54 ideas
| 6947 | Metaphysics does not rest on facts, but on what we are inclined to believe [Peirce] |
| Full Idea: Metaphysical systems have not usually rested upon any observed facts, or not in any great degree. They are chiefly adopted because their fundamental propositions seem 'agreeable to reason', which means that which we find ourselves inclined to believe. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.15) | |
| A reaction: This leads to Peirce's key claim - that we should allow our beliefs to be formed by something outside of ourselves. I don't share Peirce's contempt for metaphysics, which I take to be about the most abstract presuppositions of our ordinary beliefs. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 6937 | Reason aims to discover the unknown by thinking about the known [Peirce] |
| Full Idea: The object of reasoning is to find out, from the consideration of what we already know, something else which we do not know. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p. 7) | |
| A reaction: I defy anyone to come up with a better definition of reasoning than that. The emphasis is on knowledge rather than truth, which you would expect from a pragmatist. …Actually the definition doesn't cover conditional reasoning terribly well. |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 17518 | Counting 'coin in this box' may have coin as the unit, with 'in this box' merely as the scope [Ayers] |
| Full Idea: If we count the concept 'coin in this box', we could regard coin as the 'unit', while taking 'in this box' to limit the scope. Counting coins in two boxes would be not a difference in unit (kind of object), but in scope. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Counting') | |
| A reaction: This is a very nice alternative to the Fregean view of counting, depending totally on the concept, and rests more on a natural concept of object. I prefer Ayers. Compare 'count coins till I tell you to stop'. |
| 17516 | If counting needs a sortal, what of things which fall under two sortals? [Ayers] |
| Full Idea: If we accepted that counting objects always presupposes some sortal, it is surely clear that the class of objects to be counted could be designated by two sortals rather than one. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vii) | |
| A reaction: His nice example is an object which is both 'a single piece of wool' and a 'sweater', which had better not be counted twice. Wiggins struggles to argue that there is always one 'substance sortal' which predominates. |
| 17520 | Events do not have natural boundaries, and we have to set them [Ayers] |
| Full Idea: In order to know which event has been ostensively identified by a speaker, the auditor must know the limits intended by the speaker. ...Events do not have natural boundaries. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: He distinguishes events thus from natural objects, where the world, to a large extent, offers us the boundaries. Nice point. |
| 21492 | Realism is basic to the scientific method [Peirce] |
| Full Idea: The fundamental hypothesis of the method of science is this: There are real things, whose characters are entirely independent of our opinion of them. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877]), quoted by Albert Atkin - Peirce 3 'method' | |
| A reaction: He admits later that this is only a commitment and not a fact. It seems to me that when you combine this idea with the huge success of science, the denial of realism is crazy. Philosophy has a lot to answer for. |
| 6949 | If someone doubted reality, they would not actually feel dissatisfaction [Peirce] |
| Full Idea: Nobody can really doubt that there are Reals, for, if he did, doubt would not be a source of dissatisfaction. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.19) | |
| A reaction: This rests on Peirce's view that all that really matters is a sense of genuine dissatisfaction, rather than a theoretical idea. So even at the end of Meditation One, Descartes isn't actually worried about whether his furniture exists. |
| 17519 | To express borderline cases of objects, you need the concept of an 'object' [Ayers] |
| Full Idea: The only explanation of the power to produce borderline examples like 'Is this hazelnut one object or two?' is the possession of the concept of an object. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Counting') |
| 17510 | Speakers need the very general category of a thing, if they are to think about it [Ayers] |
| Full Idea: If a speaker indicates something, then in order for others to catch his reference they must know, at some level of generality, what kind of thing is indicated. They must categorise it as event, object, or quality. Thinking about something needs that much. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: Ayers defends the view that such general categories are required, but not the much narrower sortal terms defended by Geach and Wiggins. I'm with Ayers all the way. 'What the hell is that?' |
| 17522 | We use sortals to classify physical objects by the nature and origin of their unity [Ayers] |
| Full Idea: Sortals are the terms by which we intend to classify physical objects according to the nature and origin of their unity. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: This is as opposed to using sortals for the initial individuation. I take the perception of the unity to come first, so resemblance must be mentioned, though it can be an underlying (essentialist) resemblance. |
