24 ideas
| 9331 | How do we determine which of the sentences containing a term comprise its definition? [Horwich] |
| Full Idea: How are we to determine which of the sentences containing a term comprise its definition? | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §2) | |
| A reaction: Nice question. If I say 'philosophy is the love of wisdom' and 'philosophy bores me', why should one be part of its definition and the other not? What if I stipulated that the second one is part of my definition, and the first one isn't? |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 16614 | Matter and form give true unity; subject and accident is just unity 'per accidens' [Duns Scotus] |
| Full Idea: From matter and form comes one thing per se. This is not so for subject and accident. Matter and form are instrinsic causes of a composite being, but whiteness and a human being are not. Humans can exist without whiteness, so it is one thing per accidens. | |
| From: John Duns Scotus (Oxford Commentary on Sentences [1301], II.12.1.14), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 | |
| A reaction: This isn't much of a theory, but at least it is focusing on an interesting question, and the distinction between genuinely unified, and unified by chance. Compare a loving couple with siblings who hate each other. |
| 9333 | A priori belief is not necessarily a priori justification, or a priori knowledge [Horwich] |
| Full Idea: It is one thing to believe something a priori and another for this belief to be epistemically justified. The latter is required for a priori knowledge. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: Personally I would agree with this, because I don't think anything should count as knowledge if it doesn't have supporting reasons, but fans of a priori knowledge presumably think that certain basic facts are just known. They are a priori justified. |
| 9342 | Understanding needs a priori commitment [Horwich] |
| Full Idea: Understanding is itself based on a priori commitment. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: This sounds plausible, but needs more justification than Horwich offers. This is the sort of New Rationalist idea I associate with Bonjour. The crucial feature of the New lot is, I take it, their fallibilism. All understanding is provisional. |
| 9332 | Meaning is generated by a priori commitment to truth, not the other way around [Horwich] |
| Full Idea: Our a priori commitment to certain sentences is not really explained by our knowledge of a word's meaning. It is the other way around. We accept a priori that the sentences are true, and thereby provide it with meaning. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §8) | |
| A reaction: This sounds like a lovely trump card, but how on earth do you decide that a sentence is true if you don't know what it means? Personally I would take it that we are committed to the truth of a proposition, before we have a sentence for it. |
| 9341 | Meanings and concepts cannot give a priori knowledge, because they may be unacceptable [Horwich] |
| Full Idea: A priori knowledge of logic and mathematics cannot derive from meanings or concepts, because someone may possess such concepts, and yet disagree with us about them. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §12) | |
| A reaction: A good argument. The thing to focus on is not whether such ideas are a priori, but whether they are knowledge. I think we should employ the word 'intuition' for a priori candidates for knowledge, and demand further justification for actual knowledge. |
| 9334 | If we stipulate the meaning of 'number' to make Hume's Principle true, we first need Hume's Principle [Horwich] |
| Full Idea: If we stipulate the meaning of 'the number of x's' so that it makes Hume's Principle true, we must accept Hume's Principle. But a precondition for this stipulation is that Hume's Principle be accepted a priori. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §9) | |
| A reaction: Yet another modern Quinean argument that all attempts at defining things are circular. I am beginning to think that the only a priori knowledge we have is of when a group of ideas is coherent. Calling it 'intuition' might be more accurate. |
| 9339 | A priori knowledge (e.g. classical logic) may derive from the innate structure of our minds [Horwich] |
| Full Idea: One potential source of a priori knowledge is the innate structure of our minds. We might, for example, have an a priori commitment to classical logic. | |
| From: Paul Horwich (Stipulation, Meaning and Apriority [2000], §11) | |
| A reaction: Horwich points out that to be knowledge it must also say that we ought to believe it. I'm wondering whether if we divided the whole territory of the a priori up into intuitions and then coherent justifications, the whole problem would go away. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |