55 ideas
| 22026 | Philosophy is homesickness - the urge to be at home everywhere [Novalis] |
| Full Idea: Philosophy is actually homesickness - the urge to be everywhere at home. | |
| From: Novalis (General Draft [1799], 45) | |
| A reaction: The idea of home [heimat] is powerful in German culture. The point of romanticism was seen as largely concerning restless souls like Byron and his heroes, who do not feel at home. Hence ironic detachment. |
| 6891 | Quine's naturalistic and empirical view is based entirely on first-order logic and set theory [Quine, by Mautner] |
| Full Idea: Quine has aimed at a naturalistic and empirical world-view, and claims that first-order logic and set theory provide a framework sufficient for the articulation of our knowledge of the world. | |
| From: report of Willard Quine (Word and Object [1960]) by Thomas Mautner - Penguin Dictionary of Philosophy p.465 | |
| A reaction: Consequently he is fairly eliminativist about meaning and mental states, and does without universals in his metaphysics. An impressively puritanical enterprise, taking Ockham's Razor to the limit, but I find it hard to swallow. |
| 6310 | Enquiry needs a conceptual scheme, so we should retain the best available [Quine] |
| Full Idea: No enquiry is possible without some conceptual scheme, so we may as well retain and use the best one we know. | |
| From: Willard Quine (Word and Object [1960], §01) | |
| A reaction: This remark leads to Davidson's splendid paper 'On the Very Idea of a Conceptual Scheme'. Quine's remark raises the question of how we know which conceptual scheme is 'best'. |
| 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. |
| 12798 | Plurals can in principle be paraphrased away altogether [Quine] |
| Full Idea: By certain standardizations of phrasing the contexts that call for plurals can in principle be paraphrased away altogether. | |
| From: Willard Quine (Word and Object [1960], §19) | |
| A reaction: Laycock, who quotes this, calls it 'unduly optimistic', but I presume that it was the standard view of plural reference until Boolos raised the subject. |
| 17905 | Any progression will do nicely for numbers; they can all then be used to measure multiplicity [Quine] |
| Full Idea: The condition on an explication of number can be put succinctly: any progression will do nicely. Russell once held that one must also be able to measure multiplicity, but this was a mistake; any progression can be fitted to that further condition. | |
| From: Willard Quine (Word and Object [1960], §54) | |
| A reaction: [compressed] This is the strongest possible statement that the numbers are the ordinals, and the Peano Axioms will define them. The Fregean view that cardinality comes first is redundant. |
| 9556 | Nearly all of mathematics has to quantify over abstract objects [Quine] |
| Full Idea: Mathematics, except for very trivial portions such as very elementary arithmetic, is irredeemably committed to quantification over abstract objects. | |
| From: Willard Quine (Word and Object [1960], §55) | |
| A reaction: Personally I would say that we are no more committed to such things than actors in 'The Tempest' are committed to the existence of Prospero and Caliban (which is quite a strong commitment, actually). |
| 16462 | The quest for ultimate categories is the quest for a simple clear pattern of notation [Quine] |
| Full Idea: The quest of a simplest, clearest overall pattern of canonical notation is not to be distinguished from a quest of ultimate categories, a limning of the most general traits of reality. | |
| From: Willard Quine (Word and Object [1960], §33) | |
| A reaction: I won't disagree, as long as we recognise that reality calls the shots, not the notation, and that even animals must have some sort of system of categories, achieved without 'notation'. |
| 15723 | Either dispositions rest on structures, or we keep saying 'all things being equal' [Quine] |
| Full Idea: The further a disposition is from those that can confidently be pinned on molecular structure or something comparably firm, the more our talk of it tends to depend on a vague factor of 'caeteris paribus' | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: I approve of this. It is precisely the point of scientific essentialism, I take it. We are faced with innumerable uncertain dispositions, but once the underlying mechanisms are known, their role in nature becomes fairly precise. |