| 17515 | Seeing caterpillar and moth as the same needs continuity, not identity of sortal concepts [Ayers] |
| Full Idea: It is unnecessary to call moths 'caterpillars' or caterpillars 'moths' to see that they can be the same individual. It may be that our sortal concepts reflect our beliefs about continuity, but our beliefs about continuity need not reflect our sortals. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vi) | |
| A reaction: Something that metamorphosed through 15 different stages could hardly required 15 different sortals before we recognised the fact. Ayers is right. |
| 17511 | Recognising continuity is separate from sortals, and must precede their use [Ayers] |
| Full Idea: The recognition of the fact of continuity is logically independent of the possession of sortal concepts, whereas the formation of sortal concepts is at least psychologically dependent upon the recognition of continuity. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: I take this to be entirely correct. I might add that unity must also be recognised. |
| 17517 | Could the same matter have more than one form or principle of unity? [Ayers] |
| Full Idea: The abstract question arises of whether the same matter could be subject to more than one principle of unity simultaneously, or unified by more than one 'form'. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Realist' vii) | |
| A reaction: He suggests that the unity of the sweater is destroyed by unravelling, and the unity of the thread by cutting. |
| 17513 | If there are two objects, then 'that marble, man-shaped object' is ambiguous [Ayers] |
| Full Idea: The statue is marble and man-shaped, but so is the piece of marble. So not only are the two objects in the same place, but two marble and man-shaped objects in the same place, so 'that marble, man-shaped object' must be ambiguous or indefinite. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') | |
| A reaction: It strikes me as basic that it can't be a piece of marble if you subtract its shape, and it can't be a statue if you subtract its matter. To treat a statue as an object, separately from its matter, is absurd. |
| 17523 | Sortals basically apply to individuals [Ayers] |
| Full Idea: Sortals, in their primitive use, apply to the individual. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') | |
| A reaction: If the sortal applies to the individual, any essence must pertain to that individual, and not to the class it has been placed in. |
| 17521 | You can't have the concept of a 'stage' if you lack the concept of an object [Ayers] |
| Full Idea: It would be impossible for anyone to have the concept of a stage who did not already possess the concept of a physical object. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Concl') |
| 17514 | Temporal 'parts' cannot be separated or rearranged [Ayers] |
| Full Idea: Temporally extended 'parts' are still mysteriously inseparable and not subject to rearrangement: a thing cannot be cut temporally in half. | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') | |
| A reaction: A nice warning to anyone accepting a glib analogy between spatial parts and temporal parts. |
| 17509 | Some say a 'covering concept' completes identity; others place the concept in the reference [Ayers] |
| Full Idea: Some hold that the 'covering concept' completes the incomplete concept of identity, determining the kind of sameness involved. Others strongly deny the identity itself is incomplete, and locate the covering concept within the necessary act of reference. | |
| From: M.R. Ayers (Individuals without Sortals [1974], Intro) | |
| A reaction: [a bit compressed; Geach is the first view, and Quine the second; Wiggins is somewhere between the two] |
| 17512 | If diachronic identities need covering concepts, why not synchronic identities too? [Ayers] |
| Full Idea: Why are covering concepts required for diachronic identities, when they must be supposed unnecessary for synchronic identities? | |
| From: M.R. Ayers (Individuals without Sortals [1974], 'Prob') |
| 6940 | The feeling of belief shows a habit which will determine our actions [Peirce] |
| Full Idea: The feeling of believing is a more or less sure indication of there being established in our nature some habit which will determine our actions. Doubt never has such an effect. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.10) | |
| A reaction: It is one thing to assert this fairly accurate observation, and another to assert that this is the essence or definition of a belief. Perhaps it is the purpose of belief, without being the phenomenological essence of it. We act in states of uncertainty. |
| 6941 | We are entirely satisfied with a firm belief, even if it is false [Peirce] |
| Full Idea: As soon as a firm belief is reached we are entirely satisfied, whether the belief be true or false. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.10) | |
| A reaction: This does not deny that the truth or falsehood of a belief is independent of whether we are satisfied with it. It is making a fair point, though, about why we believe things, and it can't be because of truth, because we don't know how to ensure that. |
| 6942 | We want true beliefs, but obviously we think our beliefs are true [Peirce] |
| Full Idea: We seek for a belief that we shall think to be true; but we think each one of our beliefs to be true, and, indeed, it is mere tautology to say so. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.11) | |
