42 ideas
| 4456 | Epistemological Ockham's Razor demands good reasons, but the ontological version says reality is simple [Moreland] |
| Full Idea: Ockham's Razor has an epistemological version, which says we should not multiply existences or explanations without adequate reason, and an ontological version, which says reality is simple, and so a simpler ontology represents it more accurately. | |
| From: J.P. Moreland (Universals [2001], Ch.2) | |
| A reaction: A nice distinction. Is it reality which is simple, or us? One shouldn't write off the ontological version. If one explanation is simpler than the others, there may be a reason in nature for that. |
| 4474 | Existence theories must match experience, possibility, logic and knowledge, and not be self-defeating [Moreland] |
| Full Idea: A theory of existence should 1) be consistent with what actually exists, 2) be consistent with what could exist, 3) not make existence impossible (e.g. in space-time), 4) not violate logic, 5) make knowing the theory possible. | |
| From: J.P. Moreland (Universals [2001], Ch.6) | |
| A reaction: A nice bit of metaphilosophical analysis. I still doubt whether a theory of existence is possible (something has to be 'given' a priori), but this is a good place to start the attempt. |
| 4461 | Tropes are like Hume's 'impressions', conceived as real rather than as ideal [Moreland] |
| Full Idea: Tropes are (says Campbell) substances (in Hume's sense), and indeed resemble his impressions conceived realistically rather than idealistically. | |
| From: J.P. Moreland (Universals [2001], Ch.3) | |
| A reaction: An interesting link. It doesn't get rid of the problem Hume has, of saying when two impressions are the same. Are they types or tokens? Trope-theory claims they are tokens. Hume's ontology includes 'resemblance'. |
| 4462 | A colour-trope cannot be simple (as required), because it is spread in space, and so it is complex [Moreland] |
| Full Idea: A property-instance must be spread out in space, or it is not clear how a colour nature can be present, but then it has to be a complex entity, and tropes are supposed to be simple entities. | |
| From: J.P. Moreland (Universals [2001], Ch.3) | |
| A reaction: Seems a fair point. Nothing else in reality can be sharply distinguished, so why should 'simple' and 'complex'? |
| 4463 | In 'four colours were used in the decoration', colours appear to be universals, not tropes [Moreland] |
| Full Idea: If a decorator says that they used four colours to decorate a house, four tropes is not what was meant, and the statement seems to view colours as universals. | |
| From: J.P. Moreland (Universals [2001], Ch.3) | |
| A reaction: Although I am suspicious of using language to deduce ontology, you have to explain why certain statements (like this) are even possible to make. |
| 4451 | If properties are universals, what distinguishes two things which have identical properties? [Moreland] |
| Full Idea: If properties are universals, what account can be given of the individuation of two entities that have all their pure properties in common? | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: Is this a big problem? Maybe only a space-time location can do it. Or, in the nice case where the universe is just two identical spheres, it may be impossible. |
| 4453 | One realism is one-over-many, which may be the model/copy view, which has the Third Man problem [Moreland] |
| Full Idea: One version of realism says that the universal does not enter into the being of its instances, and thus is a One-Over-Many. One version of this is the model/copy view, but this is not widely held, because of difficulties such as the Third Man Argument. | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: This presumably arises if the model is held to have the properties of the copy (self-predication), and looks like a bad theory |
| 4464 | Realists see properties as universals, which are single abstract entities which are multiply exemplifiable [Moreland] |
| Full Idea: Traditional realism is the view that a property is a universal construed as a multiply exemplifiable abstract entity that is a numerically identical constituent in each of its instances. | |
| From: J.P. Moreland (Universals [2001], Ch.4) | |
| A reaction: Put like that, it seems hard to commit oneself fully to realism. How can two red buses contain one abstract object spread out between them. Common sense says there are two 'rednesses' which resemble one another, which is a version of nominalism. |
| 4449 | Evidence for universals can be found in language, communication, natural laws, classification and ideals [Moreland] |
| Full Idea: Those who believe in universals appeal to the meaningfulness of language, the lawlike nature of causation, the inter-subjectivity of thinking, our ability to classify new entities, gradation, and the need for perfect standards or paradigms. | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: Of these, language and communication ought to be explicable by convention, but classification and natural laws look to me like the best evidence. |
| 4450 | The traditional problem of universals centres on the "One over Many", which is the unity of natural classes [Moreland] |
| Full Idea: Historically the problem of universals has mainly been about the "One over Many", which involves giving an account of the unity of natural classes. | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: This still strikes me as the main problem (rather than issues of language). If universals are not natural, they must be analysed as properties, which break down into causation, which is seen as a human convention. |
| 4454 | The One-In-Many view says universals have abstract existence, but exist in particulars [Moreland] |
| Full Idea: Another version of realism says is One-In-Many, where the universal is not another particular, but is literally in the instances. The universal is an abstract entity, in the instances by means of a primitive non-spatiotemporal tie of predication. | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: This sounds like Aristotle (and is Loux's view of properties and relations). If they are abstract, why must they be confined to particulars? |
| 4468 | How could 'being even', or 'being a father', or a musical interval, exist naturally in space? [Moreland] |
| Full Idea: Many properties (being even) and relations (musical intervals, being a father) are such that it is not clear what it would mean to take them as natural things existing in space. | |
| From: J.P. Moreland (Universals [2001], Ch.4) | |
