25 ideas
| 17518 | Counting 'coin in this box' may have coin as the unit, with 'in this box' merely as the scope [Ayers] |
| Full Idea: If we count the concept 'coin in this box', we could regard coin as the 'unit', while taking 'in this box' to limit the scope. Counting coins in two boxes would be not a difference in unit (kind of object), but in scope. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Counting') | |
| A reaction: This is a very nice alternative to the Fregean view of counting, depending totally on the concept, and rests more on a natural concept of object. I prefer Ayers. Compare 'count coins till I tell you to stop'. |
| 17516 | If counting needs a sortal, what of things which fall under two sortals? [Ayers] |
| Full Idea: If we accepted that counting objects always presupposes some sortal, it is surely clear that the class of objects to be counted could be designated by two sortals rather than one. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vii) | |
| A reaction: His nice example is an object which is both 'a single piece of wool' and a 'sweater', which had better not be counted twice. Wiggins struggles to argue that there is always one 'substance sortal' which predominates. |
| 17520 | Events do not have natural boundaries, and we have to set them [Ayers] |
| Full Idea: In order to know which event has been ostensively identified by a speaker, the auditor must know the limits intended by the speaker. ...Events do not have natural boundaries. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: He distinguishes events thus from natural objects, where the world, to a large extent, offers us the boundaries. Nice point. |
| 4483 | If abstract terms are sets of tropes, 'being a unicorn' and 'being a griffin' turn out identical [Loux] |
| Full Idea: If trope theorists say abstract singular terms name sets of tropes, what is the referent of 'is a unicorn'? The only candidate is the null set (with no members), but there is just one null set, so 'being a unicorn' and 'being a griffin' will be identical. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.86) | |
| A reaction: Not crucial, I would think, given that a unicorn is just a horse with a horn. Hume explains how we do that, combining ideas which arose from actual tropes. |
| 4481 | Austere nominalists insist that the realist's universals lack the requisite independent identifiability [Loux] |
| Full Idea: Austere nominalists insist that the realist's universals lack the requisite independent identifiability. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.60) | |
| A reaction: Plato's view seems to be that we don't identify universals independently. We ascend The Line, or think about the shadows in The Cave, and infer the universals from an array of particulars (by dialectic). |
| 4477 | Universals come in hierarchies of generality [Loux] |
| Full Idea: Universals come in hierarchies of generality. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.24) | |
| A reaction: If it is possible to state facts about universals, this obviously encourages a rather Platonic approach to them, as existent things with properties. But maybe the hierarchies are conventional, not natural. |
| 4482 | Austere nominalism has to take a host of things (like being red, or human) as primitive [Loux] |
| Full Idea: In return for a one-category ontology (with particulars but no universals), the austere nominalist is forced to take a whole host of things (like being red, or triangular, or human) as unanalysable or primitive. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.68) | |
| A reaction: I see that 'red' might have to be primitive, but being human can just be a collection of particulars. It is no ontologically worse to call them 'primitive' than to say they exist. |
| 4478 | Nominalism needs to account for abstract singular terms like 'circularity'. [Loux] |
| Full Idea: Nominalists have been very concerned to provide an account of the role of abstract singular terms (such as 'circularity'). | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.34) | |
| A reaction: Whether this is a big problem depends on our view of abstraction. If it only consists of selecting one property of an object and reifying it, then we can give a nominalist account of properties, and the problem is solved. |
| 17519 | To express borderline cases of objects, you need the concept of an 'object' [Ayers] |
| Full Idea: The only explanation of the power to produce borderline examples like 'Is this hazelnut one object or two?' is the possession of the concept of an object. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Counting') |
| 4480 | Times and places are identified by objects, so cannot be used in a theory of object-identity [Loux] |
| Full Idea: Any account of the identity of material objects which turns on the identity of places and times must face the objection that the identity of places and times depends, in turn, on the identities of the objects located at them. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.56) | |
| A reaction: This may be a benign circle, in which we concede that there are two basic interdependent concepts of objects and space-time. If you want to define identity - in terms of what? |
