11 ideas
| 18823 | To say there could have been people who don't exist, but deny those possible things, rejects Barcan [Stalnaker, by Rumfitt] |
| Full Idea: Stalnaker holds that there could have been people who do not actually exist, but he denies that there are things that could have been those people. That is, he denies the unrestricted validity of the Barcan Formula. | |
| From: report of Robert C. Stalnaker (Counterparts and Identity [1987]) by Ian Rumfitt - The Boundary Stones of Thought 6.2 | |
| A reaction: And quite right too, I should have thought. As they say, Jack Kennedy and Marilyn Monroe might have had a child, but the idea that we should accept some entity which might have been that child but wasn't sounds like nonsense. Except as fiction….. |
| 16409 | Unlike Lewis, I defend an actualist version of counterpart theory [Stalnaker] |
| Full Idea: I defend a version of counterpart theory that is quite different from Lewis's version, as it is tied to actualism (all that exists is part of the actual world) rather than possibilism (possible things may exist without actually existing). | |
| From: Robert C. Stalnaker (Counterparts and Identity [1987], 1) | |
| A reaction: This could be the theory I am after. I am sympathetic to both actualism and to counterpart theory. Off to the woodshed…. |
| 16411 | If possible worlds really differ, I can't be in more than one at a time [Stalnaker] |
| Full Idea: Nothing can be in two places at once. If other possible worlds are really other universes, then clearly, you and I cannot be in them if we are here in this one. | |
| From: Robert C. Stalnaker (Counterparts and Identity [1987], 2) | |
| A reaction: This can be sensibly expressed without possible worlds. I can't embody my other possibilities while I am embodying this one (I'm too busy). Insofar as possible worlds are a good framework, they are just a precise map of common sense. |
| 16412 | If counterparts exist strictly in one world only, this seems to be extreme invariant essentialism [Stalnaker] |
| Full Idea: Counterparts involve the thesis that domains of different possible worlds are disjoint: possible individuals exist in at most one possible world. This seems to suggest extreme essentialism, where nothing could differ from how it is. | |
| From: Robert C. Stalnaker (Counterparts and Identity [1987], 2) | |
| A reaction: He quotes Salmon (1981:236) as saying counterpart theory is particularly inflexible essentialism. This is a long way from my use of 'essentialism'. The problem is just the extent to which my counterpart is 'the same' as me. |
| 16410 | Extensional semantics has individuals and sets; modal semantics has intensions, functions of world to extension [Stalnaker] |
| Full Idea: Semantic values in extensional semantics are extensions, like individuals for terms, and sets for predicates. In modal semantics we have intensions, functions from worlds to appropriate extensions. | |
| From: Robert C. Stalnaker (Counterparts and Identity [1987], 2) | |
| A reaction: It seems obvious that the meaning of a word like 'giraffe' must include possible giraffes, as well as actual and deceased giraffes. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 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. |