37 ideas
| 192 | Only one thing can be contrary to something [Plato] |
| Full Idea: To everything that admits of a contrary there is one contrary and no more. | |
| From: Plato (Protagoras [c.380 BCE], 332c) | |
| A reaction: The sort of thing for which a modern philosopher would demand a proof (and then reject when the proof couldn't be found), where a Greek is happy to assert it as self-evident. I can't think of a counterexample. |
| 8358 | There are no rules for the exact logic of ordinary language, because that doesn't exist [Strawson,P] |
| Full Idea: Neither Aristotelian nor Russellian rules give the exact logic of any expression of ordinary language; for ordinary language has no exact logic. | |
| From: Peter F. Strawson (On Referring [1950], §5) | |
| A reaction: This seems to imply that it is impossible to find precise logical forms, because of the pragmatic element in language, but I don't see why. Even more extreme modern pragmatics (where meaning is shifted) doesn't rule out precise underlying propositions. |
| 6413 | 'The present King of France is bald' presupposes existence, rather than stating it [Strawson,P, by Grayling] |
| Full Idea: Strawson argues that in saying 'the present King of France is bald' one is not stating that a present King of France exists, but presupposing or assuming that it does. | |
| From: report of Peter F. Strawson (On Referring [1950]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: We have the notion of a leading question, such as 'when did you stop beating your wife?' But is a presupposition not simply an implied claim, as Russell said it was? |
| 8354 | Russell asks when 'The King of France is wise' would be a true assertion [Strawson,P] |
| Full Idea: The way in which Russell arrived at his analysis was by asking himself what would be the circumstances in which we would say that anyone who uttered the sentence 'The King of France is wise' had made a true assertion. | |
| From: Peter F. Strawson (On Referring [1950], §1) | |
| A reaction: This seems to connect Russell's theory of definite descriptions with the truth conditions theory of meaning which is associated (initially) with Frege. Truth will require some reference to what actually exists. |
| 190 | If asked whether justice itself is just or unjust, you would have to say that it is just [Plato] |
| Full Idea: If someone asked me 'Is justice itself just or unjust?' I should answer that it was just, wouldn't you? I agree. | |
| From: Plato (Protagoras [c.380 BCE], 330c) |
| 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) |
| 20185 | The most important things in life are wisdom and knowledge [Plato] |
| Full Idea: It would be shameful indeed to say that wisdom and knowledge are anything but the most powerful forces in human activity. | |
| From: Plato (Protagoras [c.380 BCE], 352d) | |
| A reaction: He lumps wisdom and knowledge together, and I think we can take 'knowledge' to mean something like understanding, because obviously mere atomistic propositional knowledge can be utterly trivial. |
| 20184 | The only real evil is loss of knowledge [Plato] |
| Full Idea: The only real kind of faring ill is the loss of knowledge. | |
| From: Plato (Protagoras [c.380 BCE], 345b) | |
| A reaction: This must crucially involve the intellectualist view (of Socrates) that virtuos behaviour results from knowledge, and moral wickedness is the result of ignorance. It is hard to see how forgetting a phone number is evil. |
| 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. |
| 191 | Everything resembles everything else up to a point [Plato] |
| Full Idea: Everything resembles everything else up to a point. | |
| From: Plato (Protagoras [c.380 BCE], 331d) |
| 8356 | The meaning of an expression or sentence is general directions for its use, to refer or to assert [Strawson,P] |
| Full Idea: To give the meaning of an expression is to give general directions for its use to refer to or mention particular objects or persons; in like manner, sentences are for use to make true or false assertions. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: The influence of Wittgenstein? I don't like it. The general idea that you can say what something is by giving directions for its use is what I think of as the Functional Fallacy: confusing the role of x with its inherent nature. Shirt as goalpost. |
| 10430 | Reference is mainly a social phenomenon [Strawson,P, by Sainsbury] |
| Full Idea: Strawson's early work gave a new direction to the study of reference by stressing that it is a social phenomenon. | |
| From: report of Peter F. Strawson (On Referring [1950]) by Mark Sainsbury - The Essence of Reference 18.2 | |
| A reaction: The question is whether speakers refer, or sentences, or expressions, or propositions. The modern consensus seems to be that some parts of language are inherently referring, but speakers combine such tools with context. Sounds right. |