| 17510 | Speakers need the very general category of a thing, if they are to think about it [Ayers] |
| Full Idea: If a speaker indicates something, then in order for others to catch his reference they must know, at some level of generality, what kind of thing is indicated. They must categorise it as event, object, or quality. Thinking about something needs that much. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: Ayers defends the view that such general categories are required, but not the much narrower sortal terms defended by Geach and Wiggins. I'm with Ayers all the way. 'What the hell is that?' |
| 17522 | We use sortals to classify physical objects by the nature and origin of their unity [Ayers] |
| Full Idea: Sortals are the terms by which we intend to classify physical objects according to the nature and origin of their unity. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: This is as opposed to using sortals for the initial individuation. I take the perception of the unity to come first, so resemblance must be mentioned, though it can be an underlying (essentialist) resemblance. |
| 17515 | Seeing caterpillar and moth as the same needs continuity, not identity of sortal concepts [Ayers] |
| Full Idea: It is unnecessary to call moths 'caterpillars' or caterpillars 'moths' to see that they can be the same individual. It may be that our sortal concepts reflect our beliefs about continuity, but our beliefs about continuity need not reflect our sortals. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vi) | |
| A reaction: Something that metamorphosed through 15 different stages could hardly required 15 different sortals before we recognised the fact. Ayers is right. |
| 17511 | Recognising continuity is separate from sortals, and must precede their use [Ayers] |
| Full Idea: The recognition of the fact of continuity is logically independent of the possession of sortal concepts, whereas the formation of sortal concepts is at least psychologically dependent upon the recognition of continuity. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: I take this to be entirely correct. I might add that unity must also be recognised. |
| 17517 | Could the same matter have more than one form or principle of unity? [Ayers] |
| Full Idea: The abstract question arises of whether the same matter could be subject to more than one principle of unity simultaneously, or unified by more than one 'form'. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vii) | |
| A reaction: He suggests that the unity of the sweater is destroyed by unravelling, and the unity of the thread by cutting. |
| 17513 | If there are two objects, then 'that marble, man-shaped object' is ambiguous [Ayers] |
| Full Idea: The statue is marble and man-shaped, but so is the piece of marble. So not only are the two objects in the same place, but two marble and man-shaped objects in the same place, so 'that marble, man-shaped object' must be ambiguous or indefinite. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') | |
| A reaction: It strikes me as basic that it can't be a piece of marble if you subtract its shape, and it can't be a statue if you subtract its matter. To treat a statue as an object, separately from its matter, is absurd. |
| 17523 | Sortals basically apply to individuals [Ayers] |
| Full Idea: Sortals, in their primitive use, apply to the individual. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: If the sortal applies to the individual, any essence must pertain to that individual, and not to the class it has been placed in. |
| 17521 | You can't have the concept of a 'stage' if you lack the concept of an object [Ayers] |
| Full Idea: It would be impossible for anyone to have the concept of a stage who did not already possess the concept of a physical object. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') |
| 17514 | Temporal 'parts' cannot be separated or rearranged [Ayers] |
| Full Idea: Temporally extended 'parts' are still mysteriously inseparable and not subject to rearrangement: a thing cannot be cut temporally in half. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') | |
| A reaction: A nice warning to anyone accepting a glib analogy between spatial parts and temporal parts. |
| 17509 | Some say a 'covering concept' completes identity; others place the concept in the reference [Ayers] |
| Full Idea: Some hold that the 'covering concept' completes the incomplete concept of identity, determining the kind of sameness involved. Others strongly deny the identity itself is incomplete, and locate the covering concept within the necessary act of reference. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: [a bit compressed; Geach is the first view, and Quine the second; Wiggins is somewhere between the two] |
| 17512 | If diachronic identities need covering concepts, why not synchronic identities too? [Ayers] |
| Full Idea: Why are covering concepts required for diachronic identities, when they must be supposed unnecessary for synchronic identities? | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') |
| 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! |