| 15490 | Explain unmanifested dispositions as structural similarities to objects which have manifested them [Quine, by Martin,CB] |
| Full Idea: Quine claims that an unmanifested disposition is explicable in terms of an object having a structure similar to a structure of an object that has manifested the supposed disposition. | |
| From: report of Willard Quine (Word and Object [1960], §46) by C.B. Martin - The Mind in Nature 07.4 | |
| A reaction: This is probably the best account available for the firm empiricist who denies modal features in the actual world. In other words, a disposition is the result of an induction, not a conditional statement. |
| 8504 | Quine aims to deal with properties by the use of eternal open sentences, or classes [Quine, by Devitt] |
| Full Idea: Quine is not an 'ostrich', because his strategy for dealing with property sentences is clear enough: all talk of attributes is to be dispensed with in favour of talk of eternal open sentences or talk of classes. | |
| From: report of Willard Quine (Word and Object [1960], §43) by Michael Devitt - 'Ostrich Nominalism' or 'Mirage Realism'? p.100 | |
| A reaction: [See p.209 'Word and Object'] The proposal seems to be that a property like being-human (a category) would be dealt with by classes, and qualitative properties would be dealt with simply as predicates. I like the split, and the first half, not the second. |
| 8464 | Physical objects in space-time are just events or processes, no matter how disconnected [Quine] |
| Full Idea: Physical objects, conceived four-dimensionally in space-time, are not to be distinguished from events or concrete processes. Each comprises simply the content, however heterogeneous, of a portion of space-time, however disconnected and gerrymandered. | |
| From: Willard Quine (Word and Object [1960], §36) | |
| A reaction: I very much like the suggestion that objects should be thought of as 'processes', but I dislike the idea that they can be gerrymandered. This is a refusal to cut nature at the joints (Idea 7953), which I find very counterintuitive. |
| 7924 | The notion of a physical object is by far the most useful one for science [Quine] |
| Full Idea: In a contest of sheer systematic utility to science, the notion of physical object still leads the field. | |
| From: Willard Quine (Word and Object [1960], §48) | |
| A reaction: A delightful circumlocution from someone who seems terrified to assert that there just are objects. Not that I object to Quine's caution. It would be disturbing if his researches had revealed that we could manage without objects. But compare Idea 6124. |
| 8482 | Mathematicians must be rational but not two-legged, cyclists the opposite. So a mathematical cyclist? [Quine] |
| Full Idea: Mathematicians are necessarily rational, and not necessarily two-legged; cyclists are the opposite. But what of an individual who counts among his eccentricities both mathematics and cycling? | |
| From: Willard Quine (Word and Object [1960], §41) | |
| A reaction: Quine's view is that the necessity (and essence) depends on how this eccentric is described. If he loses a leg, he must give up cycling; if he loses his rationality, he must give up the mathematics. Quine is wrong. |
| 12136 | Cyclist are not actually essentially two-legged [Brody on Quine] |
| Full Idea: Cyclists are not essentially two-legged (a one-legged cyclist exists, but can't cycle any more), and mathematicians are not essentially rational (as they can lose rationality and continue to exist, though unable to do mathematics). | |
| From: comment on Willard Quine (Word and Object [1960], §41.5) by Baruch Brody - Identity and Essence 5.1 | |
| A reaction: Was Quine thinking of the nominal essence of this person - that 'cyclists' necessarily cylce, and 'mathematicians' necessarily do some maths? It is as bad to confuse 'necessary' with 'essential' as to confuse 'use' with 'mention'. |
| 17594 | We can paraphrase 'x=y' as a sequence of the form 'if Fx then Fy' [Quine] |
| Full Idea: For general terms write 'if Fx then Fy' and vice versa, and 'if Fxz then Fyz'..... The conjunction of all these is coextensive with 'x=y' if any formula constructible from the vocabulary is; and we can adopt that conjunction as our version of identity. | |
| From: Willard Quine (Word and Object [1960], §47) | |
| A reaction: [first half compressed] The main rival views of equality are this and Wiggins (1980:199). Quine concedes that his account implies a modest version of the identity of indiscernibles. Wiggins says identity statements need a sortal. |
