28 ideas
| 10528 | Definitions concern how we should speak, not how things are [Fine,K] |
| Full Idea: Our concern in giving a definition is not to say how things are by to say how we wish to speak | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.310) | |
| A reaction: This sounds like an acceptable piece of wisdom which arises out of analytical and linguistic philosophy. It puts a damper on the Socratic dream of using definition of reveal the nature of reality. |
| 10529 | If Hume's Principle can define numbers, we needn't worry about its truth [Fine,K] |
| Full Idea: Neo-Fregeans have thought that Hume's Principle, and the like, might be definitive of number and therefore not subject to the usual epistemological worries over its truth. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.310) | |
| A reaction: This seems to be the underlying dream of logicism - that arithmetic is actually brought into existence by definitions, rather than by truths derived from elsewhere. But we must be able to count physical objects, as well as just counting numbers. |
| 10530 | Hume's Principle is either adequate for number but fails to define properly, or vice versa [Fine,K] |
| Full Idea: The fundamental difficulty facing the neo-Fregean is to either adopt the predicative reading of Hume's Principle, defining numbers, but inadequate, or the impredicative reading, which is adequate, but not really a definition. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.312) | |
| A reaction: I'm not sure I understand this, but the general drift is the difficulty of building a system which has been brought into existence just by definition. |
| 16039 | Supervenience: No A-difference without a B-difference [Bennett,K] |
| Full Idea: The slogan for supervenience might be 'there cannot be an A-difference without a B-difference'. …(qualifying as a 'perfect forgery' would be an example). | |
| From: Karen Bennett (Supervenience [2011], Intro) | |
| A reaction: The key point about supervenience is that it is one-way. Presumably 'tracking' would be a better single word for it than 'dependence', which implies some sort of causal power. Supervenience describes, but doesn't attempt to explain. |
| 16043 | Supervenience is non-symmetric - sometimes it's symmetric, and sometimes it's one-way [Bennett,K] |
| Full Idea: Supervenience is neither symmetric nor asymmetric; it is non-symmetric. Sometimes it holds symmetrically. …And sometimes it holds asymmetrically. | |
| From: Karen Bennett (Supervenience [2011], §3.2) | |
| A reaction: I think of supervenience as 'tracking'. Stalkers track victims; married couples track one another. Beauty tracks statues, but statues don't seem to track beauty. I take so-called mind-brain supervenience to be two-way, not one-way. |
| 16047 | Weak supervenience is in one world, strong supervenience in all possible worlds [Bennett,K] |
| Full Idea: Weak supervenience says there is no possible world that contains individuals that are B-indiscernible but A-discernible. Strong supervenience entails the same even if they are in different possible worlds. | |
| From: Karen Bennett (Supervenience [2011], §4.1) | |
| A reaction: In other words (I presume), in simple language, the weak version says they happen supervene, the strong version says they have to supervene. |
| 16040 | Aesthetics, morality and mind supervene on the physical? Modal on non-modal? General on particular? [Bennett,K] |
| Full Idea: It has been claimed that aesthetic, moral and mental properties supervene upon physical properties, …and that modal truths supervene on non-modal ones, and that general truths supervene on particular ones. | |
| From: Karen Bennett (Supervenience [2011], Intro) | |
| A reaction: I am attracted to the last bit. I am bewildered by people who try to derive particular truths from general ones, such as deriving physical behaviour from laws, or the nature of some creature simply from its species. Only some tigers are man-eaters. |
| 16044 | Some entailments do not involve supervenience, as when brotherhood entails siblinghood [Bennett,K] |
| Full Idea: Some entailments do not suffice for supervenience. Being a brother entails being a sibling, but being a sibling does not supervene on being a brother. Sarah has a sister and Jack in an only child. Sarah, unlike Jack, is a sibling; neither is a brother. | |
| From: Karen Bennett (Supervenience [2011], §3.2) | |
| A reaction: The whole point of supervenience, I take it, is to label a relation of tracking, while offering no explanation of the tracking. Entailment would be a rather powerful explanation, as would a dog's being tied to a cart. |
| 16046 | Reduction requires supervenience, but does supervenience suffice for reduction? [Bennett,K] |
| Full Idea: Everyone agrees that reduction requires supervenience, …but the more interesting issue is whether supervenience suffices for reduction. | |
| From: Karen Bennett (Supervenience [2011], §3.3) | |
| A reaction: I think we should assume that there is a reason for every genuine case of supervenience (i.e. there are no cases of eternal or ubiquitious coincidence). One-way causation seems to give supervenience without reduction. |
| 16049 | Definitions of physicalism are compatible with a necessary God [Bennett,K] |
| Full Idea: All definitions of physicalism are compatible with the existence of a necessarily existing God. | |
| From: Karen Bennett (Supervenience [2011], 5.4) | |
| A reaction: All the definitions seem to depend on all the facts covarying with the physical facts, so anything which is invariant (such as divine or platonic entities) will stand outside the definition. Physicalism is more like a credo about all facts whatever. |
| 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) |
| 16042 | The metaphysically and logically possible worlds are the same, so they are the same strength [Bennett,K] |
| Full Idea: Metaphysical necessity is just as strong as logical necessity in that the space of metaphysical possibility is exactly the same as the space of logical possibility: the logically possible worlds = the metaphysically possible worlds. | |
| From: Karen Bennett (Supervenience [2011], §3.1) | |
| A reaction: I think this is wrong. To be the 'same strength' there would also have to be the same number of logical as metaphysical truths, and I presume that is not the case. There are far more logical than metaphysical possibilities. |
| 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. |
| 10527 | An abstraction principle should not 'inflate', producing more abstractions than objects [Fine,K] |
| Full Idea: If an abstraction principle is going to be acceptable, then it should not 'inflate', i.e. it should not result in there being more abstracts than there are objects. By this mark Hume's Principle will be acceptable, but Frege's Law V will not. | |
| From: Kit Fine (Precis of 'Limits of Abstraction' [2005], p.307) | |
| A reaction: I take this to be motivated by my own intuition that abstract concepts had better be rooted in the world, or they are not worth the paper they are written on. The underlying idea this sort of abstraction is that it is 'shared' between objects. |
| 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. |