66 ideas
| 23890 | For Plato true wisdom is supernatural [Plato, by Weil] |
| Full Idea: It is evident that Plato regards true wisdom as something supernatural. | |
| From: report of Plato (works [c.375 BCE]) by Simone Weil - God in Plato p.61 | |
| A reaction: Taken literally, I assume this is wrong, but we can empathise with the thought. Wisdom has the feeling of rising above the level of mere knowledge, to achieve the overview I associate with philosophy. |
| 3060 | Plato never mentions Democritus, and wished to burn his books [Plato, by Diog. Laertius] |
| Full Idea: Plato, who mentions nearly all the ancient philosophers, nowhere speaks of Democritus; he wished to burn all of his books, but was persuaded that it was futile. | |
| From: report of Plato (works [c.375 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.7.8 |
| 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? |
| 23891 | Two contradictories force us to find a relation which will correlate them [Plato, by Weil] |
| Full Idea: Where contradictions appear there is a correlation of contraries, which is relation. If a contradiction is imposed on the intelligence, it is forced to think of a relation to transform the contradiction into a correlation, which draws the soul higher. | |
| From: report of Plato (works [c.375 BCE]) by Simone Weil - God in Plato p.70 | |
| A reaction: A much better account of the dialectic than anything I have yet seen in Hegel. For the first time I see some sense in it. A contradiction is not a falsehood, and it must be addressed rather than side-stepped. A kink in the system, that needs ironing. |
| 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. |
| 14502 | Plato's idea of 'structure' tends to be mathematically expressed [Plato, by Koslicki] |
| Full Idea: 'Structure' tends to be characterized by Plato as something that is mathematically expressed. | |
| From: report of Plato (works [c.375 BCE]) by Kathrin Koslicki - The Structure of Objects V.3 iv | |
| A reaction: [Koslicki is drawing on Verity Harte here] |
| 17948 | Plato's Forms meant that the sophists only taught the appearance of wisdom and virtue [Plato, by Nehamas] |
| Full Idea: Plato's theory of Forms allowed him to claim that the sophists and other opponents were trapped in the world of appearance. What they therefore taught was only apparent wisdom and virtue. | |
| From: report of Plato (works [c.375 BCE]) by Alexander Nehamas - Eristic,Antilogic,Sophistic,Dialectic p.118 |
| 20906 | Platonists argue for the indivisible triangle-in-itself [Plato, by Aristotle] |
| Full Idea: The Platonists, on the basis of purely logical arguments, posit the existence of an indivisible 'triangle in itself'. | |
| From: report of Plato (works [c.375 BCE]) by Aristotle - Coming-to-be and Passing-away (Gen/Corr) 316a15 | |
| A reaction: A helpful confirmation that geometrical figures really are among the Forms (bearing in mind that numbers are not, because they contain one another). What shape is the Form of the triangle? |
| 3039 | When Diogenes said he could only see objects but not their forms, Plato said it was because he had eyes but no intellect [Plato, by Diog. Laertius] |
| Full Idea: When Diogenes told Plato he saw tables and cups, but not 'tableness' and 'cupness', Plato replied that this was because Diogenes had eyes but no intellect. | |
| From: report of Plato (works [c.375 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 06.2.6 |
| 556 | If there is one Form for both the Form and its participants, they must have something in common [Aristotle on Plato] |
| Full Idea: If there is the same Form for the Forms and for their participants, then they must have something in common. | |
| From: comment on Plato (works [c.375 BCE]) by Aristotle - Metaphysics 991a |
| 563 | If gods are like men, they are just eternal men; similarly, Forms must differ from particulars [Aristotle on Plato] |
| Full Idea: We say there is the form of man, horse and health, but nothing else, making the same mistake as those who say that there are gods but that they are in the form of men. They just posit eternal men, and here we are not positing forms but eternal sensibles. | |
| From: comment on Plato (works [c.375 BCE]) by Aristotle - Metaphysics 997b |
| 557 | A Form is a cause of things only in the way that white mixed with white is a cause [Aristotle on Plato] |
| Full Idea: A Form is a cause of things only in the way that white mixed with white is a cause. | |
| From: comment on Plato (works [c.375 BCE]) by Aristotle - Metaphysics 991a |
| 565 | The Forms cannot be changeless if they are in changing things [Aristotle on Plato] |
| Full Idea: The Forms could not be changeless if they were in changing things. | |
| From: comment on Plato (works [c.375 BCE]) by Aristotle - Metaphysics 998a |
| 9607 | The greatest discovery in human thought is Plato's discovery of abstract objects [Brown,JR on Plato] |
| Full Idea: The greatest discovery in the history of human thought is Plato's discovery of abstract objects. | |
| From: comment on Plato (works [c.375 BCE]) by James Robert Brown - Philosophy of Mathematics Ch. 2 | |
| A reaction: Compare Idea 2860! Given the diametrically opposed views, it is clearly likely that Plato's central view is the most important idea in the history of human thought, even if it is wrong. |
| 13263 | We can grasp whole things in science, because they have a mathematics and a teleology [Plato, by Koslicki] |
| Full Idea: Due to the mathematical nature of structure and the teleological cause underlying the creation of Platonic wholes, these wholes are intelligible, and are in fact the proper objects of science. | |
| From: report of Plato (works [c.375 BCE]) by Kathrin Koslicki - The Structure of Objects 5.3 | |
| A reaction: I like this idea, because it pays attention to the connection between how we conceive objects to be, and how we are able to think about objects. Only examining these two together enables us to grasp metaphysics. |
| 14508 | A 'thisness' is a thing's property of being identical with itself (not the possession of self-identity) [Adams,RM] |
| Full Idea: A thisness is the property of being identical with a certain particular individual - not the property that we all share, of being identical with some individual, but my property of being identical with me, your property of being identical with you etc. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 1) | |
| A reaction: These philosophers tell you that a thisness 'is' so-and-so, and don't admit that he (and Plantinga) are putting forward a new theory about haecceities, and one I find implausible. I just don't believe in the property of 'being-identical-to-me'. |
| 14511 | There are cases where mere qualities would not ensure an intrinsic identity [Adams,RM] |
| Full Idea: I have argued that there are possible cases in which no purely qualitative conditions would be both necessary and sufficient for possessing a given thisness. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 6) | |
| A reaction: Are we perhaps confusing our epistemology with our ontology here? We can ensure that something has identity, or ensure that its identity is knowable. If it is 'something', then it has identity. Er, that's it? |
| 13261 | Plato sees an object's structure as expressible in mathematics [Plato, by Koslicki] |
| Full Idea: The 'structure' of an object tends to be characterised by Plato as something that is mathematically expressible. | |
| From: report of Plato (works [c.375 BCE]) by Kathrin Koslicki - The Structure of Objects 5.3 | |
| A reaction: This seems to be pure Pythagoreanism (see Idea 644). Plato is pursuing Pythagoras's research programme, of trying to find mathematics buried in every aspect of reality. |
| 13265 | Plato was less concerned than Aristotle with the source of unity in a complex object [Plato, by Koslicki] |
| Full Idea: Plato was less concerned than Aristotle with the project of how to account, in completely general terms, for the source of unity within a mereologically complex object. | |
| From: report of Plato (works [c.375 BCE]) by Kathrin Koslicki - The Structure of Objects 5.5 | |
| A reaction: Plato seems to have simply asserted that some sort of harmony held things together. Aristotles puts the forms [eidos] within objects, rather than external, so he has to give a fuller account of what is going on in an object. He never managed it! |
| 593 | Plato's holds that there are three substances: Forms, mathematical entities, and perceptible bodies [Plato, by Aristotle] |
| Full Idea: Plato's doctrine was that the Forms and mathematicals are two substances and that the third substance is that of perceptible bodies. | |
| From: report of Plato (works [c.375 BCE]) by Aristotle - Metaphysics 1028b |
| 13260 | Plato says wholes are either containers, or they're atomic, or they don't exist [Plato, by Koslicki] |
| Full Idea: Plato considers a 'container' model for wholes (which are disjoint from their parts) [Parm 144e3-], and a 'nihilist' model, in which only wholes are mereological atoms, and a 'bare pluralities' view, in which wholes are not really one at all. | |
| From: report of Plato (works [c.375 BCE]) by Kathrin Koslicki - The Structure of Objects 5.2 | |
| A reaction: [She cites Verity Harte for this analysis of Plato] The fourth, and best, seems to be that wholes are parts which fall under some unifying force or structure or principle. |
| 11237 | Only universals have essence [Plato, by Politis] |
| Full Idea: Plato argues that only universals have essence. | |
| From: report of Plato (works [c.375 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.4 |
| 11238 | Plato and Aristotle take essence to make a thing what it is [Plato, by Politis] |
| Full Idea: Plato and Aristotle have a shared general conception of essence: the essence of a thing is what that thing is simply in virtue of itself and in virtue of being the very thing it is. It answers the question 'What is this very thing?' | |
| From: report of Plato (works [c.375 BCE]) by Vassilis Politis - Aristotle and the Metaphysics 1.4 |
| 12031 | Essences are taken to be qualitative properties [Adams,RM] |
| Full Idea: Essences have normally been understood to be constituted by qualitative properties. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 1) | |
| A reaction: I add this simple point, because it might be challenged by the view that an essence is a substance, rather than the properties of anything. I prefer that, and would add that substances are individuated by distinctive causal powers. |
| 12034 | If the universe was cyclical, totally indiscernible events might occur from time to time [Adams,RM] |
| Full Idea: There is a temporal argument for the possibility of non-identical indiscernibles, if there could be a cyclical universe, in which each event was preceded and followed by infinitely many other events qualitatively indiscernible from itself. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 3) | |
| A reaction: The argument is a parallel to Max Black's indiscernible spheres in space. Adams offers the reply that time might be tightly 'curved', so that the repetition was indeed the same event again. |
| 14510 | Two events might be indiscernible yet distinct, if there was a universe cyclical in time [Adams,RM] |
| Full Idea: Similar to the argument from spatial dispersal, we can argue against the Identity of Indiscernibles from temporal dispersal. It seems there could be a cyclic universe, ..and thus there could be distinct but indiscernible events, separated temporally. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 3) | |
| A reaction: See Idea 14509 for spatial dispersal. If cosmologists decided that a cyclical universe was incoherent, would that ruin the argument? Presumably there might even be indistinguishable events in the one universe (in principle!). |
| 16455 | Black's two globes might be one globe in highly curved space [Adams,RM] |
| Full Idea: If God creates a globe reached by travelling two diameters in a straight line from another globe, this can be described as two globes in Euclidean space, or a single globe in a tightly curved non-Euclidean space. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 3) | |
| A reaction: [my compression of Adams's version of Hacking's response to Black, as spotted by Stalnaker] Hence we save the identity of indiscernibles, by saying we can't be sure that two indiscernibles are not one thing, unusually described. |
| 14507 | Are possible worlds just qualities, or do they include primitive identities as well? [Adams,RM] |
| Full Idea: Is the world - and are all possible worlds - constituted by purely qualitative facts, or does thisness hold a place beside suchness as a fundamental feature of reality? | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], Intro) | |
| A reaction: 'Thisness' and 'suchness' aim to capture Aristotelian notions of the entity and its attributes. Aristotle talks of 'a this'. Adams is after adding 'haecceities' to the world. My intuitive answer is no, there are no 'pure' identities. We add those. |
| 11964 | Possible worlds are world-stories, maximal descriptions of whole non-existent worlds [Adams,RM, by Molnar] |
| Full Idea: According to a theory proposed by Adams, possible worlds are world-stories, that is maximally complete consistent sets of propositions which between them describe non-existent whole worlds. | |
| From: report of Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979]) by George Molnar - Powers 12.2.2 | |
| A reaction: Presumably this places an additional constraint on the view that a world is just a maximal set of propositions. It seems to require coherence as well as consistency. Suppose an object destroys all others objects. Is that a world? |
| 16451 | Adams says anti-haecceitism reduces all thisness to suchness [Adams,RM, by Stalnaker] |
| Full Idea: The anti-haecceitist thesis (according to Adams's version) is that all thisnesses are reducible to, or supervenient upon, suchnesses. | |
| From: report of Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979]) by Robert C. Stalnaker - Mere Possibilities 3.5 |
| 11901 | Haecceitism may or may not involve some logical connection to essence [Adams,RM, by Mackie,P] |
| Full Idea: Moderate Haecceitism says that thisnesses and transworld identities are primitive, but logically connected with suchnesses. ..Extreme Haecceitism involves the rejection of all logical connections between suchness and thisness, for persons. | |
| From: report of Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979]) by Penelope Mackie - How Things Might Have Been | |
| A reaction: I am coming to the conclusion that they are not linked. That thisness is a feature of our conceptual thinking, and is utterly atomistic and content-free, while suchness is rich and a feature of reality. |
| 14512 | Moderate Haecceitism says transworld identities are primitive, but connected to qualities [Adams,RM] |
| Full Idea: My position, according to which thisnesses and transworld identities are primitive but logically connected to suchnesses, we may call 'Moderate Haecceitism'. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 6) | |
| A reaction: The rather tentative connection to qualities is to block the possibility of Aristotle being a poached egg, which he (quite reasonably!) holds to be counterintuitive. It all feels like a mess to me. |
| 17085 | A good explanation totally rules out the opposite explanation (so Forms are required) [Plato, by Ruben] |
| Full Idea: For Plato, an acceptable explanation is one such that there is no possibility of there being the opposite explanation at all, and he thought that only explanations in terms of the Forms, but never physical explanations, could meet this requirement. | |
| From: report of Plato (works [c.375 BCE]) by David-Hillel Ruben - Explaining Explanation Ch 2 | |
| A reaction: [Republic 436c is cited] |
| 1651 | Plato wanted to somehow control and purify the passions [Vlastos on Plato] |
| Full Idea: Plato put high on his agenda a project which did not figure in Socrates' programme at all: the hygienic conditioning of the passions. This cannot be an intellectual process, as argument cannot touch them. | |
| From: comment on Plato (works [c.375 BCE]) by Gregory Vlastos - Socrates: Ironist and Moral Philosopher p.88 | |
| A reaction: This is the standard traditional view of any thinker who exaggerates the importance and potential of reason in our lives. |
| 12032 | Direct reference is by proper names, or indexicals, or referential uses of descriptions [Adams,RM] |
| Full Idea: Direct reference is commonly effected by the use of proper names and indexical expressions, and sometimes by what has been called (by Donnellan) the 'referential' use of descriptions. | |
| From: Robert Merrihew Adams (Primitive Thisness and Primitive Identity [1979], 2) | |
| A reaction: One might enquire whether the third usage should be described as 'direct', but then I am not sure that there is much of a distinction between references which are or are not 'direct'. Either you (or a sentence) refer or you (or it) don't. |
| 3324 | Plato's whole philosophy may be based on being duped by reification - a figure of speech [Benardete,JA on Plato] |
| Full Idea: Plato is liable to the charge of having been duped by a figure of speech, albeit the most profound of all, the trope of reification. | |
| From: comment on Plato (works [c.375 BCE]) by José A. Benardete - Metaphysics: the logical approach Ch.12 | |
| A reaction: That might be a plausible account if his view was ridiculous, but given how many powerful friends Plato has, especially in the philosophy of mathematics, we should assume he was cleverer than that. |
| 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. |
| 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. |
| 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. |
| 7503 | Plato never refers to examining the conscience [Plato, by Foucault] |
| Full Idea: Plato never speaks of the examination of conscience - never! | |
| From: report of Plato (works [c.375 BCE]) by Michel Foucault - On the Genealogy of Ethics p.276 | |
| A reaction: Plato does imply some sort of self-evident direct knowledge about that nature of a healthy soul. Presumably the full-blown concept of conscience is something given from outside, from God. In 'Euthyphro', Plato asserts the primacy of morality (Idea 337). |
| 2173 | As religion and convention collapsed, Plato sought morals not just in knowledge, but in the soul [Williams,B on Plato] |
| Full Idea: Once gods and fate and social expectation were no longer there, Plato felt it necessary to discover ethics inside human nature, not just as ethical knowledge (Socrates' view), but in the structure of the soul. | |
| From: comment on Plato (works [c.375 BCE]) by Bernard Williams - Shame and Necessity II - p.43 | |
| A reaction: anti Charles Taylor |
| 9274 | Plato's legacy to European thought was the Good, the Beautiful and the True [Plato, by Gray] |
| Full Idea: Plato's legacy to European thought was a trio of capital letters - the Good, the Beautiful and the True. | |
| From: report of Plato (works [c.375 BCE]) by John Gray - Straw Dogs 2.8 | |
| A reaction: It seems to have been Baumgarten who turned this into a slogan (Idea 8117). Gray says these ideals are lethal, but I identify with them very strongly, and am quite happy to see the good life as an attempt to find the right balance between them. |
| 94 | Pleasure is better with the addition of intelligence, so pleasure is not the good [Plato, by Aristotle] |
| Full Idea: Plato says the life of pleasure is more desirable with the addition of intelligence, and if the combination is better, pleasure is not the good. | |
| From: report of Plato (works [c.375 BCE]) by Aristotle - Nicomachean Ethics 1172b27 | |
| A reaction: It is obvious why we like pleasure, but not why intelligence makes it 'better'. Maybe it is just because we enjoy intelligence? |
| 17947 | Plato decided that the virtuous and happy life was the philosophical life [Plato, by Nehamas] |
| Full Idea: Plato came to the conclusion that virtue and happiness consist in the life of philosophy itself. | |
| From: report of Plato (works [c.375 BCE]) by Alexander Nehamas - Eristic,Antilogic,Sophistic,Dialectic p.117 | |
| A reaction: This view is obviously ridiculous, because it largely excludes almost the entire human race, which sees philosophy as a cul-de-sac, even if it is good. But virtue and happiness need some serious thought. |
| 6015 | Plato, unusually, said that theoretical and practical wisdom are inseparable [Plato, by Kraut] |
| Full Idea: Two virtues that are ordinarily kept distinct - theoretical and practical wisdom - are joined by Plato; he thinks that neither one can be fully possessed unless it is combined with the other. | |
| From: report of Plato (works [c.375 BCE]) by Richard Kraut - Plato | |
| A reaction: I get the impression that this doctrine comes from Socrates, whose position is widely reported as 'intellectualist'. Aristotle certainly held the opposite view. |
| 2912 | Plato is boring [Nietzsche on Plato] |
| Full Idea: Plato is boring. | |
| From: comment on Plato (works [c.375 BCE]) by Friedrich Nietzsche - Twilight of the Idols 9.2 |
| 1526 | Almost everyone except Plato thinks that time could not have been generated [Plato, by Aristotle] |
| Full Idea: With a single exception (Plato) everyone agrees about time - that it is not generated. Democritus says time is an obvious example of something not generated. | |
| From: report of Plato (works [c.375 BCE]) by Aristotle - Physics 251b14 |