9 ideas
| 14596 | Call 'nominalism' the denial of numbers, properties, relations and sets [Dorr] |
| Full Idea: Just as there are no numbers or properties, there are no relations (like 'being heavier than' or 'betweenness'), or sets. I will provisionally use 'nominalism' for the conjunction of these four claims. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 1) | |
| A reaction: If you are going to be a nominalist, do it properly! My starting point in metaphysics is strong sympathy with this view. Right now [Tues 22nd Nov 2011, 10:57 am GMT] I think it is correct. |
| 14597 | Natural Class Nominalism says there are primitive classes of things resembling in one respect [Dorr] |
| Full Idea: Natural Class Nominalists take as primitive the notion of a 'natural' class - a class of things that all resemble one another in some one respect and resemble nothing else in that respect. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: Dorr rejects this view because he doesn't believe in 'classes'. How committed to classes do you have to be before you are permitted to talk about them? All vocabulary (such as 'resemble') seems metaphysically tainted in this area. |
| 14598 | Abstracta imply non-logical brute necessities, so only nominalists can deny such things [Dorr] |
| Full Idea: If there are abstract objects, there are necessary truths about these things that cannot be reduced to truths of logic. So only the nominalist, who denies that there are any such things, can adequately respect the idea that there are no brute necessities. | |
| From: Cian Dorr (There Are No Abstract Objects [2008], 4) | |
| A reaction: This is where two plates of my personal philosophy grind horribly against one another. I love nominalism, and I love natural necessities. They meet like a ring-species in evolution. I'll just call it a 'paradox', and move on (swiftly). |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 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'). |