35 ideas
| 15457 | Interdefinition is useless by itself, but if we grasp one separately, we have them both [Lewis] |
| Full Idea: All circles of interdefinition are useless by themselves. But if we reach one of the interdefined pair, then we have them both. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], IV) |
| 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. |
| 15400 | We must avoid circularity between what is intrinsic and what is natural [Lewis, by Cameron] |
| Full Idea: Lewis revised his analysis of duplication because he had assumed that as a matter of necessity perfectly natural properties are intrinsic, and that necessarily how a thing is intrinsically is determined completely by the natural properties it has. | |
| From: report of David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998]) by Ross P. Cameron - Intrinsic and Extrinsic Properties 'Analysis' | |
| A reaction: [This compares Lewis 1986:61 with Langton and Lewis 1998] I am keen on both intrinsic and on natural properties, but I have not yet confronted this little problem. Time for a displacement activity, I think.... |
| 15458 | A property is 'intrinsic' iff it can never differ between duplicates [Lewis] |
| Full Idea: A property is 'intrinsic' iff it never can differ between duplicates; iff whenever two things (actual or possible) are duplicates, either both of them have the property or both of them lack it. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], IV) | |
| A reaction: This leaves me wondering how one could arrive at a precise definition of 'duplicates'. Can it be done without mentioning that they have the same intrinsic properties? |
| 15459 | Ellipsoidal stars seem to have an intrinsic property which depends on other objects [Lewis] |
| Full Idea: The property of being an ellipsoidal star would seem offhand to be a basic intrinsic property, but it is incompatible (nomologically) with being an isolated object. | |
| From: David Lewis (Defining 'Intrinsic' (with Rae Langton) [1998], V) | |
| A reaction: Another nice example from Lewis. It makes you wonder whether the intrinsic/extrinsic distinction should go. Modern physics, with its 'entanglements', doesn't seem to suit the distinction. |
| 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) |
| 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') |
| 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. |