11 ideas
| 8964 | Entities can be multiplied either by excessive categories, or excessive entities within a category [Hoffman/Rosenkrantz] |
| Full Idea: There are two ways that entities can be multiplied unnecessarily: by multiplying the number of explanatory categories, and by multiplying the number of entities within a category. | |
| From: J Hoffman/G Rosenkrantz (Platonistic Theories of Universals [2003], 4) | |
| A reaction: An important distinction. The orthodox view is that it is the excess of categories that is to be avoided (e.g. by nominalists). Possible worlds in metaphysics, and multiple worlds in physics, claim not to violate the first case. |
| 8962 | 'There are shapes which are never exemplified' is the toughest example for nominalists [Hoffman/Rosenkrantz] |
| Full Idea: The example which presents the most serious challenge to nominalism is 'there are shapes which are never exemplified'. | |
| From: J Hoffman/G Rosenkrantz (Platonistic Theories of Universals [2003], 3) | |
| A reaction: To 'exemplify' a shape must it be a physical object, or a drawing of such an object, or a description? If none of those have ever existed, I'm not sure what 'are' is supposed to mean. They seem to be possibilia (with all the associated problems). |
| 8961 | Nominalists are motivated by Ockham's Razor and a distrust of unobservables [Hoffman/Rosenkrantz] |
| Full Idea: The two main motivations for nominalism are an admirable commitment to Ockham's Razor, and a queasiness about postulating entities that are unobservable or non-empirical, existing in a non-physical realm. | |
| From: J Hoffman/G Rosenkrantz (Platonistic Theories of Universals [2003], 3) | |
| A reaction: It doesn't follow that because the entities are unobservable that they are non-physical. Consider the 'interior' of an electron. Neverless I share a love of Ockham's Razor and a deep caution about unobservables. |
| 8963 | Four theories of possible worlds: conceptualist, combinatorial, abstract, or concrete [Hoffman/Rosenkrantz] |
| Full Idea: There are four models of the ontological status of possible worlds: conceptualist (mental constructions), combinatorial (all combinations of the actual world), abstract worlds (conjunction of propositions), and concrete worlds (collections of concreta). | |
| From: J Hoffman/G Rosenkrantz (Platonistic Theories of Universals [2003], 4) | |
| A reaction: [the proponents cited are, in order, Rescher, Cresswell, Plantinga and Lewis] They dismiss Rescher and Cresswell, both of whom seem to me more plausible than Plantinga or Lewis. 'Possible' can't figure in the definition. Possible to us, or in reality? |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |