Combining Texts

All the ideas for 'The Languages of Art', 'A Realistic Theory of Categories' and 'Why Propositions cannot be concrete'

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6 ideas

7. Existence / E. Categories / 3. Proposed Categories
Chisholm divides things into contingent and necessary, and then individuals, states and non-states [Chisholm, by Westerhoff]
     Full Idea: Chisholm's Ontological Categories: ENTIA - {Contingent - [Individual - (Boundaries)(Substances)] [States - (Events)]} {Necessary - [States] [Non-States - (Attributes)(Substance)]}
     From: report of Roderick Chisholm (A Realistic Theory of Categories [1996], p.3) by Jan Westerhoff - Ontological Categories §01
     A reaction: [I am attempting a textual representation of a tree diagram! The bracket-styles indicate the levels.]
18. Thought / E. Abstraction / 1. Abstract Thought
The idea of abstract objects is not ontological; it comes from the epistemological idea of abstraction [Plantinga]
     Full Idea: The notion of an abstract object comes from the notion of abstraction; it is in origin an epistemological rather than an ontological category.
     From: Alvin Plantinga (Why Propositions cannot be concrete [1993], p.232)
     A reaction: Etymology doesn't prove anything. However, if you define abstract objects as not existing in space or time, you must recognise that this may only be because that is how humans imaginatively created them in the first place.
Theists may see abstract objects as really divine thoughts [Plantinga]
     Full Idea: Theists may find attractive a view popular among medieval philosophers from Augustine on: that abstract objects are really divine thoughts. More exactly, propositions are divine thoughts, properties divine concepts, and sets divine collections.
     From: Alvin Plantinga (Why Propositions cannot be concrete [1993], p.233)
     A reaction: Hm. I pass this on because we should be aware that there is a theological history to discussions of abstract objects, and some people have vested interests in keeping them outside of the natural world. Aren't properties natural? Does God gerrymander sets?
19. Language / D. Propositions / 3. Concrete Propositions
If propositions are concrete they don't have to exist, and so they can't be necessary truths [Plantinga]
     Full Idea: Someone who believes propositions are concrete cannot agree that some propositions are necessary. For propositions are contingent beings, and could have failed to exist. But if they fail to exist, then they fail to be true.
     From: Alvin Plantinga (Why Propositions cannot be concrete [1993], p.230)
     A reaction: [compressed] He implies the actual existence of an infinity of trivial, boring or ridiculous necessary truths. I suspect that he is just confusing a thought with its content. Or we might just treat necessary propositions as hypothetical.
19. Language / D. Propositions / 4. Mental Propositions
Propositions can't just be in brains, because 'there are no human beings' might be true [Plantinga]
     Full Idea: If propositions are brain inscriptions, then if there had been no human beings there would have been no propositions. But then 'there are no human beings' would have been true, so there would have been at least one truth (and thus one proposition).
     From: Alvin Plantinga (Why Propositions cannot be concrete [1993], p.229)
     A reaction: This would make 'there are no x's' true for any value of x apart from actual objects, which implies an infinity of propositions. Does Plantinga really believe that these all exist? He may be confusing propositions with facts.
21. Aesthetics / B. Nature of Art / 5. Art as Language
Art is like understanding a natural language, and needs a grasp of a symbol system [Goodman, by Gardner]
     Full Idea: In Goodman's account, knowing what a painting represents is logically like understanding a sentence in a natural language. It requires a grasp of the 'symbol system' to which the painting belongs.
     From: report of Nelson Goodman (The Languages of Art [1976]) by Sebastian Gardner - Aesthetics 2.3.2
     A reaction: This may fit some pictures well (e.g. early Flemish painting, with its complex iconography), but others hardly at all. You can enjoy a first experience of (say) ballet long before you get the hang of the 'symbol system' involved.