| A reaction: 'Being even' certainly seems to be a property, and it is a struggle to see how it could exist in space, unless it is a set of actual or potential brain states. |
| 4452 | Maybe universals are real, if properties themselves have properties, and relate to other properties [Moreland] |
| Full Idea: Realism about universals is supported by the phenomenon of abstract reference - that is the fact that properties themselves have properties ('red is a colour'), and stand in relation to other properties ('red is more like orange than like blue'). | |
| From: J.P. Moreland (Universals [2001], Ch.1) | |
| A reaction: While a property may be an obviously natural feature, properties of properties seem more likely to be the produce of human perception and convention. It is a good argument, though. |
| 4467 | A naturalist and realist about universals is forced to say redness can be both moving and stationary [Moreland] |
| Full Idea: If a property is held to be at the location of the particular, then if there are two objects having the same property, and one object is stationary and the other is moving, the realist is forced to say that the universal is both moving and at rest. | |
| From: J.P. Moreland (Universals [2001], Ch.4) | |
| A reaction: The target of this comment is D.M.Armstrong. The example nicely illustrates the problem of trying to combine science and metaphysics. It pushes you back to Platonism, but that seems wrong too… |
| 4469 | There are spatial facts about red particulars, but not about redness itself [Moreland] |
| Full Idea: When one attends to something existing in space, one attends to an instance of redness, not to redness itself (which is a colour, which resembles orange). The facts about red itself are not spatial facts, but are traditionally seen as a priori synthetic. | |
| From: J.P. Moreland (Universals [2001], Ch.4) | |
| A reaction: This is the fact that properties can themselves have properties (and so on?), which seems to take us further and further from the natural world. |
| 4472 | Redness is independent of red things, can do without them, has its own properties, and has identity [Moreland] |
| Full Idea: Four arguments for Platonism: 1) there are truths about redness (it's a colour) even if nothing red exists, 2) redness does not depend on particulars, 3) most universals are at some time not exemplified, 4) universals satisfy the criteria of existence. | |
| From: J.P. Moreland (Universals [2001], Ch.6) | |
| A reaction: This adds up to quite a good case, particularly the point that things can be said about redness which are independent of any particular, but the relationships between concepts and the brain seems at the heart of the problem. |
| 4459 | Moderate nominalism attempts to embrace the existence of properties while avoiding universals [Moreland] |
| Full Idea: Moderate nominalism attempts to embrace the existence of properties while avoiding universals. | |
| From: J.P. Moreland (Universals [2001], Ch.2) | |
| A reaction: Clearly there is going to be quite a struggle to make sense of 'exists' here (Russell tries 'subsists). Presumably each property must be a particular? |
| 4458 | Unlike Class Nominalism, Resemblance Nominalism can distinguish natural from unnatural classes [Moreland] |
| Full Idea: Resemblance Nominalism is clearly superior to Class Nominalism, since the former offers a clear ground for distinguishing between natural and unnatural classes. | |
| From: J.P. Moreland (Universals [2001], Ch.2) | |
| A reaction: Important. It seems evident to me that there are natural classes, and the only ground for this claim would be either the resemblance or the identity of properties. |
| 4457 | There can be predicates with no property, and there are properties with no predicate [Moreland] |
| Full Idea: Linguistic predicates are neither sufficient nor necessary for specifying a property. Predicates can be contrived which express no property, properties are far more numerous than linguistic predicates, and properties are what make predicates apply. | |
| From: J.P. Moreland (Universals [2001], Ch.2) | |
| A reaction: This seems to me conclusive, and is a crucial argument against anyone who thinks that our metaphysics can simply be inferred from our language. |
| 4471 | We should abandon the concept of a property since (unlike sets) their identity conditions are unclear [Moreland] |
| Full Idea: Some argue that compared to sets, the identity conditions for properties are obscure, and so properties, including realist depictions of them, should be rejected. | |
| From: J.P. Moreland (Universals [2001], Ch.6) | |
| A reaction: I have never thought that difficulty in precisely identifying something was a good reason for denying its existence. Consider low morale in a work force. 2nd thoughts: I like this! |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 4476 | Most philosophers think that the identity of indiscernibles is false [Moreland] |
| Full Idea: Most philosophers think that the identity of indiscernibles is false. | |
| From: J.P. Moreland (Universals [2001], Ch.7) | |
| A reaction: This is as opposed to the generally accepted 'indiscernibility of identicals'. 'Discernment' is an epistemological concept, and 'identity' is an ontological concept. |
| 4460 | Abstractions are formed by the mind when it concentrates on some, but not all, the features of a thing [Moreland] |
| Full Idea: If something is 'abstract' it is got before the mind by an act of abstraction, that is, by concentrating attention on some (but not all) of what is presented. | |
| From: J.P. Moreland (Universals [2001], Ch.3) | |
| A reaction: Presumably it usually involves picking out the behavioural or causal features, and leaving out the physical features - though I suppose it works for physical properties too… |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 4455 | It is always open to a philosopher to claim that some entity or other is unanalysable [Moreland] |
| Full Idea: It is always open to a philosopher to claim that some entity or other is unanalysable. | |
| From: J.P. Moreland (Universals [2001], Ch.2) | |
| A reaction: For example, Davidson on truth. There is an onus to demonstrate why all attempted analyses fail. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 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. |
| 4473 | 'Presentism' is the view that only the present moment exists [Moreland] |
| Full Idea: 'Presentism' is the view that only the present moment exists. | |
| From: J.P. Moreland (Universals [2001], Ch.6) | |
| A reaction: And Greek scepticism doubted even the present, since there is no space between past and future. It is a delightfully vertigo-inducing idea. |