39 ideas
| 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? |
| 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. |
| 17000 | We might fix identities for small particulars, but it is utopian to hope for such things [Kripke] |
| Full Idea: Maybe strict identity only applies to the particulars (the molecules) in a case of vague identity. …It seems, however, utopian to suppose that we will ever reach a level of ultimate, basic particulars for which identity relations are never vague. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 18) | |
| A reaction: I agree with this. Ladyman and Ross laugh at the unscientific picture found in dreams of 'simples'. |
| 11868 | A different piece of wood could have been used for that table; constitution isn't identity [Wiggins on Kripke] |
| Full Idea: Could the artificer not, when he made the table, have taken other pieces? Surely he could. [n37: I venture to think that Kripke's argument in note 56 for the necessity of constitution depends on treating constitution as if it were identity]. | |
| From: comment on Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 56) by David Wiggins - Sameness and Substance Renewed 4.11 | |
| A reaction: Suppose the craftsman completed the table, then changed a piece of wood in it for some reason. Has he now made a second table and destroyed the first one? Wiggins seems to be right. |
| 17044 | A relation can clearly be reflexive, and identity is the smallest reflexive relation [Kripke] |
| Full Idea: Some philosophers have thought that a relation, being essentially two-termed, cannot hold between a thing and itself. This position is plainly absurd ('he is his own worst enemy'). Identity is nothing but the smallest reflexive relation. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 50) | |
| A reaction: I have no idea what 'smallest' means here. I can't be 'to the left of myself', so not all of my relations can be reflexive. I just don't understand what it means to say something is 'identical with itself'. You've got the thing - what have you added? |
| 16999 | A vague identity may seem intransitive, and we might want to talk of 'counterparts' [Kripke] |
| Full Idea: When the identity relation is vague, it may seem intransitive; a claim of apparent identity may yield an apparent non-identity. Some sort of 'counterpart' notion may have some utility here. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 18) | |
| A reaction: He firmly rejects the full Lewis apparatus of counterparts. The idea would be that a river at different times had counterpart relations, not strict identity. I like the word 'same' for this situation. Most worldly 'identity' is intransitive. |
| 17058 | What many people consider merely physically necessary I consider completely necessary [Kripke] |
| Full Idea: My third lecture suggests that a good deal of what contemporary philosophy regards as mere physical necessity is actually necessary tout court. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], Add (g)) | |
| A reaction: He avoids the term 'metaphysically necessary', which most people would not use for this point. |
| 4970 | What is often held to be mere physical necessity is actually metaphysical necessity [Kripke] |
| Full Idea: My third lecture suggests that a good deal of what contemporary philosophy regards as mere physical necessity is actually necessary 'tout court'. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], Add (g)) | |
| A reaction: This huge claim rides in on the back of Kripke's very useful clarifications. It is the 'new essentialism', and seems to me untenable in this form. There is no answer to Hume's request for evidence of necessity. Why can't essences (and laws) change? |
| 17059 | Unicorns are vague, so no actual or possible creature could count as a unicorn [Kripke] |
| Full Idea: If the unicorn myth is supposed to be a particular species, with insufficient internal structure to determine it uniquely, then there is no actual or possible species of which we can say that it would have been the species of unicorns. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], Add (a)) | |
| A reaction: Dummett and Rumfitt discuss this proposal elsewhere. |
| 4950 | Possible worlds are useful in set theory, but can be very misleading elsewhere [Kripke] |
| Full Idea: The apparatus of possible worlds has (I hope) been very useful as far as the set-theoretic model-theory of quantified modal logic is concerned, but has encouraged philosophical pseudo-problems and misleading pictures. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 15) | |
| A reaction: This is presumably a swipe at David Lewis, who claims possible worlds are real. The fact that the originator of possible worlds sees them as unproblematic doesn't mean they are. Fine if they are a game, but if they assert truth, they need a metaphysics. |
| 17003 | Kaplan's 'Dthat' is a useful operator for transforming a description into a rigid designation [Kripke] |
| Full Idea: It is useful to have an operator which transforms each description into a term which rigidly designates the object actually satisfying the description. David Kaplan has proposed such an operator and calls it 'Dthat'. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 22) |
| 9221 | The best known objection to counterparts is Kripke's, that Humphrey doesn't care if his counterpart wins [Kripke, by Sider] |
| Full Idea: The most famous objection to counterparts is Kripke's objection that Hubert Humphrey wouldn't care if he thought that his counterpart might have won the 1972 election. He wishes that he had won it. | |
| From: report of Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 12) by Theodore Sider - Reductive Theories of Modality 3.10 | |
| A reaction: Like Sider, I find this unconvincing. If there is a world in which I don't exist, but my very close counterpart does (say exactly me, but with a finger missing), I am likely to care more about such a person than about complete strangers. |
| 17052 | The a priori analytic truths involving fixing of reference are contingent [Kripke] |
| Full Idea: If statements whose a priori truth is known via the fixing of a reference are counted as analytic, then some analytic truths are contingent. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 63) |
| 4969 | I regard the mind-body problem as wide open, and extremely confusing [Kripke] |
| Full Idea: I regard the mind-body problem as wide open, and extremely confusing. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 77) | |
| A reaction: Kripke opposes reductive physicalism, but is NOT committed to dualism. He seems to be drawn to Davidson or Nagel (see his note 73). I think his discussion of contingent mind-brain identity is confused. |
| 18033 | The meaning of a representation is its role in thought, perception or decisions [Block] |
| Full Idea: According to conceptual role semantics, the meaning of a representation is the role of that representation in the cognitive life of the agent, for example, in perception, thought and decision-making. | |
| From: Ned Block (Semantics, Conceptual Role [1998]) | |
| A reaction: I never believe theories of this kind, because I always find myself asking 'what is the nature of this representation which enables it to play this role?'. |
| 4956 | A description may fix a reference even when it is not true of its object [Kripke] |
| Full Idea: In some cases an object may be identified, and the reference of a name fixed, using a description which may turn out to be false of its object. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 34) | |
| A reaction: This is clearly possible. Someone could be identified as 'the criminal' when they were actually innocent. Nevertheless, how do you remember which person was baptised 'Aristotle' if you don't hang on to a description, even a false one? |
| 17032 | Even if Gödel didn't produce his theorems, he's still called 'Gödel' [Kripke] |
| Full Idea: If a Gödelian fraud were exposed, Gödel would no longer be called 'the author of the incompleteness theorem', but he would still be called 'Gödel'. The description, therefore, does not abbreviate the name. | |
| From: Saul A. Kripke (Naming and Necessity notes and addenda [1972], note 37) | |
| A reaction: Clearly we can't make the description a necessary fact about Gödel, but that doesn't invalidate the idea that successful reference needs some description. E.g. Gödel is a person. |
| 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. |
| 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. |
| 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. |