alternatives are eliminated, but appropriate alternatives depend on context [Lewis, by Cohen,S] |
| Full Idea: S knows P if S's evidence eliminates every alternative. But the nature of the alternatives depends on context. So for Lewis, the context sensitivity of 'knows' is a function of contextual restrictions ln the domain of quantification. | |
| From: report of David Lewis (Elusive Knowledge [1996]) by Stewart Cohen - Contextualism Defended (and reply) 1 | |
| A reaction: A typical modern attempt to 'regiment' a loose term like 'context'. That said, I like the idea. I'm struck by how the domain varies during a conversation (as in 'what we are talking about'). Domains standardly contain 'objects', though. |
| 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. |
| 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! |
| 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. |