9 ideas
| 4032 | The problem of universals is how many particulars can all be of the same 'type' [Armstrong] |
| Full Idea: The problem of universals is the problem of how numerically different particulars can nevertheless be identical in nature, all be of the same 'type'. | |
| From: David M. Armstrong (Nominalism and Realism [1978], p.41), quoted by DH Mellor / A Oliver - Introduction to 'Properties' §7 | |
| A reaction: A nice statement of the problem. As usual, the question is whether the 'sameness' is a feature of nature, or a product of human thought |
| 8443 | Mereological essentialism says an entity must have exactly those parts [Sosa] |
| Full Idea: Mereological essentialism says that nothing else could have been the unique entity composed of certain parts except the very thing that is composed of those parts. | |
| From: Ernest Sosa (Varieties of Causation [1980], 2) | |
| A reaction: This sounds initially implausible. It means the ship of Theseus ceases to be that ship if you change a single nail of it. Whether we say that seems optional, but if we do, it leads to the collaps of all our normal understanding of identity. |
| 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. |
| 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! |
| 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. |
| 8442 | What law would explain causation in the case of causing a table to come into existence? [Sosa] |
| Full Idea: If I fasten a board onto a tree stump, causing a table to come into existence, ...what law of nature or, even, what quasi-law or law-like principle could possibly play in such a case of generation the role required by nomological accounts? | |
| From: Ernest Sosa (Varieties of Causation [1980], 1) | |
| A reaction: A very nice question. The nomological account is at its strongest when rocks fall off walls or magnets attract, but all sorts of other caused events seem too messy or complex or original to fit the story. |
| 8444 | Where is the necessary causation in the three people being tall making everybody tall? [Sosa] |
| Full Idea: It is not clear how to analyse the form of necessary causation found in the only three people in the room being tall causing everybody in the room to be tall. | |
| From: Ernest Sosa (Varieties of Causation [1980], 5) | |
| A reaction: I would want to challenge this as a case of causation. There are no events or processes involved. It seems that a situation described in one way can also be described in another. |
| 8445 | The necessitated is not always a result or consequence of the necessitator [Sosa] |
| Full Idea: The necessitated is not always a result or consequence of the necessitator. If p-and-q is a fact, then this necessitates that p, but the fact that p need not be a result or consequence of the fact that p-and-q. | |
| From: Ernest Sosa (Varieties of Causation [1980], p.242) | |
| A reaction: This is obviously correct, and needs to be borne in mind when considering necessary causation. It is not enough to produce a piece of logic; something in the link from cause to effect must be demonstrated to be necessary. |