33 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. |
| 8988 | Two marxist ideas have dominated in France: base and superstructure, and ideology [Scruton] |
| Full Idea: Two tenets of classical Marxism have played a decisive role in French culture during our century: the theory of base and superstructure, and the concept of ideology. | |
| From: Roger Scruton (Upon Nothing: Swansea lecture [1993], p.7) | |
| A reaction: It is striking how marxist attitudes permeate even the least political of French philosophical writings, to the point where you wonder if they are even aware of it any more. They largely have marxism and reaction, with liberalism passing them by. |
| 8987 | On the surface of deconstructive writing, technicalities float and then drift away [Scruton] |
| Full Idea: Deconstructive writing has a peculiar surface, in which technicalities float on the syntactic flood and vanish unexplained downstream. | |
| From: Roger Scruton (Upon Nothing: Swansea lecture [1993], p.2) | |
| A reaction: Not even the greatest fans of deconstruction can deny this, and Derrida more or less admits it. At first glance it certainly looks more like the ancient idea of rhetoric than it looks anything like dialectic. |
| 8992 | Deconstruction is the last spasm of romanticism, now become hopeless and destructive [Scruton] |
| Full Idea: The subversive patterns of thought in deconstruction are a last spasm of romanticism: one that has given up hope of an otherworldly redemption, and set out instead to destroy the illusions in which other still believe, the source of their power. | |
| From: Roger Scruton (Upon Nothing: Swansea lecture [1993], p.29) | |
| A reaction: It seems to be strongly connected with the failure of marxism in Europe, but it also seems to inherit all the values of the Dada movement. |
| 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) |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 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. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 8989 | The benefits of social freedom outweigh the loneliness, doubt and alienation it brings [Scruton] |
| Full Idea: While the goods of freedom, such as rights, property, education and prosperity, can be obtained only at a price - the price of loneliness, doubt and alienation - it is a price worth paying. | |
| From: Roger Scruton (Upon Nothing: Swansea lecture [1993]) | |
| A reaction: A striking way for a liberal-conservative to confront the accusations of the marxists - by conceding a lot of their criticisms, but living with them. I still don't see why we shouldn't aspire to have both. |
| 8990 | So-called 'liberation' is the enemy of freedom, destroying the very structures that are needed [Scruton] |
| Full Idea: The promise of 'liberation' has always been the enemy of freedom - in 1968 as much as in 1789 and 1917. Its first desire, and its only policy, is to destroy the institutions and traditions (the 'structures') which make freedom durable. | |
| From: Roger Scruton (Upon Nothing: Swansea lecture [1993], p.9) | |
| A reaction: There is a dilemma, though, if your legal system is corrupt. Far too many political attitudes are formed because of high-profile spectacular cases, instead of looking at daily routines. The latter might make a corrupt legal system still worth saving. |