42 ideas
| 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? |
| 23250 | Desired responsible actions result either from rational or from irrational desire [Aristotle] |
| Full Idea: And of responsible actions, some are done through habit, some through desire, and of these some through rational and some through irrational desire. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1369a01) | |
| A reaction: Identified by Michael Frede, to illustrate reason having its own distinctive type of desire ('Boulesis'). I suspect that the rational desires are the morally good desires. |
| 5847 | It is the role of dialectic to survey syllogisms [Aristotle] |
| Full Idea: It belongs to dialectic to survey equally all kinds of syllogism. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1355a08) | |
| A reaction: Since dialectic is central to philosophy, this implies that philosophers ought to be students of logic. This duty seems to me to be taken more seriously in the analytical tradition than in the 'continental' tradition. |
| 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. |
| 5862 | A single counterexample is enough to prove that a truth is not necessary [Aristotle] |
| Full Idea: If we have a single counter-instance, the argument is refuted as not necessary, even if more cases are otherwise or more often otherwise. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1403a07) | |
| A reaction: This is Aristotle (pioneering hero) pointing out what we now tend to think of as Karl Popper's falsification, the certain way to demonstrate the falseness of a supposed law of nature, by finding one anomaly from it. |
| 5854 | Nobody fears a disease which nobody has yet caught [Aristotle] |
| Full Idea: Nobody is on his guard against a disease that nobody has yet caught. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1372a27) | |
| A reaction: A beautifully simple indication of one problem with induction. In a dangerous situation, you can't wait around for a few experiences in order to learn the regularities and rules. Either you are doomed, or you must explain using related experiences. |
| 5960 | When the soul is intelligent and harmonious, it is part of god and derives from god [Plutarch] |
| Full Idea: The soul, when it has partaken of intelligence and reason and concord, is not merely a work but also a part of god and has come to be not by his agency but both from him as source and out of his substance. | |
| From: Plutarch (67: Platonic Questions [c.85], II.1001) | |
| A reaction: A most intriguing shift of view from earlier concepts of the psuché. How did this come about? This man is a pagan. The history is in the evolution of Platonism. See 'The Middle Platonists' by John Dillon. Davidson is also very impressed by reason. |
| 5849 | Rhetoric is a political offshoot of dialectic and ethics [Aristotle] |
| Full Idea: Rhetoric is a kind of offshoot of dialectic and of the study of ethics, and is quite properly categorized as political. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1356a25) | |
| A reaction: Aristotle gives a higher status to rhetoric than Socrates and Plato did - and rightly, in my view. We have lost sight of it as a vital part of politics, and philosophers must fight for virtue in rhetoric, which requires right reason and fine principles. |
| 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? |
| 5851 | Pentathletes look the most beautiful, because they combine speed and strength [Aristotle] |
| Full Idea: The pentathletes are the most beautiful, being at the same time naturally suited to both speed and force. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1361b09) | |
| A reaction: This is still true. Watch the Olympics. The bodies we envy most belong to those who do a variety of disciplines. The most beautiful music fulfils a variety of functions (structure, as well as melody, drama, rhythm, harmony, novelty). |
| 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. |
| 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). |
| 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. |
| 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? |
| 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. |
| 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. |
| 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. |
| 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. |
| 5858 | Men are physically prime at thirty-five, and mentally prime at forty-nine [Aristotle] |
| Full Idea: The body is in its prime from the ages of thirty to thirty-five, and the soul around the age of forty-nine. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1390b09) | |
| A reaction: Wonderfully specific! It is important that Aristotle is interested in these questions. The good for man follows the path laid out by nature, in which a man rises to his highest good in maturity, and then declines from it into old age. |
| 5855 | We all feel universal right and wrong, independent of any community or contracts [Aristotle] |