| A reaction: If, as I do, you like to define belief as 'commitment to truth', Peirce makes a rather startling observation. You are rendered unable to ask whether your beliefs are true, because you have defined them as true. Nice point… |
| 6943 | A mere question does not stimulate a struggle for belief; there must be a real doubt [Peirce] |
| Full Idea: The mere putting of a proposition into the interrogative form does not stimulate the mind to any struggle after belief; there must be a real and living doubt. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.11) | |
| A reaction: This the attractive aspect of Peirce's pragmatism, that he is always focusing on real life rather than abstract theory or pure logic. |
| 6598 | We need our beliefs to be determined by some external inhuman permanency [Peirce] |
| Full Idea: It is necessary that a method should be found by which our beliefs be determined by nothing human, but by some external permanency - by something upon which our thinking has no effect. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877]), quoted by Robert Fogelin - Walking the Tightrope of Reason Ch.5 | |
| A reaction: This very sensible and interesting remark hovers somewhere between empiricism and pragmatism. Fogelin very persuasively builds his account of knowledge on it. The key point is that we hardly ever choose what to believe. See Idea 2454. |
| 6944 | Demonstration does not rest on first principles of reason or sensation, but on freedom from actual doubt [Peirce] |
| Full Idea: It is a common idea that demonstration must rest on indubitable propositions, either first principles of a general nature, or first sensations; but actual demonstration is completely satisfactory if it starts from propositions free from all actual doubt. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.11) | |
| A reaction: Another nice example of Peirce focusing on the practical business of thinking, rather than abstract theory. I agree with this approach, that explanation and proof do not aim at perfection and indubitability, but at what satisfies a critical mind. |
| 6948 | Doubts should be satisfied by some external permanency upon which thinking has no effect [Peirce] |
| Full Idea: To satisfy our doubts it is necessary that a method should be found by which our beliefs may be determined by nothing human, but by some external permanency - by something upon which our thinking has no effect. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.18) | |
| A reaction: This may be the single most important idea in pragmatism and in the philosophy of science. See Fodor on experiments (Idea 2455). Put the question to nature. The essential aim is to be passive in our beliefs - just let reality form them. |
| 6945 | Once doubt ceases, there is no point in continuing to argue [Peirce] |
| Full Idea: Some people seem to love to argue a point after all the world is fully convinced of it. But no further advance can be made. When doubt ceases, mental action on the subject comes to an end; and, if it did go on, it would be without purpose. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.11) | |
| A reaction: This is the way Peirce's pragmatism, which deals with how real thinking actually works (rather than abstract logic), deals with scepticism. However, there is a borderline where almost everyone is satisfied, but the very wise person remains sceptical. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 6939 | What is true of one piece of copper is true of another (unlike brass) [Peirce] |
| Full Idea: The guiding principle is that what is true of one piece of copper is true of another; such a guiding principle with regard to copper would be much safer than with regard to many other substances - brass, for example. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p. 8) | |
| A reaction: Peirce is so beautifully simple and sensible. This gives the essential notion of a natural kind, and is a key notion in our whole understanding of physical reality. |
| 6938 | Natural selection might well fill an animal's mind with pleasing thoughts rather than true ones [Peirce] |
| Full Idea: It is probably of more advantage to an animal to have his mind filled with pleasing and encouraging visions, independently of their truth; and thus, upon unpractical subjects, natural selection might occasion a fallacious tendency of thought. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p. 8) | |
| A reaction: Note that this is a pragmatist saying that a set of beliefs might work fine but be untrue. So Peirce does not have the highly relativistic notion of truth of some later pragmatists. Good for him. Note the early date to be thinking about Darwin. |
| 6946 | If death is annihilation, belief in heaven is a cheap pleasure with no disappointment [Peirce] |
| Full Idea: If death is annihilation, then the man who believes that he will certainly go straight to heaven when he dies, provided he have fulfilled certain simple observances in this life, has a cheap pleasure which will not be followed by the least disappointment. | |
| From: Charles Sanders Peirce (The Fixation of Belief [1877], p.12) | |
| A reaction: This is a nicely wicked summary of one side of Pascal's options. All the problems of the argument are built into Peirce's word "cheap". Peirce goes on to talk about ostriches burying their heads. |