40 ideas
| 13734 | Modern Quinean metaphysics is about what exists, but Aristotelian metaphysics asks about grounding [Schaffer,J] |
| Full Idea: On the now dominant Quinean view, metaphysics is about what there is (such as properties, meanings and numbers). I will argue for the revival of a more traditional Aristotelian view, on which metaphysics is about what grounds what. | |
| From: Jonathan Schaffer (On What Grounds What [2009], Intro) | |
| A reaction: I find that an enormously helpful distinction, and support the Aristotelian view. Schaffer's general line is that what exists is fairly uncontroversial and dull, but the interesting truths about the world emerge when we grasp its structure. |
| 13751 | If you tore the metaphysics out of philosophy, the whole enterprise would collapse [Schaffer,J] |
| Full Idea: Traditional metaphysics is so tightly woven into the fabric of philosophy that it cannot be torn out without the whole tapestry unravelling. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.3) | |
| A reaction: I often wonder why the opponents of metaphysics still continue to do philosophy. I don't see how you address questions of ethics, or philosophy of mathematics (etc) without coming up against highly general and abstract over-questions. |
| 13743 | We should not multiply basic entities, but we can have as many derivative entities as we like [Schaffer,J] |
| Full Idea: Occam's Razor should only be understood to concern substances: do not multiply basic entities without necessity. There is no problem with the multiplication of derivative entities - they are an 'ontological free lunch'. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.1) | |
| A reaction: The phrase 'ontological free lunch' comes from Armstrong. This is probably what Occam meant. A few extra specks of dust, or even a few more numbers (thank you, Cantor!) don't seem to challenge the principle. |
| 13741 | If 'there are red roses' implies 'there are roses', then 'there are prime numbers' implies 'there are numbers' [Schaffer,J] |
| Full Idea: We can automatically infer 'there are roses' from 'there are red roses' (with no shift in the meaning of 'roses'). Likewise one can automatically infer 'there are numbers' from 'there are prime numbers'. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.1) | |
| A reaction: He similarly observes that the atheist's 'God is a fictional character' implies 'there are fictional characters'. Schaffer is not committing to a strong platonism with his claim - merely that the existence of numbers is hardly worth disputing. |
| 13748 | Grounding is unanalysable and primitive, and is the basic structuring concept in metaphysics [Schaffer,J] |
| Full Idea: Grounding should be taken as primitive, as per the neo-Aristotelian approach. Grounding is an unanalyzable but needed notion - it is the primitive structuring conception of metaphysics. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.2) | |
| A reaction: [he cites K.Fine 1991] I find that this simple claim clarifies the discussions of Kit Fine, where you are not always quite sure what the game is. I agree fully with it. It makes metaphysics interesting, where cataloguing entities is boring. |
| 13747 | Supervenience is just modal correlation [Schaffer,J] |
| Full Idea: Supervenience is mere modal correlation. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.2) |
| 13744 | The cosmos is the only fundamental entity, from which all else exists by abstraction [Schaffer,J] |
| Full Idea: My preferred view is that there is only one fundamental entity - the whole concrete cosmos - from which all else exists by abstraction. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.1) | |
| A reaction: This looks to me like weak anti-realism - that there are no natural 'joints' in nature - but I don't think Schaffer intends that. I take the joints to be fundamentals, which necessitates that the cosmos has parts. His 'abstraction' is clearly a process. |
| 13739 | Maybe categories are just the different ways that things depend on basic substances [Schaffer,J] |
| Full Idea: Maybe the categories are determined by the different grounding relations, ..so that categories just are the ways things depend on substances. ...Categories are places in the dependence ordering. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 1.3) |
| 13742 | There exist heaps with no integral unity, so we should accept arbitrary composites in the same way [Schaffer,J] |
| Full Idea: I am happy to accept universal composition, on the grounds that there are heaps, piles etc with no integral unity, and that arbitrary composites are no less unified than heaps. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.1 n11) | |
| A reaction: The metaphysical focus is then placed on what constitutes 'integral unity', which is precisely the question which most interested Aristotle. Clearly if there is nothing more to an entity than its components, scattering them isn't destruction. |
| 13752 | The notion of 'grounding' can explain integrated wholes in a way that mere aggregates can't [Schaffer,J] |
| Full Idea: The notion of grounding my capture a crucial mereological distinction (missing from classical mereology) between an integrated whole with genuine unity, and a mere aggregate. x is an integrated whole if it grounds its proper parts. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 3.1) | |
| A reaction: That gives a nice theoretical notion, but if you remove each of the proper parts, does x remain? Is it a bare particular? I take it that it will have to be an abstract principle, the one Aristotle was aiming at with his notion of 'form'. Schaffer agrees. |
| 13749 | Belief in impossible worlds may require dialetheism [Schaffer,J] |
| Full Idea: One motivation for dialetheism is the view that there are impossible worlds. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.3) |