| 15725 | Normal conditionals have a truth-value gap when the antecedent is false. [Quine] |
| Full Idea: In its unquantified form 'If p then q' the indicative conditional is perhaps best represented as suffering a truth-value gap whenever its antecedent is false. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: That is, the clear truth-functional reading of the conditional (favoured by Lewis, his pupil) is unacceptable. Quine favours the Edgington line, that we are only interested in situations where the antecedent might be true. |
| 15722 | Conditionals are pointless if the truth value of the antecedent is known [Quine] |
| Full Idea: The ordinary conditional loses its point when the truth value of its antecedent is known. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: A beautifully simple point that reveals a lot about what conditionals are. |
| 15719 | We feign belief in counterfactual antecedents, and assess how convincing the consequent is [Quine] |
| Full Idea: The subjunctive conditional depends, like indirect quotation and more so, on a dramatic projection: we feign belief in the antececent and see how convincing we then find the consequent. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: This seems accurate. It means that we are only interested in when the antecedent is true, and when it is false is irrelevant. |
| 15721 | Counterfactuals are plausible when dispositions are involved, as they imply structures [Quine] |
| Full Idea: The subjunctive conditional is seen at its most respectable in the disposition terms. ...The reason is that they are conceived as built-in, enduring structural traits. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: Surprisingly, this is very sympathetic to a metaphysical view that seems a long way from Quine, since dispositions seem to invite commitment to modal features of reality. But the structural traits are not, of course, modal, in any way! |
| 15720 | What stays the same in assessing a counterfactual antecedent depends on context [Quine] |
| Full Idea: The traits to suppose preserved in a counterfactual depend on sympathy for the fabulist's purpose. Compare 'If Caesar were in command, he would use the atom bomb', and 'If Caesar were in command, he would use catapults'. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: This seems to be an important example for the Lewis approach, since you are asked to consider the 'nearest' possible world, but that will depend on context. |
| 15724 | Counterfactuals have no place in a strict account of science [Quine] |
| Full Idea: The subjunctive conditional has no place in an austere canonical notation for science - but that ban is less restrictive than would at first appear. | |
| From: Willard Quine (Word and Object [1960], §46) | |
| A reaction: Idea 15723 shows what he has in mind - that what science aims for is accounts of dispositional mechanisms, which then leave talk of other possible worlds (in Lewis style) as unnecessary. I may be with Quine one this one. |
| 4630 | Two theories can be internally consistent and match all the facts, yet be inconsistent with one another [Quine, by Baggini /Fosl] |
| Full Idea: Duhem and Quine have maintained that it may be possible to develop two or more theories that are 1) internally consistent, 2) inconsistent with one another, and 3) perfectly consistent with all the data we can muster. | |
| From: report of Willard Quine (Word and Object [1960]) by J Baggini / PS Fosl - The Philosopher's Toolkit §1.06 | |
| A reaction: Obviously this may be a contingent truth about our theories, but why not presume that this is because we are unable to collect the crucial data (e.g. about prehistoric biology), rather than denigrate the whole concept of a theory, and undermine science? |
| 19591 | Desire for perfection is an illness, if it turns against what is imperfect [Novalis] |
| Full Idea: An absolute drive toward perfection and completeness is an illness, as soon as it shows itself to be destructive and averse toward the imperfect, the incomplete. | |
| From: Novalis (General Draft [1799], 33) | |
| A reaction: Deep and true! Novalis seems to be a particularist - hanging on to the fine detail of life, rather than being immersed in the theory. These are the philosophers who also turn to literature. |
| 3131 | Quine expresses the instrumental version of eliminativism [Quine, by Rey] |
| Full Idea: Quine expresses the instrumental version of eliminativism. | |
| From: report of Willard Quine (Word and Object [1960]) by Georges Rey - Contemporary Philosophy of Mind Int.3 |
| 3988 | Indeterminacy of translation also implies indeterminacy in interpreting people's mental states [Dennett on Quine] |
| Full Idea: Quine's thesis of the indeterminacy of radical translation carries all the way in, as the thesis of the indeterminacy of radical interpretation of mental states and processes. | |
| From: comment on Willard Quine (Word and Object [1960]) by Daniel C. Dennett - Daniel Dennett on himself p.239 | |
| A reaction: Strong scepticism seems wrong here. Davidson's account of charity in interpretation, and the role of truth, seems closer. |
| 6311 | The firmer the links between sentences and stimuli, the less translations can diverge [Quine] |
| Full Idea: The firmer the direct links of a sentence with non-verbal stimulation, the less drastically its translations can diverge from one another from manual to manual. | |
| From: Willard Quine (Word and Object [1960], §07) | |
| A reaction: This implies (plausibly) that talk about farming will have fairly determinate translations into foreign languages, but talk of philosophy will not. An interesting case is logic, where we might expect tight translation with little non-verbal stimulation. |
| 6312 | We can never precisely pin down how to translate the native word 'Gavagai' [Quine] |
| Full Idea: There is no evident criterion whereby to strip extraneous effects away and leave just the meaning of 'Gavagai' properly so-called - whatever meaning properly so-called may be. | |
| From: Willard Quine (Word and Object [1960], §09) | |
| A reaction: Quine's famous assertion that translation is ultimately 'indeterminate'. Huge doubts about meaning and language and truth follow from his claim. Personally I think it is rubbish. People become fluent in very foreign languages, and don't have breakdowns. |
| 6313 | Stimulus synonymy of 'Gavagai' and 'Rabbit' does not even guarantee they are coextensive [Quine] |
| Full Idea: Stimulus synonymy of the occasion sentences 'Gavagai' and 'Rabbit' does not even guarantee that 'gavagai' and 'rabbit' are coextensive terms, terms true of the same things. | |
| From: Willard Quine (Word and Object [1960], §12) | |
| A reaction: Since this scepticism eventually seems to result in the reader no longer knowing what they mean themselves by the word 'rabbit', I doubt Quine's claim. Problems after hearing one word of a foreign language disappear after years of residence. |
| 6317 | Dispositions to speech behaviour, and actual speech, are never enough to fix any one translation [Quine] |
| Full Idea: Rival systems of analytical hypotheses can fit the totality of speech behaviour to perfection, and can fit the totality of dispositions to speech behaviour as well, and still specify mutually incompatible translations of countless sentences. | |
| From: Willard Quine (Word and Object [1960], §15) | |
| A reaction: This is Quine's final assertion of indeterminacy, having explored charity, bilingual speakers etc. It seems to me that he is a victim of his underlying anti-realism, which won't allow nature to dictate ways of cutting up the world. |
| 6315 | We should be suspicious of a translation which implies that a people have very strange beliefs [Quine] |
| Full Idea: The more absurd or exotic the beliefs imputed to a people, the more suspicious we are entitled to be of the translations. | |
| From: Willard Quine (Word and Object [1960], §15) | |
| A reaction: Quine is famous for his relativist and indeterminate account of translation, but he gradually works his way towards the common sense which Davidson later brought out into the open. |
| 6314 | Weird translations are always possible, but they improve if we impose our own logic on them [Quine] |
| Full Idea: Wanton translation can make natives sound as queer as one pleases; better translation imposes our logic upon them. | |
| From: Willard Quine (Word and Object [1960], §13) | |
| A reaction: This begins to point towards the principle of charity, on which Davidson is so keen, and even on doubts whether two different conceptual schemes are possible. Personally I think there is only one logic (deep down), and the natives will have it. |
| 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. |