13 ideas
| 21953 | For Heidegger there is 'ontic' truth or 'uncoveredness', as in "he is a true friend" [Heidegger, by Wrathall] |
| Full Idea: We say things like 'he is a true friend'. Heidegger calls this kind of truth 'ontic truth' or the 'uncoveredness' of entities. | |
| From: report of Martin Heidegger (On the Essence of Truth [1935]) by Mark Wrathall - Heidegger: how to read 7 | |
| A reaction: [In his later essays] The example is very bad for showing a clear alternative meaning of 'true'. I presume it can only be explained in essentialist terms - an entity is 'true' if its appearance and behaviour conforms to its essence. |
| 16235 | Persistence conditions cannot contradict, so there must be a 'dominant sortal' [Burke,M, by Hawley] |
| Full Idea: Burke says a single object cannot have incompatible persistence conditions, for this would entail that there are events in which the object would both survive and perish. He says one sortal 'dominates' the other (sweater dominates thread). | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
| A reaction: This I take to be the most extreme version of sortal essentialism, and strikes me as incredibly gerrymandered and unacceptable. It is just too anthropocentric to count as genuine metaphysics. I may care more about the thread. |
| 14753 | The 'dominant' of two coinciding sortals is the one that entails the widest range of properties [Burke,M, by Sider] |
| Full Idea: Burke claims that the 'dominant' sortal is the one whose satisfaction entails possession of the widest range of properties. For example, the statue (unlike the lump of clay) also possesses aesthetic properties, and hence is dominant. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: [there are three papers by Burke on this; see all the quotations from Burke] Presumably one sortal could entail a single very important property, and the other sortal entail a huge range of trivial properties. What does being a 'thing' entail? |
| 16072 | 'The rock' either refers to an object, or to a collection of parts, or to some stuff [Burke,M, by Wasserman] |
| Full Idea: Burke distinguishes three different readings of 'the rock'. It can be a singular description denoting an object, or a plural description denoting all the little pieces of rock, or a mass description the relevant rocky stuff. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
| A reaction: Idea 16068 is an objection to the second reading. Only the first reading seems plausible, so we must just get over all the difficulties philosophers have unearthed about knowing exactly what an 'object' is. I offer you essentialism. Rocks have unity. |
| 14751 | Tib goes out of existence when the tail is lost, because Tib was never the 'cat' [Burke,M, by Sider] |
| Full Idea: Burke argues that Tib (the whole cat apart from its tail) goes out of existence when the tail is lost. His essentialist principle is that if something is ever of a particular sort (such as 'cat') then it is always of that sort. Tib is not initially a cat. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: This I take to be a souped up version of Wiggins, and I just don't buy that identity conditions are decided by sortals, when it seems obvious that sortals are parasitic on identities. |
| 16071 | Sculpting a lump of clay destroys one object, and replaces it with another one [Burke,M, by Wasserman] |
| Full Idea: On Burke's view, the process of sculpting a lump of clay into a statue destroys one object (a mere lump of clay) and replaces it with another (a statue). | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Ryan Wasserman - Material Constitution 5 | |
| A reaction: There is something right about this, but how many intermediate objects are created during the transition. It seems to make the notion of an object very conventional. |
| 16234 | Burke says when two object coincide, one of them is destroyed in the process [Burke,M, by Hawley] |
| Full Idea: Michael Burke argues that a sweater is identical with the thread that consitutes it, that both were created at the moment when they began to coincide, and that the original thread was destroyed in the process. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Katherine Hawley - How Things Persist 5.3 | |
| A reaction: [Burke's ideas are spread over three articles] It is the thread which is destroyed, because the sweater is the 'dominant sortal' (which strikes me as a particularlyd desperate concept). |
| 13278 | Maybe the clay becomes a different lump when it becomes a statue [Burke,M, by Koslicki] |
| Full Idea: Burke has argued in a series of papers that the lump of clay which constitutes the statue is numerically distinct from the lump of clay which exists before or after the statue exists. The first is a statue, while the second is merely a lump of clay. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Kathrin Koslicki - The Structure of Objects | |
| A reaction: Koslicki objects that this introduces radically different persistence conditions from normal. It would mean that a pile of sugar was a different pile of sugar every time a grain moved (even slightly). You couldn't step into the same sugar twice. |
| 14750 | Two entities can coincide as one, but only one of them (the dominant sortal) fixes persistence conditions [Burke,M, by Sider] |
| Full Idea: Michael Burke has given an account that avoids distinguishing coinciding entities. ...The statue/lump satisfies both 'lump' and 'statue', but only the latter determines that object's persistence conditions, and so is that object's 'dominant sortal'. | |
| From: report of Michael Burke (Dion and Theon: an essentialist solution [1994]) by Theodore Sider - Four Dimensionalism 5.4 | |
| A reaction: Presumably a lump on its own can have its own persistance conditions (as a 'lump'), but those would presumably be lost if you shaped it into a statue. Burke concedes that. Can of worms. Using a book as a doorstop... |
| 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. |