26 ideas
| 11115 | 'All horses' either picks out the horses, or the things which are horses [Jubien] |
| Full Idea: Two ways to see 'all horses are animals' are as picking out all the horses (so that it is a 'horse-quantifier'), ..or as ranging over lots of things in addition to horses, with 'horses' then restricting the things to those that satisfy 'is a horse'. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: Jubien says this gives you two different metaphysical views, of a world of horses etc., or a world of things which 'are horses'. I vote for the first one, as the second seems to invoke an implausible categorical property ('being a horse'). Cf Idea 11116. |
| 11116 | Being a physical object is our most fundamental category [Jubien] |
| Full Idea: Being a physical object (as opposed to being a horse or a statue) really is our most fundamental category for dealing with the external world. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: This raises the interesting question of why any categories should be considered to be more 'fundamental' than others. I can only think that we perceive something to be an object fractionally before we (usually) manage to identify it. |
| 11117 | Haecceities implausibly have no qualities [Jubien] |
| Full Idea: Properties of 'being such and such specific entity' are often called 'haecceities', but this term carries the connotation of non-qualitativeness which I don't favour. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: The way he defines it makes it sound as if it was a category, but I take it to be more like a bare individual essence. If it has not qualities then it has no causal powers, so there could be no evidence for its existence. |
| 11119 | De re necessity is just de dicto necessity about object-essences [Jubien] |
| Full Idea: I suggest that the de re is to be analyzed in terms of the de dicto. ...We have a case of modality de re when (and only when) the appropriate property in the de dicto formulation is an object-essence. | |
| From: Michael Jubien (Analyzing Modality [2007], 5) |
| 11118 | Modal propositions transcend the concrete, but not the actual [Jubien] |
| Full Idea: Where modal propositions may once have seemed to transcend the actual, they now seem only to transcend the concrete. | |
| From: Michael Jubien (Analyzing Modality [2007], 4) | |
| A reaction: This is because Jubien has defended a form of platonism. Personally I take modal propositions to be perceptible in the concrete world, by recognising the processes involved, not the mere static stuff. |
| 11108 | Your properties, not some other world, decide your possibilities [Jubien] |
| Full Idea: The possibility of your having been a playwright has nothing to do with how people are on other planets, whether in our own or in some other realm. It is only to do with you and the relevant property. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: I'm inclined to think that this simple point is conclusive disproof of possible worlds as an explanation of modality (apart from Jubien's other nice points). What we need to understand are modal properties, not other worlds. |
| 11111 | Modal truths are facts about parts of this world, not about remote maximal entities [Jubien] |
| Full Idea: Typical modal truths are just facts about our world, and generally facts about very small parts of it, not facts about some infinitude of complex, maximal entities. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: I think we should embrace this simple fact immediately, and drop all this nonsense about possible worlds, even if they are useful for the semantics of modal logic. |
| 11109 | If other worlds exist, then they are scattered parts of the actual world [Jubien] |
| Full Idea: Any other realms that happened to exist would just be scattered parts of the actual world, not entire worlds at all. It would just happen that physical reality was fragmented in this remarkable but modally inconsequential way. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: This is aimed explicitly at Lewis's modal realism, and strikes me as correct. Jubien's key point here is that they are irrelevant to modality, just as foreign countries are irrelevant to the modality of this one. |
| 11106 | If all possible worlds just happened to include stars, their existence would be necessary [Jubien] |
| Full Idea: If all of the possible worlds happened to include stars, how plausible is it to think that if this is how things really are, then we've just been wrong to regard the existence of stars as contingent? | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11112 | Possible worlds just give parallel contingencies, with no explanation at all of necessity [Jubien] |
| Full Idea: In the world theory, what passes for 'necessity' is just a bunch of parallel 'contingencies'. The theory provides no basis for understanding why these contingencies repeat unremittingly across the board (while others do not). | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11113 | Worlds don't explain necessity; we use necessity to decide on possible worlds [Jubien] |
| Full Idea: The suspicion is that the necessity doesn't arise from how worlds are, but rather that the worlds are taken to be as they are in order to capture the intuitive necessity. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: It has always seemed to me rather glaring that you need a prior notion of 'possible' before you can start to talk about 'possible worlds', but I have always been too timid to disagree with the combination of Saul Kripke and David Lewis. Thank you, Jubien! |
| 11105 | We have no idea how many 'possible worlds' there might be [Jubien] |
| Full Idea: As soon as we start talking about 'possible world', we beg the question of their relevance to our prior notion of possibility. For all we know, there are just two such realms, or twenty-seven, or uncountably many, or even set-many. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11107 | If there are no other possible worlds, do we then exist necessarily? [Jubien] |
| Full Idea: Suppose there happen to be no other concrete realms. Would we happily accept the consequence that we exist necessarily? | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11110 | We mustn't confuse a similar person with the same person [Jubien] |
| Full Idea: If someone similar to Humphrey won the election, that nicely establishes the possibility of someone's winning who is similar to Humphrey. But we mustn't confuse this possibility with the intuitively different possibility of Humphrey himself winning. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 3913 | Maybe imagination is the source of a priori justification [Casullo] |
| Full Idea: Some maintain that experiments in imagination are the source of a priori justification. | |
| From: Albert Casullo (A priori/A posteriori [1992], p.1) | |
| A reaction: What else could assessments of possibility and necessity be based on except imagination? |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |