15 ideas
| 17304 | As causation links across time, grounding links the world across levels [Schaffer,J] |
| Full Idea: Grounding is something like metaphysical causation. Just as causation links the world across time, grounding links the world across levels. Grounding connects the more fundamental to the less fundamental, and thereby backs a certain form of explanation. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], Intro) | |
| A reaction: Obviously you need 'levels' for this, which we should take to be structural levels. |
| 17306 | If ground is transitive and irreflexive, it has a strict partial ordering, giving structure [Schaffer,J] |
| Full Idea: By treating grounding as transitive (and irreflexive), one generates a strict partial ordering that induces metaphysical structure. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], Intro) | |
| A reaction: Schaffer's paper goes on to attach the claim that grounding is transitive, but I didn't find his examples very convincing. |
| 8495 | The distinction between particulars and universals is a mistake made because of language [Ramsey] |
| Full Idea: The whole theory of particulars and universals is due to mistaking for a fundamental characteristic of reality what is merely a characteristic of language. | |
| From: Frank P. Ramsey (Universals [1925], p.13) | |
| A reaction: [Fraser MacBride has pursued this idea] It is rather difficult to deny the existence of particulars, in the sense of actual objects, so this appears to make Ramsey a straightforward nominalist, of some sort or other. |
| 8493 | We could make universals collections of particulars, or particulars collections of their qualities [Ramsey] |
| Full Idea: The two obvious methods of abolishing the distinction between particulars and universals are by holding either that universals are collections of particulars, or that particulars are collections of their qualities. | |
| From: Frank P. Ramsey (Universals [1925], p.8) | |
| A reaction: Ramsey proposes an error theory, arising out of language. Quine seems to offer another attempt, making objects and predication unanalysable and basic. Abstract reference seems to make the strongest claim to separate out the universals. |
| 8494 | Obviously 'Socrates is wise' and 'Socrates has wisdom' express the same fact [Ramsey] |
| Full Idea: It seems to me as clear as anything can be in philosophy that the two sentences 'Socrates is wise' and 'wisdom is a characteristic of Socrates' assert the same fact and express the same proposition. | |
| From: Frank P. Ramsey (Universals [1925], p.12) | |
| A reaction: Could be challenged. One says Socrates is just the way he is, the other says he is attached to an abstract entity greater than himself. The squabble over universals has become a squabble over logical form. Finding logical form needs metaphysics! |
| 17308 | Explaining 'Adam ate the apple' depends on emphasis, and thus implies a contrast [Schaffer,J] |
| Full Idea: Explaining why ADAM ate the apple is a different matter from explaining why he ATE the apple, and from why he ate THE APPLE. ...In my view the best explanations incorporate ....contrastive information. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.3.1) | |
| A reaction: But why are the contrasts Eve, or throwing it, or a pear? It occurs to me that this is wrong! The contrast is with anything else which could have gone in subject, verb or object position. It is a matter of categories, not of contrasts. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 17305 | I take what is fundamental to be the whole spatiotemporal manifold and its fields [Schaffer,J] |
| Full Idea: I myself would prefer to speak of what is fundamental in terms of the whole spatiotemporal manifold and the fields that permeate it, with parts counting as derivative of the whole. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.1.1) | |
| A reaction: Not quite the Parmenidean One, since it has parts, but a nice try at updating the great man. Note the reference to 'fields', suggesting that this view is grounded in the physics rather than metaphysics. How many fields has it got? |
| 17307 | Nowadays causation is usually understood in terms of equations and variable ranges [Schaffer,J] |
| Full Idea: The leading treatments of causation work within 'structural equation models', with events represented via variables each of which is allotted a range of permitted values, which constitute a 'contrast space'. | |
| From: Jonathan Schaffer (Grounding, Transitivity and Contrastivity [2012], 4.3.1) | |
| A reaction: Like Woodward's idea that causation is a graph, this seems to be a matter of plotting or formalising correlations between activities, which is a very Humean approach to causation. |