| 13740 | 'Moorean certainties' are more credible than any sceptical argument [Schaffer,J] |
| Full Idea: A 'Moorean certainty' is when something is more credible than any philosopher's argument to the contrary. | |
| From: Jonathan Schaffer (On What Grounds What [2009], 2.1) | |
| A reaction: The reference is to G.E. Moore's famous claim that the existence of his hand is more certain than standard sceptical arguments. It sounds empiricist, but they might be parallel rational truths, of basic logic or arithmetic. |
| 7621 | Special relativity, unlike general relativity, was operationalist in spirit [Putnam on Einstein] |
| Full Idea: Einstein's interpretation of special relativity was operationalist in spirit (in marked contrast to the interpretation he gave to general relativity). | |
| From: comment on Albert Einstein (works [1915]) by Hilary Putnam - Reason, Truth and History Ch.5 | |
| A reaction: The late twentieth century was polluted with daft relativism, and I hold Einstein partly responsible, suspecting that he was a bad philosopher. The later development of Einstein's view noted here is interesting. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 22955 | Einstein took causation to be the bedrock of physics [Einstein, by Coveney/Highfield] |
| Full Idea: It is difficult to overplay Einstein's commitment to the concept of causality as the bedrock of physics. | |
| From: report of Albert Einstein (works [1915]) by P Coveney / R Highfield - The Arrow of Time 3 'problem' | |
| A reaction: I normally avoid arguments from authority, but this carries a bit of weight (e.g. when Russell tries to oppose it). What happens to Einstein's theories if you remove causation from them? |
| 20638 | General relativity assumes laws of nature are the same in all frames of reference [Einstein, by Close] |
| Full Idea: Einstein came to general relativity from the principles that the laws of nature are the same in all frames of reference. | |
| From: report of Albert Einstein (works [1915]) by Frank Close - Theories of Everything 5 'Cosmological' | |
| A reaction: I wish physicists would tell us a bit more about the ontological status of the 'laws of nature'. Presumably they are not supernatural, so there is an aspect of nature which is constant in all frames of reference. Explanation please. |
| 20636 | Newton is a special case of Einstein's general theory, with an infinite speed of light [Einstein, by Close] |
| Full Idea: Einstein's general relativity included Newton's theory as a special case: Newton's theory corresponds to the speed of light being infinite relative to the speed of the interacting bodies. | |
| From: report of Albert Einstein (works [1915]) by Frank Close - Theories of Everything 5 'Gravity' | |
| A reaction: So Newton's theory was NOT wrong, but he made the false assumption that the speed of light was infinite. |
| 21230 | The theory is 'special' because it sticks to observers moving straight, at constant speeds [Einstein, by Farmelo] |
| Full Idea: Einstein's first theory is 'special' because it only deals with observers who move in a straight line at constant speeds with respect to one another. | |
| From: report of Albert Einstein (works [1915]) by Graham Farmelo - The Strangest Man 03 | |
| A reaction: Most theories of this period seem to have focused on the simplest cases, for obvious reasons. |
| 21231 | Assume the speed of light is constant for all observers, and the laws of physics are the same [Einstein, by Farmelo] |
| Full Idea: Einstein assumed that when each observer measures the speed of light in a vacuum, they find the same value, regardless of their speed; and that measurements will lead to agreement on the laws of physics. | |
| From: report of Albert Einstein (works [1915]) by Graham Farmelo - The Strangest Man 03 | |
| A reaction: So are the laws of physics constant for all observers, irrespective of their speed? |
| 20634 | General Relativity says there is no absolute force or acceleration [Einstein, by Close] |
| Full Idea: Einstein's General Theory arose from the idea that there is no absolute measure of force and acceleration. | |
| From: report of Albert Einstein (works [1915]) by Frank Close - Theories of Everything 5 'Gravity' | |
| A reaction: If absolutely everything is only true relative to something else you wonder what the point of measuring anything is. How big can a 'frame of reference' or 'inertial frame' be. Is the multiverse a frame of reference? |
| 20648 | Mass is a measure of energy content [Einstein] |
| Full Idea: The mass of a body is the measure of its energy content. | |
| From: Albert Einstein (works [1915]), quoted by Peter Watson - Convergence 04 'Intro' | |
| A reaction: If I knew what energy was, this would be very illuminating. This idea is e=mc^2 in words. We now have the Higgs field to consider when trying to understand mass. |
| 21232 | Space-time arises from the connection between measurements of space and of time [Einstein, by Farmelo] |
| Full Idea: Einstein noted that the measurements of space and time are not independent but inextricably linked, leading to the idea of unified space-time (introduced by his former teacher Minkowski). | |
| From: report of Albert Einstein (works [1915]) by Graham Farmelo - The Strangest Man 03 | |
| A reaction: Notice the instrumentalist assumptions behind this. |
| 7626 | I do not believe in a personal God [Einstein] |
| Full Idea: I do not believe in a personal God and I have never denied this but have expressed it clearly. | |
| From: Albert Einstein (works [1915]), quoted by Richard Dawkins - The God Delusion Ch.1.15 | |
| A reaction: This is an important corrective to those who claim Einstein as religious, on the basis of remarks about God not playing dice etc. See the whole of Dawkins's chapter on Einstein for full discussion. |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |