11 ideas
| 15049 | Metaphysical realists are committed to all unambiguous statements being true or not true [Dummett] |
| Full Idea: The anti-realist view undercuts the ground for accepting bivalence. ...Acceptance of bivalence should not be taken as a sufficient condition for realism. ..They accept the weaker principle that unambiguous statements are determinately true or not true. | |
| From: Michael Dummett (Realism and Anti-Realism [1992], p.467) | |
| A reaction: [cited by Kit Fine, when discussing anti-realism] I take it be quite an important component of realism that there might be facts which will never be expressed, or are even beyond our capacity to grasp or express them |
| 23146 | Motives produce intentions, which lead to actions [Driver] |
| Full Idea: Motives will cause persons for form intentions; it is intentions which more directly guide actions. | |
| From: Julia Driver (The Virtues and Human Nature [1996], 3) | |
| A reaction: This is invites the question of whether there is a sharp distinction between the motive and the action. Detectives look for motives, but law courts look for intentions. |
| 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! |
| 23147 | Good intentions are not necessary for virtue [Driver] |
| Full Idea: I deny the claim that good intentions are necessary for virtue. | |
| From: Julia Driver (The Virtues and Human Nature [1996], 3) | |
| A reaction: Presumably one could continually do the right thing, because it was your duty or your job, without actually being well motivated for it. |
| 23144 | Virtue should be defined by consequences, not by states of mind [Driver] |
| Full Idea: The behavioural aspects of virtue are more important than its phenomenology, because virtue is best defined along consequentialist lines. | |
| From: Julia Driver (The Virtues and Human Nature [1996], Intro) | |
| A reaction: This is the thesis of her paper. Quite persuasive. Consequences are, of course, important in all moral theories (even Kant's). She doesn't rely on human nature. The social virtues vary according to the circumstances, such as gossiping in wartime. |
| 23148 | Virtues are character traits or dispositions which produce good consequences for others [Driver] |
| Full Idea: A moral virtue is a character trait (a disposition or cluster of dispositions) which, generally speaking, produces good consequences for others. | |
| From: Julia Driver (The Virtues and Human Nature [1996], 3) | |
| A reaction: There are self-directed virtues, such as keeping fit and healthy. There are virtues for ways to receive the kindness of others. That said, I like this idea. |
| 23150 | Control of pregnancy and knowledge of paternity have downgraded chastity [Driver] |
| Full Idea: Women now have more control over becoming pregnant. Men can now be more certain of paternity, without the constraint of female chastity. Hence chastity is no longer considered a moral virtue. | |
| From: Julia Driver (The Virtues and Human Nature [1996], 5) | |
| A reaction: A persuasive argument that virtues are defined by their consequences (to which I add my example of gossiping in wartime). Different social situations and crises promote or relegate the status of certain virtues (such as food hoarding). |
| 23149 | If generosity systematically turned recipients into parasites, it wouldn't be a virtue [Driver] |
| Full Idea: If generosity towards the needy in the long run produced [social] parasites, and if generosity did this systematically, then it would not be a moral virtue. | |
| From: Julia Driver (The Virtues and Human Nature [1996], 5) | |
| A reaction: A very persuasive example. Hume has similar views - that we encourage those emotions which have good social outcomes. |