4 ideas
| 17962 | The truth-maker principle is that every truth has a sufficient truth-maker [Forrest] |
| Full Idea: Item x is said to be a sufficient truth-maker for truth-bearer p just in case necessarily if x exists then p is true. ...Every truth has a sufficient truth-maker. Hence, I take it, the sum of all sufficient truth-makers is a universal truth-maker. | |
| From: Peter Forrest (General Facts,Phys Necessity, and Metaph of Time [2006], 1) | |
| A reaction: Note that it is not 'necessary', because something else might make p true instead. |
| 19696 | There are reasons 'for which' a belief is held, reasons 'why' it is believed, and reasons 'to' believe it [Neta] |
| Full Idea: We must distinguish between something's being a 'reason for which' a creature believes something, and its being a 'reason why' a creature believes something. ...We must also distinguish a 'reason for which' from a 'reason to' believe something. | |
| From: Ram Neta (The Basing Relation [2011], Intro) | |
| A reaction: He doesn't spell the distinctions out clearly. I take it that 'for which' is my personal justification, 'why' is the dodgy prejudices that cause my belief. and 'to' is some actual good reasons, of which I may be unaware. |
| 19697 | The basing relation of a reason to a belief should both support and explain the belief [Neta] |
| Full Idea: A reason has a 'basing relation' with a belief if it (i) rationally supports holding the belief, and (ii) explains why the belief is held. | |
| From: Ram Neta (The Basing Relation [2011], Intro) | |
| A reaction: Presumably a false reason would fit this account. Why not talk of 'grounding', or is that word now reserved for metaphysics? If I hypnotise you into a belief, would my hypnotic power be the basing reason? Fits (ii), but not (i). |
| 20328 | A thing is only seen as art in an 'artworld', which has a theory and a history [Danto] |
| Full Idea: To see something as art requires something the eye cannot descry - an atmosphere of artistic theory, a knowledge of the history of art: an artworld. | |
| From: Arthur C. Danto (The Artworld [1964], II) | |
| A reaction: The editors of the volume call this a revolutionary remark, followed up by Danto and George Dickie with a social and institutional account of art. Danto's key example is Warhol's Brillo pads - art in a gallery, cleaning material in a shop. |