| Full Idea: There is something of which we all have an inkling, being a naturally universal right and wrong, even if there should be no community between the parties or contract. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1373b07) | |
| A reaction: This is the strongest assertion I know of in Aristotle of an absolute moral standard, independent of natural function. It makes Aristotle an intuitionist, and is strikingly opposed to contracts as the most basic aspect of morality. |
| 5850 | Happiness is composed of a catalogue of internal and external benefits [Aristotle] |
| Full Idea: The elements of happiness are: gentle birth, many virtuous friends, wealth, creditable and extensive offspring, a comfortable old age; also health, beauty, strength, size and competitiveness, reputation, status, luck and the virtues. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1360b18) | |
| A reaction: This is Aristotle's pluralism, and his commitment to 'external goods' (rather than the inner good of pure virtue, which the Stoics preferred). 'Gentle birth' might turn out to mean good upbringing and education. Who was the most 'beautiful' philosopher? |
| 5856 | Self-interest is a relative good, but nobility an absolute good [Aristotle] |
| Full Idea: One's own interest is a relative good, nobility a good absolutely. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1389b37) | |
| A reaction: The key idea in the whole of Greek moral theory is the concept of what we can call a 'beautiful' action. Such things, or course, tend to be visible in great actions, such as sparing an enemy, rather than the minutiae of well-mannered daily life. |
| 5848 | All good things can be misused, except virtue [Aristotle] |
| Full Idea: If one used strength, health, wealth and strategic expertise well, one might do the greatest possible good and if badly the greatest possible harm; this is a problem common to all good things, except virtue. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1355b04) | |
| A reaction: Of course, this may just be a tautology about virtue, rather than an empirical observation. However, in 'Ethics' he tries to describe a state of mind (essentially one of harmony) which could never result in misuse. |
| 5853 | The best virtues are the most useful to others [Aristotle] |
| Full Idea: The greatest virtues must be those most useful to others. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1366b02) | |
| A reaction: I wonder if this applies to the intellectual virtues, as well as to the social virtues? Is this virtue theory's answer to utilitarianism, or utilitarianism's answer to virtue theory? Personally I think good persons are prior to benefits. |
| 5857 | The young feel pity from philanthropy, but the old from self-concern [Aristotle] |
| Full Idea: Old men are prone to pity, but where the young are so from philanthropy, the old are so from weakness, for they think all these things are near for themselves to suffer. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1390a18) | |
| A reaction: I am shocked to find Aristotle being so cynical. I see no reason why the old should not be as philanthropic as anyone else, and they clearly are so, as when they plant trees for future generations to enjoy. |
| 5859 | Rich people are mindlessly happy [Aristotle] |
| Full Idea: The character of the rich man is that of the mindlessly happy one. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1391a12) | |
| A reaction: Very nice. It is hard to deny that the rich tend to be happy (in some sense of the word), and recent sociological research has tended to demonstrate this, but the pursuit of wealth must inevitably take the focus away from key intellectual pursuits. Yeh? |
| 5852 | The four constitutions are democracy (freedom), oligarchy (wealth), aristocracy (custom), tyranny (security) [Aristotle] |
| Full Idea: There are four types of constitution: democracy (whose purpose is freedom), oligarchy (for wealth), aristocracy (for education and customs), and monarch or tyranny (for security). | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1365b28-37) | |
| A reaction: An aristocracy seems to be the guardians of tradition and culture (as in an English public school education). The tyranny of Hitler and Stalin did not exactly lead to security. Democracy and aristocracy are the front-runners. Compare Idea 2821. |
| 1660 | It is noble to avenge oneself on one's enemies, and not come to terms with them [Aristotle] |
| Full Idea: It is noble to avenge oneself on one's enemies and not to come to terms with them. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1367a19), quoted by Gregory Vlastos - Socrates: Ironist and Moral Philosopher p.189 |
| 5861 | People assume events cause what follows them [Aristotle] |
| Full Idea: Men take its occurring after as its occurring because. | |
| From: Aristotle (The Art of Rhetoric [c.350 BCE], 1401b30) | |
| A reaction: The Latin is 'post hoc propter hoc' - after this so because of this. It is quite a good inductive rule, but obviously open to abuse, as in legal cases, as when someone happens to acquire a lot of money just after a crime. |