13 ideas
| 13795 | Properties only have identity in the context of their contraries [Elder] |
| Full Idea: The very being, the identity, of any property consists at least in part in its contrasting as it does with its own proper contraries. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.4) | |
| A reaction: See Elder for the details of this, but the idea that properties can only be individuated contextually sounds promising. |
| 13798 | Maybe we should give up the statue [Elder] |
| Full Idea: Some contemporary metaphysicians infer that one of the objects must go, namely, the statue. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 7.2) | |
| A reaction: [He cites Zimmerman 1995] This looks like a recipe for creating a vast gulf between philosophers and the rest of the population. If it is right, it makes the true ontology completely useless in understanding our daily lives. |
| 13797 | The loss of an essential property means the end of an existence [Elder] |
| Full Idea: The loss of any essential property must amount to the end of an existence. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This is orthodoxy for essentialists, and I presume that Aristotle would agree, but I have a problem with the essence of a great athlete, who then grows old. Must we say that they lose their identity-as-an-athlete? |
| 13794 | Essential properties by nature occur in clusters or packages [Elder] |
| Full Idea: Essential properties by nature occur in clusters or packages. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 2.2) | |
| A reaction: Elder proposes this as his test for the essentialness of a property - his Test of Flanking Uniformities. A nice idea. |
| 13796 | Essential properties are bound together, and would be lost together [Elder] |
| Full Idea: The properties of any essential nature are bound together....[122] so any case in which one of our envisioned familiar objects loses one of its essential properties will be a case in which it loses several. | |
| From: Crawford L. Elder (Real Natures and Familiar Objects [2004], 3) | |
| A reaction: This sounds like a fairly good generalisation rather than a necessary truth. Is there a natural selection for properties, so that only the properties which are able to bind to others to form teams are able to survive and flourish? |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 13304 | Learned men gain more in one day than others do in a lifetime [Posidonius] |
| Full Idea: In a single day there lies open to men of learning more than there ever does to the unenlightened in the longest of lifetimes. | |
| From: Posidonius (fragments/reports [c.95 BCE]), quoted by Seneca the Younger - Letters from a Stoic 078 | |
| A reaction: These remarks endorsing the infinite superiority of the educated to the uneducated seem to have been popular in late antiquity. It tends to be the religions which discourage great learning, especially in their emphasis on a single book. |
| 20820 | Time is an interval of motion, or the measure of speed [Posidonius, by Stobaeus] |
| Full Idea: Posidonius defined time thus: it is an interval of motion, or the measure of speed and slowness. | |
| From: report of Posidonius (fragments/reports [c.95 BCE]) by John Stobaeus - Anthology 1.08.42 | |
| A reaction: Hm. Can we define motion or speed without alluding to time? Looks like we have to define them as a conjoined pair, which means we cannot fully understand either of them. |