| 10448 | If an expression can refer to anything, it may still instrinsically refer, but relative to a context [Bach on Strawson,P] |
| Full Idea: Strawson claimed that virtually any expression that can be used to refer to one thing in one context can be used to refer to something else in another context. Maybe expressions still refer, but only relative to a context. | |
| From: comment on Peter F. Strawson (On Referring [1950]) by Kent Bach - What Does It Take to Refer? 22.2 | |
| A reaction: If there is complete freedom, then Bach's criticism doesn't sound plausible. If something is semantically referential, that should impose pretty tight restrictions on speakers. Why distinguish names as intrinsically referential, and descriptions as not? |
| 8355 | Expressions don't refer; people use expressions to refer [Strawson,P] |
| Full Idea: 'Mentioning', or 'referring', is not something an expression does; it is something that someone can use an expression to do. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: That can't be whole story, because I might make a mistake when referring, so that I used the expression to refer to x, but unfortunately the words themselves referred to y. The power of language exceeds the intentions of speakers. |
| 8357 | If an utterance fails to refer then it is a pseudo-use, though a speaker may think they assert something [Strawson,P] |
| Full Idea: If an utterance is not talking about anything, then the speaker's use is not a genuine one, but a spurious or pseudo-use; he is not making either a true or a false assertion, though he may think he is. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: This is Strawson's verdict on 'The present King of France is bald'. His view puts speculative statements in no man's land. What do we make of 'Elvis lives' or 'phlogiston explains fire'? |
| 203 | Courage is knowing what should or shouldn't be feared [Plato] |
| Full Idea: Knowledge of what is and is not to be feared is courage. | |
| From: Plato (Protagoras [c.380 BCE], 360d) |
| 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? |
| 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? |
| 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. |
| 202 | No one willingly and knowingly embraces evil [Plato] |
| Full Idea: No one willingly goes to meet evil, or what he thinks is evil. | |
| From: Plato (Protagoras [c.380 BCE], 358d) | |
| A reaction: Presumably people who actively choose satanism can override this deep-seated attitude. But their adherence to evil usually seems to be rather restrained. A danger of tautology with ideas like this. |
| 193 | Some things are good even though they are not beneficial to men [Plato] |
| Full Idea: 'Do you mean by good those things that are beneficial to men?' 'Not only those. I call some things which are not beneficial good as well'. | |
| From: Plato (Protagoras [c.380 BCE], 333e) | |
| A reaction: Examples needed, but this would be bad news for utilitarians. Good health is not seen as beneficial if it is taken for granted. Not being deaf. |
| 197 | Some pleasures are not good, and some pains are not evil [Plato] |
| Full Idea: There are some pleasures which are not good, and some pains which are not evil. | |
| From: Plato (Protagoras [c.380 BCE], 351d) | |
| A reaction: Sadism and child birth. Though Bentham (I think) says that there is nothing good about the pain, since the event would obviously be better without it. |
| 200 | People tend only to disapprove of pleasure if it leads to pain, or prevents future pleasure [Plato] |
| Full Idea: The only reason the common man disapproves of pleasures is if they lead to pain and deprive us of future pleasures. | |
| From: Plato (Protagoras [c.380 BCE], 354a) | |
| A reaction: Plato has a strong sense that some pleasures are just innately depraved and wicked. If those pleasure don't hurt anyone, it is very hard to pinpoint what is wrong with them. |
| 188 | Socrates did not believe that virtue could be taught [Plato] |
| Full Idea: Socrates: I do not believe that virtue can be taught. | |
| From: Plato (Protagoras [c.380 BCE], 320b) |
| 204 | Socrates is contradicting himself in claiming virtue can't be taught, but that it is knowledge [Plato] |
| Full Idea: Socrates is contradicting himself by saying virtue is not teachable, and yet trying to demonstrate that every virtue is knowledge. | |
| From: Plato (Protagoras [c.380 BCE], 361b) |
| 189 | If we punish wrong-doers, it shows that we believe virtue can be taught [Plato] |
| Full Idea: Athenians inflict punishment on wrong-doers, which shows that they too think it possible to impart and teach goodness. | |
| From: Plato (Protagoras [c.380 BCE], 324c) |