39 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? |
| 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. |
| 13985 | A true proposition seems true of one fact, but a false proposition seems true of nothing at all. [Ryle] |
| Full Idea: Whereas there might be just one fact that a true proposition was like, we would have to say that a false proposition was unlike any fact. We could not speak of the fact that it was false of, so we could not speak of its being false of anything at all. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Objections') | |
| A reaction: Ryle brings out very nicely the point Russell emphasised so much, that the most illuminating studies in philosophy are of how falsehood works, rather than of how truths work. If I say 'the Queen is really a man' it is obvious what that is false of. |
| 13984 | Two maps might correspond to one another, but they are only 'true' of the country they show [Ryle] |
| Full Idea: One map of Sussex is like another, but it is not true of that other map, but only of the county. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Objections') | |
| A reaction: One might question whether a map is in any sense 'true' of Sussex, though one must admit that there are good and bad maps of Sussex. The point is a nice one, which shows that there is no simple account of truth as correspondence. |
| 13979 | Logic studies consequence, compatibility, contradiction, corroboration, necessitation, grounding.... [Ryle] |
| Full Idea: Logic studies the way in which one thing follows from another, in which one thing is compatible with another, contradicts, corroborates or necessitates another, is a special case of another or the nerve of another. And so on. | |
| From: Gilbert Ryle (Are there propositions? [1930], IV) | |
| A reaction: I presume that 'and so on' would include how one thing proves another. This is quite a nice list, which makes me think a little more widely about the nature of logic (rather than just about inference). Incompatibility isn't a process. |
| 13988 | Many sentences do not state facts, but there are no facts which could not be stated [Ryle] |
| Full Idea: There are many sentences which do not state facts, while there are no facts which (in principle) could not be stated. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Substitute') | |
| A reaction: Hm. This seems like a nice challenge. The first problem would be infinite facts. Then complex universal facts, beyond the cognizance of any mind. Then facts that change faster than thinking can change. Do you give up yet? Then there's.... |
| 13983 | Representation assumes you know the ideas, and the reality, and the relation between the two [Ryle] |
| Full Idea: The theory of Representative Ideas begs the whole question, by assuming a) that we can know these 'Ideas', b) that we can know the realities they represent, and c) we can know a particular 'idea' to be representative of a particular reality. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Objections') | |
| A reaction: Personally I regard the ideas as immediate (rather than acquired by some knowledge process), and I am dimly hoping that they represent reality (or I'm in deep trouble), and I am struggling to piece together the reality they represent. I'm happy with that. |
| 13980 | If you like judgments and reject propositions, what are the relata of incoherence in a judgment? [Ryle] |
| Full Idea: Those who find 'judgments' everywhere and propositions nowhere find that some judgments cohere whereas others are incoherent. What is the status of the terms between which these relations hold? | |
| From: Gilbert Ryle (Are there propositions? [1930], IV) | |
| A reaction: Ryle is playing devil's advocate, but this strikes me as a nice point. I presume Russell after 1906 is the sort of thinker he has in mind. |
| 13978 | Husserl and Meinong wanted objective Meanings and Propositions, as subject-matter for Logic [Ryle] |
| Full Idea: It is argued by Husserl and (virtually) by Meinong that only if there are such entities as objective Meanings - and propositions are just a species of Meaning - is there anything for Logic to be about. | |
| From: Gilbert Ryle (Are there propositions? [1930], IV) | |
| A reaction: It is presumably this proposal which led to the scepticism about meanings in Wittgenstein, Quine and Kripke. The modern view, which strikes me as right, is that logic is about inference, and so doesn't need a subject-matter. |
| 13977 | When I utter a sentence, listeners grasp both my meaning and my state of mind [Ryle] |
| Full Idea: If I have uttered my sentence aloud, a listener can both understand what I say or grasp my meaning, and also infer to my state of mind. | |
| From: Gilbert Ryle (Are there propositions? [1930], I) | |
| A reaction: This simple observations seems rather important. If we shake written words onto the floor, they might add up to a proper sentence, but half of the point of a sentence is missing. Irony trades on the gap between meaning and state of mind. |
| 13976 | 'Propositions' name what is thought, because 'thoughts' and 'judgments' are too ambiguous [Ryle] |
| Full Idea: As the orthodox terms 'thoughts' and 'judgments' are equivocal, since they may equally well denote 'thinkings' as 'what-is-thought', the 'accusatives' of acts of thinking have come to be called 'propositions'. | |
| From: Gilbert Ryle (Are there propositions? [1930], I) | |
| A reaction: I have understood propositions to be capable of truth or falsity. 'What is thought' could be a right old jumble of images and disjointed fragments. Propositions are famous for their unity! |
| 13981 | Several people can believe one thing, or make the same mistake, or share one delusion [Ryle] |
| Full Idea: We ordinarily find no difficulty in saying of a given thing that several people believe it and so, if they think it false, 'make the same mistake' or 'labour under the same delusion'. | |
| From: Gilbert Ryle (Are there propositions? [1930], IV) | |
| A reaction: Ryle is playing devil's advocate, but this (like 13980) strikes me as quite good support for propositions. I suppose you can describe these phenomena as assent to sentences, but they might be very different sentences to express the same delusion. |
| 13987 | We may think in French, but we don't know or believe in French [Ryle] |
| Full Idea: Although we speak of thinking in French, we never talk of knowing or believing or opining in French. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Substitute') | |
| A reaction: Once again Ryle is playing devil's advocate, but he does it rather well, and offers good support for my belief in propositions. I love this. 'I know, in French, a bank where the wild thyme blows'. |
| 13989 | There are no propositions; they are just sentences, used for thinking, which link to facts in a certain way [Ryle] |
| Full Idea: There are no substantial propositions...There is just a relation between grammatical structure and the logical structure of facts. 'Proposition' denotes the same as 'sentence' or 'statement'. A proposition is not what I think, but what I think or talk in. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Conclusions') | |
| A reaction: The conclusion of Ryle's discussion, but I found his support for propositions much more convincing than his critique of them, or his attempt at an alternative linguistic account. He never mentioned animals, so he self-evidently hasn't grasped the problem. |
| 13982 | If we accept true propositions, it is hard to reject false ones, and even nonsensical ones [Ryle] |
| Full Idea: All the arguments for the subsistence of true propositions seem to hold good for the subsistence of false ones. We might even have to find room for absurd or nonsensical ones like 'some round squares are not red-headed'. | |
| From: Gilbert Ryle (Are there propositions? [1930], 'Objections') | |
| A reaction: A particularly nice example of a Category Mistake from the man who made them famous. Why can't we just make belief a proposition attitude, so I equally believe 'sea is blue', 'grass is pink' and 'trees are bifocal', but the status of my belief varies? |
| 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. |
| 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. |
| 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. |
| 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. |