12 ideas
| 12766 | Logical space is abstracted from the actual world [Stalnaker] |
| Full Idea: Logical space is not given independently of the individuals that occupy it, but is abstracted from the world as we find it. | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.85) | |
| A reaction: I very much like the second half of this idea, and am delighted to find Stalnaker endorsing it. I take the logical connectives to be descriptions of how things behave, at a high level of generality. |
| 12764 | For the bare particular view, properties must be features, not just groups of objects [Stalnaker] |
| Full Idea: If we are to make sense of the bare particular theory, a property must be not just a rule for grouping individuals, but a feature of individuals in virtue of which they may be grouped. | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.76) | |
| A reaction: He is offering an objection to the thoroughly extensional account of properties that is found in standard possible worlds semantics. Quite right too. We can't give up on the common sense notion of a property. |
| 12761 | An essential property is one had in all the possible worlds where a thing exists [Stalnaker] |
| Full Idea: If necessity is explained in terms of possible worlds, ...then an essential property is a property that a thing has in all possible worlds in which it exists. | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.71) | |
| A reaction: This seems to me to be a quite shocking confusion of necessary properties with essential properties. The point is that utterly trivial properties can be necessary, but in no way part of the real essence of something. |
| 12763 | Necessarily self-identical, or being what it is, or its world-indexed properties, aren't essential [Stalnaker] |
| Full Idea: We can remain anti-essentialist while allowing some necessary properties: those essential to everything (self-identity), relational properties (being what it is), and world-indexed properties (being snub-nosed-only-in-Kronos). | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.73) | |
| A reaction: [a summary] He defined essential properties as necessary properties (Idea 12761), and now backpeddles. World-indexed properties are an invention of Plantinga, as essential properties to don't limit individuals. But they are necessary, not essential! |
| 12762 | Bare particular anti-essentialism makes no sense within modal logic semantics [Stalnaker] |
| Full Idea: I argue that one cannot make semantical sense out of bare particular anti-essentialism within the framework of standard semantics for modal logic. | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.71) | |
| A reaction: Stalnaker characterises the bare particular view as ANTI-essentialist, because he has defined essence in terms of necessary properties. The bare particular seems to allow the possibility of Aristotle being a poached egg. |
| 12765 | Why imagine that Babe Ruth might be a billiard ball; nothing useful could be said about the ball [Stalnaker] |
| Full Idea: I cannot think of any point in making the counterfactual supposition that Babe Ruth is a billiard ball; there is nothing I can say about him in that imagined state that I could not just as well say about billiard balls that are not him. | |
| From: Robert C. Stalnaker (Anti-essentialism [1979], p.79) | |
| A reaction: A bizarrely circumspect semanticists way of saying that Ruth couldn't possibly be a billiard ball! Would he say the same about a group of old men in wheelchairs, one of whom IS Babe Ruth? |
| 7293 | It is legitimate to do harm if it is the unintended side-effect of an effort to achieve a good [Grayling] |
| Full Idea: The doctrine of double effect says that it is legitimate to do harm if the harm is the unintended side-effect of an effort to achieve a legitimate goal. | |
| From: A.C. Grayling (Among the Dead Cities [2006], Ch.6) | |
| A reaction: I think a key principle of morality is our duty to think about possible unnoticed consequences of our actions. To neglect concern for side-effects is wicked. Beyond that, the issue must concern the particulars of the situation. |
| 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! |
| 7292 | War must also have a good chance of success, and be waged with moderation [Grayling] |
| Full Idea: To Aquinas's three conditions for war (Idea 7291) modern theorists have added two others: that to be just a war must have a reasonable chance of success, and that the means used to conduct it must be proportional to the ends sought. | |
| From: A.C. Grayling (Among the Dead Cities [2006], Ch.6) | |
| A reaction: These two principles strike me as being much more civilized and humane than Aquinas's original contribution, suggesting that in our theoretical thinking we might be making some progress. |